tag:blogger.com,1999:blog-49106417755809837262024-03-06T05:22:15.348-05:00Antique Prints BlogA blog about original prints from the seventeenth to the early twentieth century, but with a primary focus on historical prints of the eighteenth and nineteenth centuries.Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.comBlogger301125tag:blogger.com,1999:blog-4910641775580983726.post-66106251088858505342022-04-06T15:17:00.001-04:002022-04-06T15:17:29.825-04:00Mrs. Jane Loudon<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIDGWwNI1SVaY39ow1liaexBKbXMwt8DFZc8zOBCiHIh3WmSeSZRQcxZJLEpde_h-zWYba8oo21wpXbSpJ8GGzrK9fZXdW-Um5fvTOs-qQiTI_9fKJcienAIlcO1zv3FnpRf_nNTCgiN0FyRWbAirVLiqyXlfUbKqSmai4vJhKWM3gyxlaRxQGE-0s/s660/Jane_Loudon.jpg" style="display: block; padding: 1em 0; text-align: center; clear: left; float: left;"><img alt="" border="0" height="200" data-original-height="660" data-original-width="538" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIDGWwNI1SVaY39ow1liaexBKbXMwt8DFZc8zOBCiHIh3WmSeSZRQcxZJLEpde_h-zWYba8oo21wpXbSpJ8GGzrK9fZXdW-Um5fvTOs-qQiTI_9fKJcienAIlcO1zv3FnpRf_nNTCgiN0FyRWbAirVLiqyXlfUbKqSmai4vJhKWM3gyxlaRxQGE-0s/s320/Jane_Loudon.jpg"/></a></div>Jane Wells Webb Loudon (1807-1858) was an accomplished English author and gardener. Orphaned and penniless at age 17, Jane decided to try to become a writer to support herself. She published a book entitled <i>Prose and Verse</i> in 1826 and then achieved success the next year with an annonymously published novel when she was still only 20. The work, <i>The Mummy!: Or a Tale of the Twenty-Second Century</i>, was the first in what became a popular genre of books about mummies. It was also an early example of science fiction, in which she wrote of the future with imagined changes in society and technology, some of which—like an early form of the internet, air-conditioning and espresso machines—seem prophetic today. <P><BR>
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-6yOGuk0QiEkNbiYj5gWsuhSeAqvE-s_1yj5VD-NEFeeQqvQOPzoFBiNwa1va4DYR8ygjPIKIfwxLDbALAzukF7ml7RX4Ltr8fkUb__gKURNa35EKmI8tqiJDPohb9cYw3xpPDmsrUAzgjJdtsvedlVsAcb_NGXhXauVE-3apeoZNs4p3AfHKOh3S/s465/james.jpg" style="display: block; padding: 1em 0; text-align: center; clear: right; float: right;"><img alt="" border="0" height="150" data-original-height="465" data-original-width="392" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-6yOGuk0QiEkNbiYj5gWsuhSeAqvE-s_1yj5VD-NEFeeQqvQOPzoFBiNwa1va4DYR8ygjPIKIfwxLDbALAzukF7ml7RX4Ltr8fkUb__gKURNa35EKmI8tqiJDPohb9cYw3xpPDmsrUAzgjJdtsvedlVsAcb_NGXhXauVE-3apeoZNs4p3AfHKOh3S/s200/james.jpg"/></a></div>One of Jane’s inventions was a steam-powered digging machine, something which caught the eye of John Claudius Loudon, a well-respected landscape designer, botanist, gardener, author and publisher of <i>Gardener’s Magazine</i>. He asked a friend to invite the author to lunch and was greatly surprised when this turned out to be a woman. The surprise soon turned into love and just seven months later, in 1831, Jane and John married.<P><BR>
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd6kmP28B1IKLJ83bmIMP2Wdj8HsZwFiW6RM7X-v5on_vO6GbMfMj-SXAL-KxgXFTAcJLaqGmeDX_5FMRUgf1j8MzhgaffTXlVAAW_Ved5YkuyVE8iUnC3ZnihgpNz3zf4BbOpLHaUSIoKMt6oI0PZ91JlIGf2ZhCokuVO_vmE96JkcsvA66OsXq_Z/s602/loudon-ladies-companion_orig.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="467" data-original-width="602" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd6kmP28B1IKLJ83bmIMP2Wdj8HsZwFiW6RM7X-v5on_vO6GbMfMj-SXAL-KxgXFTAcJLaqGmeDX_5FMRUgf1j8MzhgaffTXlVAAW_Ved5YkuyVE8iUnC3ZnihgpNz3zf4BbOpLHaUSIoKMt6oI0PZ91JlIGf2ZhCokuVO_vmE96JkcsvA66OsXq_Z/s400/loudon-ladies-companion_orig.jpg"/></a></div>Through her marriage, Jane became an enthusiastic gardener and worked closely with her husband in his research and writing, including assisting in editing John's <i>Encyclopedia of Gardening</i>. Jane saw that there was a need for gardening manuals aimed at the growning market of middle-class women, and began a series of guides, including <i>Gardening for Ladies</i> and <i>The Ladies' Companion to the Flower-Garden</i>.
<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_JUHATnMB982brZcMeSSImygKnyaznAnkaggbzP6tcf4p8IRnKl4v9DOnMaJEEJ5qDvq97iTEb-MHThz_u843rgZsiwnRKf-CkwVb5TxOUQka9NEmlFPty1qZrit34eksB6N803HEJUoLMFqjmqLLlo9wYV0lBRbIwfr6v2Jp_A00EiE5IBaABdOB/s736/loudon-lilium_orig.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="736" data-original-width="559" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_JUHATnMB982brZcMeSSImygKnyaznAnkaggbzP6tcf4p8IRnKl4v9DOnMaJEEJ5qDvq97iTEb-MHThz_u843rgZsiwnRKf-CkwVb5TxOUQka9NEmlFPty1qZrit34eksB6N803HEJUoLMFqjmqLLlo9wYV0lBRbIwfr6v2Jp_A00EiE5IBaABdOB/s400/loudon-lilium_orig.jpg"/></a></div>Probably the most famous of her output were the <i>Ladies' Flower Garden</i> books, which were both decorative and educational. Jane had taught herself to draw and these books were illustrated with her designs, <a href="https://pps-west.com/product/jane-wells-loudon-pl-29-1-amaryllis-breviflora/" target="_blank">beautifully rendered in hand-colored lithographs</a>. These prints are well-known in today's market, but the story of their remarkable creator is undeservedly less well known.<P>Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com2tag:blogger.com,1999:blog-4910641775580983726.post-13120127976067265572022-02-23T13:04:00.000-05:002022-02-23T13:04:00.582-05:00Four Great Surveys of the American West<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhRrcUdnToOPDR6sAXG77QReEf6yRoVN1MfgHb1tcyVxb0aH0CaIE5BmZaH-YGtzR_2S0tvg8Z-7j6--b4x8HP0dpRxEE7kqRX5tMkGothYci9ZgT8LY8_zaQhEA_QbfDPCmRm6R8kT_HDOyX3X_C6Lq_TXysaQFr2LAsrgBWZMkD1NwjYJ0N7jcqGw=s1119" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" width="400" data-original-height="700" data-original-width="1119" src="https://blogger.googleusercontent.com/img/a/AVvXsEhRrcUdnToOPDR6sAXG77QReEf6yRoVN1MfgHb1tcyVxb0aH0CaIE5BmZaH-YGtzR_2S0tvg8Z-7j6--b4x8HP0dpRxEE7kqRX5tMkGothYci9ZgT8LY8_zaQhEA_QbfDPCmRm6R8kT_HDOyX3X_C6Lq_TXysaQFr2LAsrgBWZMkD1NwjYJ0N7jcqGw=s400"/></a></div>
After the Louisiana Purchase, the U.S. Government was interested in trying to get a basic understanding of what was in the vast new lands the country had acquired. Towards that end, the government sent out a number of surveys in the early nineteenth century. These included the Lewis & Clark expedition of 1803-1806, Zebulon Pike’s of 1806-07, and that of Stephen H. Long in 1819-20.<P><BR>
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The Long expedition ended the official exploration of the West for about two decades, until finally in 1838, the U.S. Army established the Corps of Topographical Engineers, the purview of which included exploring and mapping the West. Among the most important of their surveys were the five expeditions led by John C. Frémont between 1842 and 1853.<P><BR>
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After mid-century, exploration of the West picked up significantly when in 1853 Congress authorized $150,000 for the exploration of possible railroad routes across the continent, creating the Pacific Railroad Surveys to investigate possible routes across the West at four different latitudes. The results of these surveys were depicted in G.K. Warren’s important “Map of the Territory of the United States from Mississippi to the Pacific Ocean,” which summed up the government’s understanding of the West on the eve of the Civil War.<P><BR>
After the Civil War, the nation turned its attention even more to the American West, which was seen as an area of huge potential economic development. This led to a demand for better information on the region, a demand that was partially met by the General Land Office. The GLO was responsible for the surveying, platting and sale of public lands, so while their surveys were very important for the economic development of the West, there were large sections of the region they did not cover.<P><BR>
The Federal government was particularly interested in the economic resources of the West, which had not been a focus of the earlier military surveys. Thus, the government modified its surveys so that were more scientific, rather than military. These were called “geological” surveys, “geology” at the time having a wider definition than now, referring broadly to the science of the earth, including within its compass botany, soil science, archaeology and anthropology. <P><BR>
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The first government survey dedicated to studying the geological, and thus economic aspects of a far western state was the 1860-74 California Geological Survey led by Josiah D. Whitney. This survey is important for several reasons, not the least of which was the new procedure for surveying alpine landscapes developed by its lead topographer, Charles Frederick Hoffmann. <P><BR>
The California Geological Survey established the methods and aims for future surveys by the U.S. Government, which in 1867 authorized the first in a series of systematic scientific surveys of the West. These became known as the “Four Great Surveys,” which ran pretty much concurrently and lasted until 1879.<P><BR>
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<b>King Survey (1867-73)</b><BR>
The first of these surveys, authorized on March 2, 1867, was the U.S. Geological Exploration of the 40th Parallel, led by Clarence King, who had worked on with the California Geological survey. The purview of the King party was to survey the lands on either side of the Pacific Railroad from California to eastern Wyoming and it was designed primarily as a practical survey to determine the economic potential of the lands along the railroad route.<P><BR>
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The King survey resulted in the publication of a <i>Geological and Topographical Atlas</i> in 1876. This included a general map, then five each of topographical and geological sectional maps in sequence along the route of King’s survey. The maps were done in very large size—most sheets measure 29” x 42”—these are rare and fascinating images of the western part of the lands on either side of the 40th parallel.<P><BR>
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<b>Hayden Survey (1867-79)</b><BR>
The second of the Great Surveys began the same year as the King survey. This was led by Ferdinand V. Hayden and though it started off focused on Nebraska, within two years it became the U.S. Geological and Geographical Survey of the Territories. Hayden’s survey eventually encompassed parts of Nebraska, Wyoming, Idaho, Montana, and particularly Colorado.<P><BR>
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Hayden issued yearly reports and these standardly include illustrations as well as maps of the different areas he surveyed. The most impressive of his cartographic publications was the 1877 <i>Geological and Geographical Atlas of Colorado</i>, which included four general maps of the entire state, as well as topographical and geological maps of the state broken into six sections. These provide the first comprehensive and accurate mapping of the Colorado, just a year after statehood.<P><BR>
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<b>Powell Survey (1870-78)</b><BR>
The third of the four Great Surveys was the U.S. Geographical and Geological Survey of the Rocky Mountain Region led by John Wesley Powell, a survey which lasted from 1870 to 1878. Powell had become convinced that the Colorado River canyons could be explored only by boat, so in 1869, Powell formed a private expedition and set off down the Green and Colorado Rivers. The expedition members are the first known Euro-Americans to traverse the Grand Canyon. <P><BR>
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As the 1869 expedition ended up being more about survival than science, and as much of the data he had gathered was lost, Powell asked Congress to authorize another exploration of the Grand Canyon. This Congress did with the creation of the third of the Great Surveys, the scope of which was not only the Grand Canyon, but also the surrounding plateau lands. Powell was involved in the production of a number of maps, some of which appeared in reports from this survey, but there was no major cartographic publication which resulted.<P><BR>
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<b>Wheeler Survey (1872-79)</b><BR>
The last of the four Great Surveys was under the command of Lieutenant George Montague Wheeler. Wheeler had led surveys in eastern Nevada and Arizona in 1869. These were under the aegis of the U.S. Army’s Corps of Engineers and the surveys had primarily military objectives. By 1870, with the creation of the other three, essentially civilian surveys, the military became concerned that the job of mapping the American West was being taken away from them. Wheeler came up with the idea of having the Army survey the entire country west of the 100th meridian. The Army bought into this concept and convinced Congress that this was a good idea, so in 1872, money was appropriated to form the U.S. Geographical Survey West of the 100th Meridian.<P><BR>
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Wheeler was never able to complete his work, though he did map a large portion of the West by the end of 1879, covering about 360,000 square miles, though that was only about on quarter of the area originally intended. Beginning in 1876, Wheeler issued a number of maps, along with a title page for a “Topographical Atlas.” The idea was that Wheeler would issue maps as the survey progressed, with the sheets eventually all gathered into this atlas. This did not happen; the intended atlas was never completed. Over the years, however, Wheeler did continue to produce maps, most sheets showing one quarter of one of his 95 quadrangles. Each year Wheeler also produced a progress map illustrating the areas that had been surveyed. Wheeler stopped surveying in 1879 but continued to issue reports and maps until 1884.<P><BR>
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In the end Wheeler produced 71 topographical maps. Initially he was criticized for not showing enough information about the natural resources of the areas mapped, so Wheeler started to add economic or land-use maps, as well as some geological maps. Craig Haggit, of the Denver Public Library, has produced a very nice web page about the Wheeler maps, which can be seen by <a href="https://storymaps.arcgis.com/stories/ceb249908ba040128571d1f864acc3c9?utm_source=Rocky+Mountain+Map+Society&utm_campaign=18c4b3e2ec-EMAIL_CAMPAIGN_2020_06_30_12_08_COPY_01&utm_medium=email&utm_term=0_c31cf810d2-18c4b3e2ec-536981745" target="_blank">clicking on this link</a>.<P><BR>
<b>Competition between the surveys</b><BR>
It is not really surprising that right from the beginning there was competition between the Four Great Surveys, as they ran pretty much concurrently and covered overlapping areas of the West. There was a conflict between the military and civilian surveys, the military wanting to have authority over the western surveys and the scientific community wanting the same thing. There was also conflict over getting money from Congress, as there were limited funds and each survey wanted to make sure they received sufficient appropriations. Finally, there was conflict over the scope of each survey. For instance, at one point Powell tried to extend his survey to encompass the entire Rocky Mountains, but Congress demurred, saying the Rockies belong to the Hayden survey.<P><BR>
The most consequential of the conflicts was between Hayden and Wheeler, whose territories did overlap. This came to a head on July 9, 1873. Wheeler had sent a party, under Lieutenant W.L. Marshall, to survey south-central Colorado and at the same time Hayden had sent one of his survey parties into the South Park area, which was just where Marshall was working.<P><BR>
Hayden describes what happened:
<blockquote>“As we were riding down into the south Park, about the 9th day of July, we came across Lt. Marshall’s party and we camped together. He was a very courteous gentleman and we were very friendly. We talked matters over, and some regrets were expressed that we were on the same ground. I simply stated to him...that I had no option but to perform this work and we had had the Territory of Colorado assigned to us as a field of exploration. He simply said that he was under orders, and therefore could not disobey his orders.”</blockquote>
As a result, both parties set about surveying the same area in a ridiculous duplication of effort. <P><BR>
It was inevitable that this conflict would come to the attention of Congress. This happened when the War Department demanded an investigation in hopes of asserting its authority, through the Wheeler survey, over all the surveys of the West. As a result, the following year, the Townsend Committee on Public Lands of the House of Representatives met to consider the conflict. <P><BR>
One tack taken by the military was to attack Hayden personally. Marshall accused Hayden of rushing into the area specifically to preempt Wheeler (which may or may not be true). Also, supposedly, as reported by Wheeler’s geologist, Hayden was quoted as having said, “You can tell Wheeler that if he stirs a finger or attempts to interfere with me or my survey in any way I will utterly crush him—as I have enough congressional influence to do so and will bring it to bear.”<P><BR>
Despite these attacks, Wheeler and the military were for the most part on the defensive, as the entire scientific community backed Hayden. Wheeler’s process and maps were assailed, with Hayden’s worked stated as being much better. However, Wheeler had the backing of President Grant and in the end the Congressional committee did nothing, concluding that “there is an abundance of work for the best talents of both the War and Interior Departments in the scientific questions of the Western Territories for many years to come.” Still the committee did reprimand Hayden and Wheeler for “ill-judged and hasty expressions...which good taste would have withheld.”<P><BR>
The problems of having so many concurrent government surveys in much the same area persisted. The concern over this was aggravated by the rising costs of the surveys, so in the spring of 1878, the House Committee on Appropriations undertook to see if the surveys could be consolidated and condensed. At this stage, the King survey was already done, but Hayden, Powell and Wheeler were all still in the field.<P><BR>
In the end Congress decided that the General Land Office was to continue to survey public lands, the Coast and Geodetic Survey would continue to do “first-order triangulation of the whole country,” but a new “U.S. Geological Survey” was to “assume all surveying, mapping and geological investigations in the West.” As a result, on March 3, 1879, the U.S. Geological Survey was established, replacing the remaining three Great Surveys and beginning a new chapter in the surveying of the American West.<P><BR>
Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com2tag:blogger.com,1999:blog-4910641775580983726.post-70404220219233053802022-02-07T16:09:00.002-05:002022-02-07T16:09:39.870-05:00Maria Sibylla Merian<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhjYpXLuBUFgioy1eRYqsH4DwNKwvYCL-E2DTBwJPpnAPtHCm_uSoUdPOVrlw4pqKgicaRLpO6NU6wbGhfNjN_snkJ6m4bRKjZIekfn03pU4NoteS6JHgagjJFBQwSL2FWCA95TQ6HX6ZdWPifiPDJSjJKewGJOQhrRElEsbeQoJ9I5h7y2B9BsL1Nx=s1600" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="1600" data-original-width="1264" src="https://blogger.googleusercontent.com/img/a/AVvXsEhjYpXLuBUFgioy1eRYqsH4DwNKwvYCL-E2DTBwJPpnAPtHCm_uSoUdPOVrlw4pqKgicaRLpO6NU6wbGhfNjN_snkJ6m4bRKjZIekfn03pU4NoteS6JHgagjJFBQwSL2FWCA95TQ6HX6ZdWPifiPDJSjJKewGJOQhrRElEsbeQoJ9I5h7y2B9BsL1Nx=s400"/></a></div>
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As the step-granddaughter of Johann Theodor de Bry and the daughter of the well-known engraver Matthaus Merian the elder, and then step-daughter of botanical artist Jacob Marrel, Maria Sibylla Merian (1647-1717) was well suited to become one of the most notable natural history print-makers of either sex. Known not only as an accomplished artist, but also as a respected entomologist. Merian was the first to illustrate the full metamorphoses of many species of butterflies and moths, but her 1699-1701 scientific expedition to South America is one of the most extraordinary stories from the early days of scientific exploration.<P><BR>
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From an early age, Maria collected and drew images of insects, taking the innovative approach of looking at the full lifecycle of her subjects. After marrying Johann Andreas Graff, one of Marrel’s apprentices, Maria achieved success as a flower painter and engraver, producing three books of flower prints between 1675 and 1680. Her interest in entomology continued and between 1679 and 1683, she produced <i>Der Raupen wunderbare Verwandelung und sonderbare Blumennahrung</i>, [The Caterpillar’s wondrous metamorphosis and extraordinary nourishment from flowers], which were well received. <P><BR>
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Then in 1685, Merian converted to communistic sect of Labadism and left her husband, Johann Graff, moving with her two daughters to the Labadist colony in Holland. This was located in the castle of the Governor of the Dutch Colony of Surinam (Guiana), whose cabinet of exotic butterflies sparked Merian’s imagination to the extent that in 1669, at the age of fifty-two, she set off, with her youngest daughter Dorothea, to study the insects and flora of Surinam.<P><BR>
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After two years in the wilderness, recording her observations of plants and the transformations of the native insects, Merian returned to Europe where, in 1705, she produced her important masterpiece, <i>Metamorphosis Insectorum Surinamensium</i>.<P><BR>
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This magnificent work documented the insects of Surinam in their full life cycles, each shown with a native plant upon which it lived. The plates blended entomological and botanical elements with an exquisite decorative appearance, providing for Europeans the first extensive visual record of the exotic colors and forms of the plant and insect life of South America, documenting many of the subjects for the first time. <P><BR>
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In 1712, Merian began an expanded, Dutch edition of her earlier book on European insects, but this was not completed, for sadly, while in Surinam Maria had contracted a tropical illness, from which she never recovered. In 1715, she suffered a stroke and died in poverty two years later. However, her two daughters worked to complete this work, which was completed in 1717, appearing later in Latin and French editions, the last in 1730.<P><BR>
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With all these wonderful volumes, Merian’s work, both as science and art, lives on. In 1991, Germany issued a 500 Deutschemark bill with her likeness on is, and in 2005 named its state-of-the-art research ship the RV Maria S. Merian in her honor.<P><BR>
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<a href="https://pps-west.com/?s=Maria+Sibylla+Merian&post_type=product" target="_blank">Original, antique prints</a> from Merian's publications are rare, but they can still be acquired at reasonable prices. They are a tremendous legacy of this remarkable woman anturalist.<P><BR>
Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com0tag:blogger.com,1999:blog-4910641775580983726.post-16088957718022405762022-02-01T17:16:00.001-05:002022-02-07T15:36:29.786-05:00Elizabeth Blackwell, naturalist<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEglc8zMET-xO4Jxf-99eogPM2PM1R5QF1WmImk8aDb3e4365dtyAHKxkZj2XJ0q1rkCxTldKtuF4UHaJRxxV9Moggi-8br_RliY8VMZonMCinjcz9DjD4u8_rr-A8OAfAyJG4NAlFOcDRv2574RHYJQmKpDjQLbdALLyLmo8H7VUMlpT_sXULWm5ZcF=s1080" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="320" data-original-height="1080" data-original-width="894" src="https://blogger.googleusercontent.com/img/a/AVvXsEglc8zMET-xO4Jxf-99eogPM2PM1R5QF1WmImk8aDb3e4365dtyAHKxkZj2XJ0q1rkCxTldKtuF4UHaJRxxV9Moggi-8br_RliY8VMZonMCinjcz9DjD4u8_rr-A8OAfAyJG4NAlFOcDRv2574RHYJQmKpDjQLbdALLyLmo8H7VUMlpT_sXULWm5ZcF=s320"/></a></div>
Elizabeth Blackwell (1707-1758) of Scotland is not a well-known as the American pioneer doctor of the same name, but she is one of the most famous and impressive early eighteenth-century botanical illustrators. Born Elizabeth Blachrie and trained as an artist, she married her cousin Alexander Blackwell, who though enterprising and well educated, failed in both his Aberdeen medical practice and his London printing shop. Alexander’s excessive spending and fines from his failed business led him into debtor’s prison.<P><BR>
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Needing to raise funds to get her husband out of prison, not to mention care for her family and home, Elizabeth came up with an ambitious plan, to create an herbal to document and illustrate the exotic plants of the Old and New World. With her artistic training, Elizabeth could draw the plants and her husband, with his medical background, could provide the proper names and descriptions for the herbal. Encouraged by Sir Hans Sloane and at the recommendation of Isaac Rand, the curator of the Chelsea Physick Garden, Elizabeth took up lodging nearby and drew the plants from the gardens, visiting her husband to get the needed textual information.<P><BR>
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Elizabeth not only made the drawings, but she engraved the 500 copper plates and then hand-colored each individually. The resulting <i>A Curious Herbal</i>, published between 1737 and 1739 was successful enough to spring Alexander from prison. [The “curious” in the title is an archaic use of the word, meaning ‘accurate and precise’] Alas, Alexander became involved in more unsuccessful businesses and debts again grew for the Blackwell family. In 1742, hoping to find greener pastures, Alexander moved to Sweden where he was more successful, even being appointed as court physician to Frederick I of Sweden. Still, he managed to reach too far and ended up being convicted of conspiracy of trying to alter the line of Swedish succession and beheaded on July 29th, 1747. In an interesting side-note, he laid his head the wrong way on the chopping block and when corrected by the executioner, noted that he lacked the needed experience as this was his first beheading.<P><BR>
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The published product of Elizabeth and Alexander’s labors, though, was an enduring success. It was acclaimed especially by physicians and apothecaries and received the approval of both the Royal College of Physicians and College of Surgeons. Such was the demand for the herbal that two decades after the first edition, botanist and pharmacist Dr. Christoph Jacob Trew reissued the work in a German edition. <a href="https://pps-west.com/?s=Blackwell+1737&post_type=product" target="_blank">Prints from the original edition</a> are not only rare and lovely but are testament to determination and skill of the remarkable, Elizabeth Blackwell.
Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com0tag:blogger.com,1999:blog-4910641775580983726.post-14809639754389868232021-07-14T13:26:00.002-04:002022-02-07T15:36:41.473-05:00Fanny Palmer<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXHiGaAZCIXeF0awvcbCkYXlIwlBuI1JXmPXrjFCVY8boc4xaPrVgwem6jj0C_4-EZV9C-SS82kBcHKOqis8rczC8jhlh5zfXs-GGyfW4mfDw3HprAgn5IPp50F2VWVk0gnukMtTjOe9c/s300/fanny-palmer244x300.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="400" data-original-height="300" data-original-width="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXHiGaAZCIXeF0awvcbCkYXlIwlBuI1JXmPXrjFCVY8boc4xaPrVgwem6jj0C_4-EZV9C-SS82kBcHKOqis8rczC8jhlh5zfXs-GGyfW4mfDw3HprAgn5IPp50F2VWVk0gnukMtTjOe9c/s400/fanny-palmer244x300.jpg"/></a></div>
Frances Flora Bond Palmer (1812-1876), usually called Fanny, was perhaps the greatest of the artists who worked for the American printmaker, Nathaniel Currier and then Currier & Ives. She produced over 200 prints, both as the original artist and the lithographer.<P><BR>
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Born in England, Fanny was trained in art as a young student at Mary Linwood’s School for young ladies and she later opened a drawing school in Leicester. By 1841, Fanny had formed a lithography business with her husband Edmund Seymour Palmer (called Seymour), Fanny providing the art and lithography and Edmund doing the printing. The couple emigrated to New York City in 1843, where they continued their business as F.&S. Palmer, lithographers. They provided images for a number of works, like the two prints above.<P><BR>
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Unfortunately, the business was not successful and in 1849 Fanny began to work for Nathaniel Currier. Currier, known for his keen artistic eye and business sense, soon had Fanny working regularly for his firm. For about two decades, Fanny produced drawings and created lithographic designs on stone for Currier and then Currier & Ives.<P><BR>
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Fanny was particularly skilled at architectural drawings, but her landscapes and genre pictures were also excellent. Her early prints often depicted scenes on Long Island, where she lived, but Fanny also created images of places further afield, including locations she never herself visited, such as the American West.
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Her work, both in terms of artistic renderings and lithographic skill, is considered to be unsurpassed by any other Currier & Ives artist and her prints remain some of the most popular from the firm.<P><BR>
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Recently, Katie Wood Kirchhoff, Associate Curator at the Shelburne Museum, and Dr. Stephanie Delamaire, Associate Curator of Fine Arts at Winterthur Museum and Country Estate, held a very interesting discussion of Fanny Palmer's work. This is available on line, which you can see by <a href="https://www.facebook.com/watch/live/?v=2918487828445299&ref=watch_permalink" target="_blank">clicking on this link</a>.<P><BR>Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com0tag:blogger.com,1999:blog-4910641775580983726.post-86132238354229958822021-02-02T18:07:00.000-05:002021-02-02T18:07:18.961-05:00Louis Kurz<div class="separator" style="clear: both;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiVUbRTrk3qnQaytgSiGjJW1x1KK9NafRJGSLUbD_ETxNJTqbBqJNsLHwSSl_vDvRtl_hoKjxRFxnOBHkoV-8kR0xGvggeeyi1YhyphenhyphenikP5CVFznzGslOI_vraeu1_KKLjgcNs9GTjzSvdQ/s1137/800px-Louis_Kurz_by_W._J._Root.jpg" style="display: block; padding: 1em 0; text-align: center; "><img alt="" border="0" height="320" data-original-height="1137" data-original-width="800" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiVUbRTrk3qnQaytgSiGjJW1x1KK9NafRJGSLUbD_ETxNJTqbBqJNsLHwSSl_vDvRtl_hoKjxRFxnOBHkoV-8kR0xGvggeeyi1YhyphenhyphenikP5CVFznzGslOI_vraeu1_KKLjgcNs9GTjzSvdQ/s320/800px-Louis_Kurz_by_W._J._Root.jpg"/></a></div>
Louis Kurz (1835-1921) was born in Salzburg, Austria, as Ludwig Ferdinand Joseph Kurz von Goldenstein. His family emigrated to Milwaukee in 1848, where his father became involved in the German language theater. Louis’ artistic pursuits began with his painting scenery for his father’s stage productions and he also work with Otto Stietz painting stage scenery for other plays at Milwaukee’s Market Hall.<P><BR>
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In 1853, the family moved to Chicago, where Louis worked as a muralist creating “views to decorate numerous entertainment spots” (Peter Marzio, <i>The Democratic Art</i>, p. 178). It was in Chicago that he likely received training in lithography, for when Louis returned to Milwaukee in 1856, he listed himself as “artist and lithographer.” In 1861 he joined with Henry Seifert to form the short-lived lithographic company of Kurz & Seifert, which produced a number of Wisconsin views drawn by Kurz.<P><BR>
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Kurz then briefly served in the Civil War and in 1862 returned to Milwaukee to form another lithographic firm, L. Kurz & Company, financially backed by Hans Boebel. It was with this firm that Kurz began his work with tinted lithography and chromolithography, as evidenced by his prints of “Chicago, the Metropolis of the North West” and of the “Madison Engine Company No. 2.”
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An 1863 Civil War token calls Louis Kurz a “Pictorial Lithographer,” and in this period he issued a number of finally rendered prints related to the war.<P><BR>
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By 1865, Louis Kurz had moved to Chicago and became one of the founders of the Chicago Lithographing Company, along with Otto Jevne and Peter M. Almini. Jevne and Almini were emigrants from Scandinavia who had formed a decorating firm which specialized in fresco painting in a number of Chicago’s buildings. In 1866, the new lithographic firm embarked on the publication of an elaborate portfolio of views drawn by Kurz entitled <i>Chicago Illustrated</i>, intended to be issued in twenty-five parts, each of which was to include at least four tinted lithographs. The project ended in January 1867 after fifty-two images were completed.<P><BR>
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A few years later the firm was ended by the great Chicago Fire of 1871, at which time Kurz returned to Milwaukee to found the American Oleograph Company with Hugo Broich. This firm lasted until 1878. After that moved once again to Chicago, and once again founding a new firm, this time with a financial partner named Alexander Allison. This was Kurz’s last new company, the firm of Kurz & Allison surviving until his death in 1921, when its assets were sold to Daleiden and Company.<P><BR>
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Kurz & Allison became one of the biggest American lithographic firms of late nineteenth century, particularly well known for its production of bright, decorative chromolithographs. Their avowed purpose was to design “for large scale establishments of all kinds, and in originating and placing on the market artistic and fancy prints of the most elaborate workmanship.” Elaborate they certainly were–the majority of their prints being extremely busy, with action throughout the image. The prints published by Kurz & Allison were drawn, mostly by Kurz, in a rigid style that follows from Kurz’s background as a muralist, these prints have a simplicity and vividness that makes them not only interesting historical and social documents but also excellent large scale decorative images.<P><BR>
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Kurz & Allison achieved the pinnacle of their success with prints of Civil War. Inspired by Paul Philppoteaux’s cyclorama of the battle of Gettysburg in 1884 (and directly copying it), Kurz & Allison issued a bright chromolithograph of the battle. This was a period of some nostalgia for the Civil War among veterans, who were now far enough past the actual war to think of their participation with some pride. When Louis Prang began to issue a series of Civil War prints in 1886, Kurz & Allisson reissued their Gettysburg image and began to add others, ending up with a total of 36 Civil War prints by 1893, all issued in a large format size of 21 by 28 inches.<P><BR>
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For the most part, the prints were issued on or near the 25th anniversary of the battle depicted. They did not attempt to be strictly accurate, but rather to inspire patriotic feelings. Interestingly, a number of their prints showed the participation of Blacks in the battles, an unusual thing for the period.<P><BR>
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Kurz & Allison later did prints of the Spanish-American War and the Russo-Japanese War, as well as portraits, sentimentals, religious images, views and disaster prints. Basically, Kurz & Allison followed the same popular print strategy as Currier & Ives had done earlier in the century, but using mostly chromolithography. When the firm was finally bought out by Dalieden & Co., they advertised the Kurz & Allison prints they continued to sell as “Pictures for the School Room and Hall.”<P><BR>
Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com1tag:blogger.com,1999:blog-4910641775580983726.post-77602331916342107412020-06-15T13:10:00.001-04:002020-06-15T13:10:46.102-04:00Lowering the curtain on the Currier & Ives Darktown PrintsI own a business which sells images of the past. Many of them are decorative or interesting in their own right, but to me one of the most important things about the old prints we sell is that they are historic artifacts. That is, they are evidence from our past, bringing their stories to the present. They tell us not only about the things they show, but also about what was of interest to the public at the time—-or at least what their publishers thought would be of interest—-and they tell us how the public at the time saw its world.<P><BR>
Past public attitudes are not always ones we agree with, nor even condone, but I have long argued that it is a mistake to ignore or trash historic artifacts that reflect beliefs we do not agree with. As George Santayana wrote, “Those who cannot remember the past are condemned to repeat it.” That is, it is crucial for us to learn about our past so that we can try to correct where we have gone wrong. For that reason, even abhorrent historic artifacts should be preserved and studied.<P><BR>
Our modus operandi has always been, that even if I did not agree with what a particular print depicted, we would offer it for sale so that someone interested in it—-hopefully for historic reasons—-could have access to it. On that basis, though I abhor the social implications of the Currier & Ives Darktown prints, I have felt it appropriate to have my shop offer them for sale. I no longer feel that to be the case.<P><BR>
So, what are the Currier & Ives Darktown prints? They are a series of prints which America’s most successful popular printmaker made from the late 1870s into the 1890s, showing supposedly humorous episodes in Darktown, a segregated community of black Americans. Darktown prints showcased a full array of negative stereotypes of the former slaves who moved north after the Civil War. Portrayed as mentally slow, physically grotesque, and morally oblivious, African Americans were shown as comically inept in their attempts to “play-act” at being white.<P><BR>
Horrifyingly, these prints were among the most popular of all Currier & Ives prints, with one image supposedly selling as many as 73,000 copies. Why that was so and what it means are things worth trying to understand, and there have been institutions and scholars who have approached the Darktown series in this way. I think that is important for our understanding of our past and also of our present to look at these issues.<P><BR>
This then raises the question of why I have decided we would no longer sell the Darktown prints. Certainly, to simply sell such a print is not to advocate for its racist message; we have sold them for many years despite the fact that I think what they show is terrible. As it happens, almost all of the Darktown prints we have sold have been to academic institutions or to African American collectors. Still, I now believe we should not be selling them at all.<P><BR>
The current national reexamination of our society’s racial inequities has made me rethink how we should treat these prints. I have come to believe that even if one does not present them as something one believes, racist images like these should not be presented to the public, except in a clearly restricted historic/educational venue. To have images like these out in public-—on display in a shop, at a show or on the internet—-creates a social environment which is detrimental to universal racial equality.<P><BR>
The point is that it is not what you mean by selling the prints, it is what they show and how that adds to the negative experience that African Americans have in our society. This is very similar to the issue of the display of Confederate statues in the South, and as I believe those statues should be taken out of public spaces, so too I believe the Darktown prints should be removed from public display. Every image that is out in public showing how in the past Blacks were thought of as inferior adds to the background noise insidiously whispering that they are not equal today. Their display, even if not meant this way, reminds both Blacks and Whites that in the not too distant past it was the social norm that the latter considered themselves to be superior to the former. This, in effect, becomes part of the systemic message of racial inequality that still permeates our country.<P><BR>
We need to effect many changes to bring about true racial equality in our country, both as a society and as individuals, and I think no longer selling or displaying the Darktown prints is something we can do to help, albeit in a small way. On that basis, we are donating all of our current inventory of Darktown prints to scholarly institutions, taking the images out of the general public environment and relegating them to the vaults of historic institutions. This is surely just a small step toward racial equality, but hopefully it is one of many such small steps our society will now be making.<P><BR>
Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com6tag:blogger.com,1999:blog-4910641775580983726.post-58876161188307976632020-05-27T11:57:00.002-04:002020-05-27T11:57:48.315-04:00Whirlpool at the North Pole<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHlxTNY3wg0HaUTWsJYUcUljry67NS7ZZ0R4wua5AfJpm0S5ZwdSaHm_BZl42h7ns5MKZHPBQnH-zImylsgRT3yrNk01mnRHlfv4rXxaPIIGmbHkEBXOmreffy8psV8HLhDkdaQ7oxv3U/s1600/1569+Mercator_world_map_composite.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHlxTNY3wg0HaUTWsJYUcUljry67NS7ZZ0R4wua5AfJpm0S5ZwdSaHm_BZl42h7ns5MKZHPBQnH-zImylsgRT3yrNk01mnRHlfv4rXxaPIIGmbHkEBXOmreffy8psV8HLhDkdaQ7oxv3U/s400/1569+Mercator_world_map_composite.jpg" width="400" height="254" data-original-width="1600" data-original-height="1016" /></a></div>In 1569, the great Flemish cartographer, Gerard Mercator, issued this important world map—-the first to use the so-called Mercator projection—-and on that map he introduced a radical and strange notion of the geography around the North Pole. Along the very top of the map-—the width of which is exaggerated because of the projection used-—are four bodies of land with rivers running between them.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbu73lYvkYBlUEUEkfe8llKAN7F7HLJDOTvKsYSgnsFVPzMtuAOkOgvuVpgP4xPurwfy9YbmaMtXw4YEsf82b2AOs15OQHihtQsc89nIgegiHFatMJovruJN0aunewElwXqi3CzyC6HTc/s1600/1569+Mercator+inset.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbu73lYvkYBlUEUEkfe8llKAN7F7HLJDOTvKsYSgnsFVPzMtuAOkOgvuVpgP4xPurwfy9YbmaMtXw4YEsf82b2AOs15OQHihtQsc89nIgegiHFatMJovruJN0aunewElwXqi3CzyC6HTc/s400/1569+Mercator+inset.JPG" width="329" height="400" data-original-width="528" data-original-height="641" /></a></div>
This geography was clarified by an inset in the lower left, in which you can see four islands surrounding the North Pole, upon which lies a large rock.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOSztc0KebdfBErcgkd84orh-eZFJhGZeXlo2e6MXw-b8mo8EiMDuBqGlIlpjAAjj-xLpxuAfqWTmg0aiwy7WcT5YkW8O13M5wVJ0N2ocabFtN5HQXtY-_M_-h-LPZ3EQVkjOvN4XCSuA/s1600/1595+Mercator+North+Pole.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOSztc0KebdfBErcgkd84orh-eZFJhGZeXlo2e6MXw-b8mo8EiMDuBqGlIlpjAAjj-xLpxuAfqWTmg0aiwy7WcT5YkW8O13M5wVJ0N2ocabFtN5HQXtY-_M_-h-LPZ3EQVkjOvN4XCSuA/s400/1595+Mercator+North+Pole.jpg" width="400" height="374" data-original-width="1496" data-original-height="1400" /></a></div>
It is a little easier to see this geography on Mercator's separate map of the North Pole issued a number of years later. A legend on the earlier map states that Mercator got his geography of the Arctic from the report of a Friar and mathematician from Oxford, who supposedly in about 1360, and using “magic arts,” went to these polar islands and mapped them. Mercator’s source of this story was a since lost, fourteenth-century account called the <i>Inventio Fortunatae</i>.<P><BR>
Describing the geography of the polar region, Mercator wrote to John Dee, an English scholar and mystic, that “In the midst of the four countries [that is islands] is a Whirl-pool...into which there empty the four Indrawing Seas which divide the North. And the water rushes round and descends into the earth just as if one were pouring it through a filter funnel...Except that right under the Pole there lies a bare rock in the midst of the Sea. Its circumference is almost 33 French miles, and it is all of magnetic stone...”<P><BR>
Mercator shows this geography very clearly, with the four islands separated by the rivers and the large magnetic rock sitting on the pole itself, over the whirlpool where the waters descend into the interior of the globe. Other bits of information depicted by Mercator, also taken from the Inventio, include the legend that “pygmies, whose length is four feet” live on the island above Scandinavia, and another legend on the island to its left, stating it is “the best and most salubrious in all the north.”<P><BR>
Obviously, this is mythical geography, though the <i>Inventio Fortunatae</i> may have been based to some extent on first-hand reports by Ivar Bardarson, who was a priest from Greenland who traveled widely in the eastern Canadian Arctic in the early fourteenth century. Whether the story of the waters of the world passing through four rivers and then into the whirlpool was a confused misreading of Bardarson’s reports, or an illusionary creation of the <i>Inventio</i>’s author cannot be known.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzh-1Bcn3EeXVUJ1zlla1W1-MDefOzPa0vd8Nef_B0zU1BK_JvKPUY6oSKxr2pEuuifkzWCxE6DbMVcBZHG0l_U-1ffLR3gGcORqRafQZTKZloNYJA8MpTcXTXhcjSsW0jo9IA1sCxq28/s1600/1572_Typus_Orbis_Terrarum_Ortelius.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzh-1Bcn3EeXVUJ1zlla1W1-MDefOzPa0vd8Nef_B0zU1BK_JvKPUY6oSKxr2pEuuifkzWCxE6DbMVcBZHG0l_U-1ffLR3gGcORqRafQZTKZloNYJA8MpTcXTXhcjSsW0jo9IA1sCxq28/s400/1572_Typus_Orbis_Terrarum_Ortelius.jpg" width="400" height="277" data-original-width="1600" data-original-height="1106" /></a></div>
The Mercator conception was followed by a number of other late sixteenth century cartographers, such as in the world map by Abraham Ortelius from 1570.<P><BR>
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However, this misconception did not hang around for long. The latter half of the sixteenth century was a time of considerable exploration in the waters north of Europe, for instance by Hugh Willoughby in 1553 and Willem Barentz in the 1590s, and Mercator’s polar geography of the four islands and the whirlpool began to lose favor, as shown in Barentz’s own map of the polar region from 1598. This geographical myth subsequently did not last long, and it had disappeared from most maps by the fourth decade of the seventeenth century.<P><BR>
<CENTER>[<a href="https://youtu.be/6sdudg58aSk">Click here to see on-line lecture on this myth<BR>and the myth of the great continent at the South Pole.</a>]</CENTER><P><BR>
Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com0tag:blogger.com,1999:blog-4910641775580983726.post-38777556674918659812020-04-01T15:21:00.001-04:002020-04-01T15:21:24.210-04:00Thomas Doughty, Printmaker<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-mbVZ2uuvqnYrtZ5O638WOPEDB-JCr47-bmhauvC8QnY3sHnjmB9GZm6lUYlJHDTlDUQ4RjN5Vx0R-bXuvY03X6aTyMkioK7Mwtqh8m0vjmaw_j8gqGBXo8JzjTo_dEAT_eoaL46o9r8/s1600/title.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-mbVZ2uuvqnYrtZ5O638WOPEDB-JCr47-bmhauvC8QnY3sHnjmB9GZm6lUYlJHDTlDUQ4RjN5Vx0R-bXuvY03X6aTyMkioK7Mwtqh8m0vjmaw_j8gqGBXo8JzjTo_dEAT_eoaL46o9r8/s400/title.JPG" width="306" height="400" data-original-width="477" data-original-height="623" /></a></div>While Lucien Bonaparte was finishing Alexander Wilson’s <i>American Ornithology</i>, and John James Audubon was beginning his great projects, John and Thomas Doughty produced a book, <i>Cabinet of Natural History and American Rural Sports with Illustrations</i>, that is important both for its many anecdotes about the social impact of natural history and sport in America, but also as the first major book illustrated with color lithographs produced in America.<P><BR>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX9ya3G_6KQSo20c7kmYIZPXo_hd28BXsNtrenzGvUwJOsJb1SdaCCUQyM239XLS0ALPoW4d2yC-l0c94HbXBXlaKThNqbQcl79b0xcTnv_KKNSFhft1tXVakRaKvo_s6Z02GzK9VesbQ/s1600/doargali.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX9ya3G_6KQSo20c7kmYIZPXo_hd28BXsNtrenzGvUwJOsJb1SdaCCUQyM239XLS0ALPoW4d2yC-l0c94HbXBXlaKThNqbQcl79b0xcTnv_KKNSFhft1tXVakRaKvo_s6Z02GzK9VesbQ/s320/doargali.jpg" width="200" height="168" data-original-width="524" data-original-height="432" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-vKrUsa-NTvS-F5VhuX9gYdJIPyCmK-Rbjm47j3Cxh7dp4pQlM2W2_SaNYUtQmc8V3sxgGB8EHXbmFgxeWP2b_THHtN44IqtmTmWKKx2rkuCc0mpcC91NWT-acgkzWQ7MYMcxJ7Ktk7E/s1600/transspacer.gif" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-vKrUsa-NTvS-F5VhuX9gYdJIPyCmK-Rbjm47j3Cxh7dp4pQlM2W2_SaNYUtQmc8V3sxgGB8EHXbmFgxeWP2b_THHtN44IqtmTmWKKx2rkuCc0mpcC91NWT-acgkzWQ7MYMcxJ7Ktk7E/s320/transspacer.gif" width="10" height="5" data-original-width="10" data-original-height="54" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia160mVoDN_F2h71FAQMj7VI-qtghrBqS1a0CxIIiNVGp6MI9Bz2_siuuswn-Fbv9ZDcYFfRo8yIDx_raBgIHIOHdX8M3FmmVcM6AQg9vWa1Ol4rK5wxm4OxQh230oCLPFwgtNggZECo8/s1600/docrane.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia160mVoDN_F2h71FAQMj7VI-qtghrBqS1a0CxIIiNVGp6MI9Bz2_siuuswn-Fbv9ZDcYFfRo8yIDx_raBgIHIOHdX8M3FmmVcM6AQg9vWa1Ol4rK5wxm4OxQh230oCLPFwgtNggZECo8/s320/docrane.jpg" width="200" height="168" data-original-width="515" data-original-height="424" /></a></CENTER><BR>
Though the joint publication of the Doughty brothers, the prints in the work were primarily the offspring of Thomas. Thomas was evidently a self-taught artist, listing himself as a “painter” in the second decade of the nineteenth century, one of the first Americans to list this as an occupation. In the next decade about 40 of his images were used for a variety of publications, but then Thomas, who was an avid outdoor sportsman, conceived of the notion of a color plate work illustrating the natural history of American rural sports. This led to the <i>Cabinet of Natural History and American Rural Sports with Illustrations</i>, where his output reached a new level of vision and quality.<P><BR>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOgh-SOGRwaIJWo1mFDVEiDkC9pCUsIn0PeNwjCI6kMPBjjQCH3DysnolZYCrmdWcab-AdTGovCKsU6FHJFyVddFvTO4kI27cW2pmOyAbnVKsM0OqhQmpc6XYbhwdA7NdE5k56eqIylLE/s1600/dosummer.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOgh-SOGRwaIJWo1mFDVEiDkC9pCUsIn0PeNwjCI6kMPBjjQCH3DysnolZYCrmdWcab-AdTGovCKsU6FHJFyVddFvTO4kI27cW2pmOyAbnVKsM0OqhQmpc6XYbhwdA7NdE5k56eqIylLE/s200/dosummer.jpg" width="200" height="162" data-original-width="1600" data-original-height="1294" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-vKrUsa-NTvS-F5VhuX9gYdJIPyCmK-Rbjm47j3Cxh7dp4pQlM2W2_SaNYUtQmc8V3sxgGB8EHXbmFgxeWP2b_THHtN44IqtmTmWKKx2rkuCc0mpcC91NWT-acgkzWQ7MYMcxJ7Ktk7E/s1600/transspacer.gif" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-vKrUsa-NTvS-F5VhuX9gYdJIPyCmK-Rbjm47j3Cxh7dp4pQlM2W2_SaNYUtQmc8V3sxgGB8EHXbmFgxeWP2b_THHtN44IqtmTmWKKx2rkuCc0mpcC91NWT-acgkzWQ7MYMcxJ7Ktk7E/s320/transspacer.gif" width="10" height="5" data-original-width="10" data-original-height="54" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-fEQ3oE-shO0WxTg6So3uuwBGX6vRtfWQos0E8qJL8QRk8Fp2toSuEV4Wm0-xf0EKzRmVcKafAcPBbDvMgNmSU6TOaLII0eLX087rBiyQhfa0gPtkVfrVKmUXiJWPiBUFcGAKUvPBZCI/s1600/dogreyfox.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-fEQ3oE-shO0WxTg6So3uuwBGX6vRtfWQos0E8qJL8QRk8Fp2toSuEV4Wm0-xf0EKzRmVcKafAcPBbDvMgNmSU6TOaLII0eLX087rBiyQhfa0gPtkVfrVKmUXiJWPiBUFcGAKUvPBZCI/s200/dogreyfox.jpg" width="200" height="164" data-original-width="439" data-original-height="361" /></a>
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The work, issued in monthly parts, began in 1830, but things changed as the production on the third volume began. At that time, Thomas Doughty left the project to pursue a painting career, gaining immortality as a founder of the Hudson Valley School of painters. His brother, John, took over as sole proprietor, but he soon warned his subscribers that unless he received more support he would have to end the project. This was proved true in 1834 when he discontinued publication with part IV of the third volume.<P><BR>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2Gwd8odi6rKQVd4NnxQKLBpOVaqCPw1b_VQVlWd3HK2Lt8jb1Krp0uOFpPXToFusungB0cRuEBNTIGQhoKMLhstqzQzrM4FSMTOJFEAWji6LIaa9rk2xNgNRKKdbaKysAYR3q7yzFgOw/s1600/deer.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2Gwd8odi6rKQVd4NnxQKLBpOVaqCPw1b_VQVlWd3HK2Lt8jb1Krp0uOFpPXToFusungB0cRuEBNTIGQhoKMLhstqzQzrM4FSMTOJFEAWji6LIaa9rk2xNgNRKKdbaKysAYR3q7yzFgOw/s200/deer.JPG" width="200" height="168" data-original-width="575" data-original-height="482" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-vKrUsa-NTvS-F5VhuX9gYdJIPyCmK-Rbjm47j3Cxh7dp4pQlM2W2_SaNYUtQmc8V3sxgGB8EHXbmFgxeWP2b_THHtN44IqtmTmWKKx2rkuCc0mpcC91NWT-acgkzWQ7MYMcxJ7Ktk7E/s1600/transspacer.gif" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-vKrUsa-NTvS-F5VhuX9gYdJIPyCmK-Rbjm47j3Cxh7dp4pQlM2W2_SaNYUtQmc8V3sxgGB8EHXbmFgxeWP2b_THHtN44IqtmTmWKKx2rkuCc0mpcC91NWT-acgkzWQ7MYMcxJ7Ktk7E/s320/transspacer.gif" width="10" height="5" data-original-width="10" data-original-height="54" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC00mUU9pGG72Ws26ojcJJMqhyphenhyphenBGMbshtDw1aOI0UWgnQxZB-GVzBXiT8jRHnsdROWR7BEeKsDrC2qOjBAUQgqE4SMTEoZ14OyKJ4PU89o2tZcwSTvtCLDgvl_hRUIyN0MR3lrlbC0BFc/s1600/American+Buffaloe.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC00mUU9pGG72Ws26ojcJJMqhyphenhyphenBGMbshtDw1aOI0UWgnQxZB-GVzBXiT8jRHnsdROWR7BEeKsDrC2qOjBAUQgqE4SMTEoZ14OyKJ4PU89o2tZcwSTvtCLDgvl_hRUIyN0MR3lrlbC0BFc/s200/American+Buffaloe.JPG" width="200" height="161" data-original-width="789" data-original-height="637" /></a>
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The first print is an engraving by John Sartain of the “Common Deer,” one of the works done in America by this noted engraver. The rest of the prints were done in the relatively new process of lithography. The artists who produced images for the work were some of the luminaries of the Philadelphia art scene, including M.E.D. Brown, George Lehman, J.G. Cloney, but the major contributor was Thomas Doughty himself. Of particular note are the prints by Titian Ramsay Peale, who upon his return from the Stephen Long expedition to the American West made pictures available of this new American frontier, including his famous image of hunting the American buffalo.<P><BR>
Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com0tag:blogger.com,1999:blog-4910641775580983726.post-87687283218843121872019-12-17T15:22:00.000-05:002019-12-17T15:22:48.507-05:00 Fort Wicked<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuhZnFZF8H-hWsaAh_gb4t4y8pO7ztNCq1MdZyXX5u2zrgb9Ho8oDMsU7D0XuIbcRrpHxdeG6mcbi8u0-ITMVEKW3WB-Fzb_HtvZTBC8BiYmlV0ZPOS0mCdjehWdFi4f93pCyh17vJO5E/s1600/t.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuhZnFZF8H-hWsaAh_gb4t4y8pO7ztNCq1MdZyXX5u2zrgb9Ho8oDMsU7D0XuIbcRrpHxdeG6mcbi8u0-ITMVEKW3WB-Fzb_HtvZTBC8BiYmlV0ZPOS0mCdjehWdFi4f93pCyh17vJO5E/s400/t.jpg" width="400" height="93" data-original-width="202" data-original-height="47" /></a></div><P>
With the growing emigration of white Americans from “the States” to the Rocky Mountains and beyond in the 1860s, the Plains Indians found their traditional way of life fading. Not only did the emigrants eat up local resources, and kill many buffaloes, but the U.S. government began a systematic attempt to limit the Native Americans to limited reservations. Frustration led to sporadic Indian raids on emigrant trains and settlements, culminating in a number of “massacres” in the summer of 1864.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA2VDTZFHHUp1GYCowwwaoVjc8RLE732qSsM04Bk-UqMR1L-hnusxbNpvr4wSSkzMEsc5enn3RFZ1Sh5dKOokS1EwcdsCV5r9Tu-SqjClrRmB6ynv76eIE0ih0nJB_upJR7S4_zpdCBXI/s1600/HW1868P804731.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA2VDTZFHHUp1GYCowwwaoVjc8RLE732qSsM04Bk-UqMR1L-hnusxbNpvr4wSSkzMEsc5enn3RFZ1Sh5dKOokS1EwcdsCV5r9Tu-SqjClrRmB6ynv76eIE0ih0nJB_upJR7S4_zpdCBXI/s400/HW1868P804731.jpg" width="400" height="215" data-original-width="1356" data-original-height="730" /></a></div>
This prompted Colorado territorial governor, John Evens, to demand that all “peaceful” Indians to report to a number of military posts. Despite this, a peaceable group of Cheyenne was turned away from Fort yon and told to camp near Sand Creek, just to the north, where they would supposedly be safe. Unfortunately, Colonel John M. Chivington, commander of the First Colorado Regimen, believed he needed to “teach the Indians a lesson they would not forget, and he attacked the peaceful Indian camp, killing every man, woman and child possible, with some 150 Native Americans losing their lives in the notorious “Sand Creek Massacre.”<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZFK05yClDkX0XyLqiECMyDjumxvuHfQWMWkw5FhM4wWnkhr93WogbFeEIJvMFTv3TRez4e2MyaIUj0F8FixTKDiXxuIOwrQSSnLegfAuhPmi2D9G3jotVJEn2awTQnwZA0r-VACjxKFI/s1600/hw5268a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZFK05yClDkX0XyLqiECMyDjumxvuHfQWMWkw5FhM4wWnkhr93WogbFeEIJvMFTv3TRez4e2MyaIUj0F8FixTKDiXxuIOwrQSSnLegfAuhPmi2D9G3jotVJEn2awTQnwZA0r-VACjxKFI/s400/hw5268a.jpg" width="400" height="269" data-original-width="1495" data-original-height="1005" /></a></div>
This naturally spurred more Indian braves to seek reprisal, with a number of raids along the Platte River emigrant route, to the east and west of Julesburg. . Beginning in early 1865, bands of Arapahoe, Cheyenne and Lakota warriors attacked nearly every ranch and station along the route and destroyed the telegraph line connecting Denver with the East. The settlers along the way did why they could, but many died or were captured, and their ranches burned to the ground.<P><BR>
One ranch owner, Holon Godfrey, decided to defend his home, located between today’s Sterling and Fort Morgan, as best he could. His ranch included a tower with portholes and he dug a well inside his defenses. In January 1865, Godfrey was raided, supposedly by about 200 Indians, but with the help of a visitor, his wife and children, he was able to repel the attack. As a result, the Indians called Godfrey “Old Wicked,” a name he liked enough to christen his ranch “Fort Wicked.” This secure post, about the only remaining settlement along the Platte River route, became a regular stop for the stage lines.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Z7u0p3sGzVM5mdVslzPXTKKGrNPApOv9hnFp-ittPTxEAcp-HUYVvqltsLDpPrFCL9CQhHofo6YoExYIJiG7is8jvmssZvqEOOdLf3OXawxY2YeSJPGKgGFbViH2Wbf5ms0Fzsr-aQ0/s1600/harp101366.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Z7u0p3sGzVM5mdVslzPXTKKGrNPApOv9hnFp-ittPTxEAcp-HUYVvqltsLDpPrFCL9CQhHofo6YoExYIJiG7is8jvmssZvqEOOdLf3OXawxY2YeSJPGKgGFbViH2Wbf5ms0Fzsr-aQ0/s400/harp101366.jpg" width="400" height="271" data-original-width="1600" data-original-height="1082" /></a></div>
The following year, <i>Harper’s Weekly</i>, the leading American illustrated newspaper of the day, sent a party of report on the on-going Pike’s Peak gold rush. James F. Goodkins was the artist with this party and on October 13, 1866, <i>Harper’s</i> published a multi-panel print showing scenes from his experiences. The print included two views of Denver, a few scenes from Goodkins’ trip across the plains, and two fanciful illustrations of Indian attacks.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf33SKxTW5rDaQRYj1PSlILJDLP3z3vebkwXofoVdrWHuTxfDQ4Y3F9jGBM41wOvdDYwjbthHsYo5hMWZS4XCZCdDmyy-l_9xJkU1FHxz7OWRDX0WQFV72PQbMIECXHCCwFOlab4z7Kko/s1600/Fort+Wicked.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf33SKxTW5rDaQRYj1PSlILJDLP3z3vebkwXofoVdrWHuTxfDQ4Y3F9jGBM41wOvdDYwjbthHsYo5hMWZS4XCZCdDmyy-l_9xJkU1FHxz7OWRDX0WQFV72PQbMIECXHCCwFOlab4z7Kko/s400/Fort+Wicked.jpg" width="400" height="331" data-original-width="605" data-original-height="500" /></a></div>
Also included was a small view of “Fort Wicked,” showing its fortified walls, the protected well, and a sign reading: “Fort Wicked. Kept by H. Godfrey. Groceries.” This print is a wonderful example of how the prints from the illustrated newspapers of the nineteenth century can provide us with first-hand images of aspect of our past not documented in any other way.<P><BR>
Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com0tag:blogger.com,1999:blog-4910641775580983726.post-17180885517772209772019-12-04T15:32:00.001-05:002020-09-04T17:45:41.797-04:00Thomas Nast Christmas Illustrations<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXiillN6bFp1B15d-Y8DSl5S028vPKF4FrgmVNMG9PbgEkxqJzTPSKL0DbEtdnfaFqeWeyF5_y23UUmWuF_KbtVcmpx90nB07UkchipLO6b5_o5ykgcYFmyB_YXXZ-6uA-9Wb4WLBY1zs/s1600/nast+self.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1429" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXiillN6bFp1B15d-Y8DSl5S028vPKF4FrgmVNMG9PbgEkxqJzTPSKL0DbEtdnfaFqeWeyF5_y23UUmWuF_KbtVcmpx90nB07UkchipLO6b5_o5ykgcYFmyB_YXXZ-6uA-9Wb4WLBY1zs/s320/nast+self.jpg" width="286" /></a></div><br /><a href="https://pps-west.com/thomas-nast/">Thomas Nast</a> is among the most famous American illustrators of all time, often called the “father of American political cartooning.” Nast was born in Bavaria in 1840 and at six years immigrated with his family to the United States. His father, a musician, had enrolled the artistically precocious child in an art school by age 12. Three years later, Nast was forced to leave his training to help support the family, fortunately gaining work as an illustrator for <i>Frank Leslie’s Weekly</i>. Five years later Nast traveled abroad to cover the Heenan-Sayers fight for the <i>New York Illustrated News</i>, later joining Garibaldi’s forces in Italy as a war correspondent. In 1862, Nast again became a war correspondent, this time for <i>Harper’s Weekly</i> Civil War reporting. His patriotic themes created such attention that President Lincoln cited Nast as his ‘best recruiting sergeant,’ and General Ulysses Grant remarked that Nast “did as much as any one man to preserve the Union and bring the war to an end.”<p><br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6NcKHzsNBiibw3Pd2b-9kLUSe4NVHdxnH-1r5wfAlA9-ZGGIWk7Od4Nuau-Ggv5bZy8RofIF-Qwn3ZdAsA9ugOaDQZbGpSyM_WNRqY8MktWSgnnJWjYz462IU3UU0oxi8ZUblscTU-ro/s1600/Nast-The-Brains-Harper%2527s-Weekly-1871.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1037" data-original-width="973" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6NcKHzsNBiibw3Pd2b-9kLUSe4NVHdxnH-1r5wfAlA9-ZGGIWk7Od4Nuau-Ggv5bZy8RofIF-Qwn3ZdAsA9ugOaDQZbGpSyM_WNRqY8MktWSgnnJWjYz462IU3UU0oxi8ZUblscTU-ro/s320/Nast-The-Brains-Harper%2527s-Weekly-1871.jpg" width="300" /></a></div><br />
In the years after the War Between the States, Nast became the most significant illustrator of American political and social issues. His pointed cartoons exerted a great impact on public opinion. Every presidential candidate to gain his support won and his stature increased with the successful campaign in 1870-71 to bring down “Boss” Tweed of New York’s corrupt Tammany Hall and his political machine. More than a mere cartoonist, Nast was an innovator of images, popularizing or instituting many now familiar subjects such as the Republican elephant, the Democratic donkey, John Bull, Uncle Same, and Columbia.<p><br clear="ALL" />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMz4DnlRdzINzyZnnO_SRR7khLSti8ob6BDZqjap08GSjHKs3r-bwib65Zif4yPh7pvl9VDA4gqUAxwJ1QAVZGBGMlYzM9qezjHk71zB8ozbH-dulIHVqqX5eNV41vjq950PVe0dA5D04/s1600/Merry-Old-Santa-Claus-1881.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1192" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMz4DnlRdzINzyZnnO_SRR7khLSti8ob6BDZqjap08GSjHKs3r-bwib65Zif4yPh7pvl9VDA4gqUAxwJ1QAVZGBGMlYzM9qezjHk71zB8ozbH-dulIHVqqX5eNV41vjq950PVe0dA5D04/s400/Merry-Old-Santa-Claus-1881.jpg" width="298" /></a></div>
Perhaps his most lasting creation was the image of Santa Claus he developed in a series of cartoons in <i>Harper’s Weekly</i> from 1863 to 1886. Inspired by the description of St. Nicholas in Clement Moore’s 1823 poem ‘Twas the Night Before Christmas, Nast developed his image by using his own beard and rotund belly to eventually create the “jolly old elf” which is our present day image of Santa Claus.<p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYxVlvDFjMEI1wLWKI-IA_nnKxdfIXGmiDbjwRLdNBhyphenhyphen6ynOH0f4TVHDGEsmZ7Cy9bfHtp-qdU3hB1YFtrxzqUElkR9Qx13C6FdbEjKg_g4ktb61kF9a-U2K5nTj_rFHoLUUbwj-zN_os/s1600/Nast+first+santa.jpg"><img border="0" data-original-height="1600" data-original-width="1171" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYxVlvDFjMEI1wLWKI-IA_nnKxdfIXGmiDbjwRLdNBhyphenhyphen6ynOH0f4TVHDGEsmZ7Cy9bfHtp-qdU3hB1YFtrxzqUElkR9Qx13C6FdbEjKg_g4ktb61kF9a-U2K5nTj_rFHoLUUbwj-zN_os/s200/Nast+first+santa.jpg" width="146" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSJ8MGB-TPEhZP5iIA0z6-4eEyRp2uvDaoqQzU5dx87CRtpqAoAxk12WZO16t2H-RdjlVlkiqvLN9HfVNOMBlPzNBQMweagWY9BjZlnRelayAXG_GdEjf7KsABboHvrzZEKWmkZn-D160/s1600/blogspacer.jpg"><img border="0" data-original-height="82" data-original-width="49" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSJ8MGB-TPEhZP5iIA0z6-4eEyRp2uvDaoqQzU5dx87CRtpqAoAxk12WZO16t2H-RdjlVlkiqvLN9HfVNOMBlPzNBQMweagWY9BjZlnRelayAXG_GdEjf7KsABboHvrzZEKWmkZn-D160/s200/blogspacer.jpg" width="20" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGVt-xyOx9ov_r3uKGxsyWjLyQkoJ9oti5nIcm8O6QpW8ClU-Z_TaW_iBJ8OI4YLmNhfZ_R3TBNP5zYbHNn_mGpBI5IpQJWxoeWq5zQ9n7EsDq_3hQL6qbcUna5p2xK0QP3NHB1z23gI0/s1600/nast+2.jpg"><img border="0" data-original-height="582" data-original-width="629" height="185" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGVt-xyOx9ov_r3uKGxsyWjLyQkoJ9oti5nIcm8O6QpW8ClU-Z_TaW_iBJ8OI4YLmNhfZ_R3TBNP5zYbHNn_mGpBI5IpQJWxoeWq5zQ9n7EsDq_3hQL6qbcUna5p2xK0QP3NHB1z23gI0/s200/nast+2.jpg" width="200" /></a></center>
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The first image of Santa by Nast was a cover illustration of “Santa Claus in Camp” on January 3, 1863, as well as cameo appearance in the corner of a double page “Christmas Eve” image. At this time Santa was fairly roly-poly and had a long beard, but the theme was more related to Santa’s support of the Union cause-—note the stars and stripes on his costume and he holds a puppet of Jefferson Davis with a noose around his neck.<p><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwQZega4xqtrtYlZIn6C1W3YrM7AVRN5UlgfvGKw2ksU4XXl2aYwKtdMMye-1KAHyBEOloiO1-bCBrVQ2aiK75AfajUTnDgmfsMfEIa8LRtiOvqbpcdxVnONELAMwvv7y6eHDiFaiptJ4/s1600/nast122481.jpg"><img border="0" data-original-height="594" data-original-width="402" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwQZega4xqtrtYlZIn6C1W3YrM7AVRN5UlgfvGKw2ksU4XXl2aYwKtdMMye-1KAHyBEOloiO1-bCBrVQ2aiK75AfajUTnDgmfsMfEIa8LRtiOvqbpcdxVnONELAMwvv7y6eHDiFaiptJ4/s200/nast122481.jpg" width="135" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSJ8MGB-TPEhZP5iIA0z6-4eEyRp2uvDaoqQzU5dx87CRtpqAoAxk12WZO16t2H-RdjlVlkiqvLN9HfVNOMBlPzNBQMweagWY9BjZlnRelayAXG_GdEjf7KsABboHvrzZEKWmkZn-D160/s1600/blogspacer.jpg"><img border="0" data-original-height="82" data-original-width="49" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSJ8MGB-TPEhZP5iIA0z6-4eEyRp2uvDaoqQzU5dx87CRtpqAoAxk12WZO16t2H-RdjlVlkiqvLN9HfVNOMBlPzNBQMweagWY9BjZlnRelayAXG_GdEjf7KsABboHvrzZEKWmkZn-D160/s200/blogspacer.jpg" width="20" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsBwAlfzjJbak6cmk5vrXhx7sZ7VXxURjygCZ_kwZwrgsYouwXg5fzgWzV4JgQUOO4che95C9I_A_wacjXNd3uTFkv1OH6fI1-kWmomRYKbKb3wWAn4Z7nYMwCYy5mUCxxu434Pcmgfow/s1600/nast123071.jpg"><img border="0" data-original-height="546" data-original-width="364" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsBwAlfzjJbak6cmk5vrXhx7sZ7VXxURjygCZ_kwZwrgsYouwXg5fzgWzV4JgQUOO4che95C9I_A_wacjXNd3uTFkv1OH6fI1-kWmomRYKbKb3wWAn4Z7nYMwCYy5mUCxxu434Pcmgfow/s200/nast123071.jpg" width="133" /></a></center><br />
As time went on, further developed his image, turning Santa into the figure we recognize today. He showed Santa with a workshop at the North Pole, and keeping track of children and their hopes for toys at Christmas. Overall, Nast created 33 cartoons of Santa, the last as a cover image for the December 25, 1886 issue of <i>Harper’s Weekly</i>. After that Nast severed his relationship with Harper’s, but fell into considerable debt through bad investments. In 1901, Theodore Roosevelt was elected President, and wanting to help out the man who had done so much for the country, he appointed Nast as Consul General in Ecuador. Nast died a year later of yellow fever.<p><br />
</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiytD4dgADvUblA8azi4fw13xgBJQD0n0V7tIK_JS7kLkXh0JBYtUjzUMvsQsgYSn0i1Qd1zGKblg5FqDrvcSKPvswqEM13D0BzAxXlKBdTonpJfkJtlrYHKDkKUdev921B-Aicr4GvBzw/s1600/nast122084.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1001" data-original-width="1400" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiytD4dgADvUblA8azi4fw13xgBJQD0n0V7tIK_JS7kLkXh0JBYtUjzUMvsQsgYSn0i1Qd1zGKblg5FqDrvcSKPvswqEM13D0BzAxXlKBdTonpJfkJtlrYHKDkKUdev921B-Aicr4GvBzw/s400/nast122084.jpg" width="400" /></a></div><br />
<center><a href="https://pps-west.com/product-category/americana/americana-genre/?filter_artist=nast">Click here to see a selection of Nast Christmas iamges</a></center><p><br />
</p><p></p><p></p><p></p><p></p><p></p>Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com0tag:blogger.com,1999:blog-4910641775580983726.post-52386878291525602802019-08-28T11:59:00.000-04:002019-08-28T11:59:26.268-04:00 Abraham Ortelius<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSwG2pwaNN6TSx9oBwsCxSkKlQV5rQ2dJKQg7P6vnRAM0c4BBTKQLPG56jmhyKr6wI_N_ptf54W1zYPbhxj5vb-Hg7fzaYKik0prELWVLD14Nzpv6G-vjId_GzZiQRgOWzhEOuNgsh2_M/s1600/ort2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSwG2pwaNN6TSx9oBwsCxSkKlQV5rQ2dJKQg7P6vnRAM0c4BBTKQLPG56jmhyKr6wI_N_ptf54W1zYPbhxj5vb-Hg7fzaYKik0prELWVLD14Nzpv6G-vjId_GzZiQRgOWzhEOuNgsh2_M/s400/ort2.jpg" width="273" height="400" data-original-width="1089" data-original-height="1595" /></a></div>
Abraham Ortelius (1527-1598) is often called the ‘father of modern cartography,’ particularly because in 1570, he issued the first edition of his <i>Theatrum Orbis Terrarum</i>, which is considered the ‘first modern atlas.’ The publication of this atlas marked an epoch in the history of cartography, for it is the first uniform and systematic collection of maps of the whole world based only on contemporary knowledge since the days of Ptolemy.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ1EbcXHsGBdcQMRh5b_TLU323JDjC8qr-Vp9uXPdJrdH-K1unqykoGfPJLbfsc3cdpSpvURqgUbqPKQ_8gDxOVZDZnxiP2Hd0fIZjpKfqd99ljugyJYDWe_y-j9lmtNrb4otLG4Lfm-s/s1600/ort.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ1EbcXHsGBdcQMRh5b_TLU323JDjC8qr-Vp9uXPdJrdH-K1unqykoGfPJLbfsc3cdpSpvURqgUbqPKQ_8gDxOVZDZnxiP2Hd0fIZjpKfqd99ljugyJYDWe_y-j9lmtNrb4otLG4Lfm-s/s320/ort.jpg" width="217" height="320" data-original-width="278" data-original-height="410" /></a></div>
Ortelius began his career as an engraver and “peintre des cartes,” (map colorist), eventually becoming a dealer in maps and books. As such he met and befriended the great Gerard Mercator and began to produce as well as sell maps in Antwerp in 1561, starting with an eight sheet world map. In the sixteenth century there was a great increase in interest in maps and charts, and Ortelius, as a businessman with a passion for history and cartography, was at the forefront in meeting this demand. Through his collecting and his antiques business, Ortelius became acquainted with a large network of the preeminent cartographers in Europe and thus was able to research the best contemporary maps, becoming the greatest expert of his day in the bibliography of maps.<P><BR>
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He decided to produce an atlas of the entire world, the <i>Theatrum Orbis Terrarum</i>, or 'Theater of the World,' done on a systematic basis in a uniform style, beginning with a map of the world, then maps of the continents, followed by regional maps. Ortelius based his work on the best maps available, drawing all the maps himself with the celebrated Frans Hogenberg cutting most of the plates. Unlike other atlas-makers, Ortelius cited the authors of the original maps from which he compiled his work. The result was that <a href="https://pps-west.com/abraham-oretlius/" target=0>his maps</a> were some of the most attractive and accurate of the late sixteenth century.<P><BR>
The <i>Theatrum</i> was hugely popular and influential, and Ortelius was made the royal geographer to Phillip II, expanding his atlas with new maps, and in 1579 to include the <i>Parergon</i>, a historic atlas intended to supplement the <i>Theatrum</i>. When he died in 1598, the <i>Theatrum</i> had been published in 25 editions in five editions, with two other languages added after his death. Thus it is not only for his unprecedented achievement in issuing the first modern atlas, but also for his thoughtful and rigorous methodology, that Ortelius belongs amongst the first rank of cartographers.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf5zeEIQ_tmIeqK99_WhSOVifxj5C1nMhHxzUOSbpBWxHxT2u51QEcb_-YBGSZ7mODbhXfDK3AP1g0XzBYakBH1-UFvrDQx082Mlmmg4tqAVRW7ewR7vEdEIGgoEX5AaShlm4E5ErBdsU/s1600/ortnorthsea.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf5zeEIQ_tmIeqK99_WhSOVifxj5C1nMhHxzUOSbpBWxHxT2u51QEcb_-YBGSZ7mODbhXfDK3AP1g0XzBYakBH1-UFvrDQx082Mlmmg4tqAVRW7ewR7vEdEIGgoEX5AaShlm4E5ErBdsU/s400/ortnorthsea.jpg" width="400" height="289" data-original-width="1600" data-original-height="1155" /></a></div>Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com3tag:blogger.com,1999:blog-4910641775580983726.post-49408152003071957642019-07-24T11:56:00.000-04:002019-07-24T11:56:02.665-04:00Winslow Homer's illustrations<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw9J80mNrEBh13sqIGYZ0obI_zf-ynEai0mM3EUgMiTmS6dS67APuME7NrXQSIGiGKjl-bzJf3VecMFuOIR3aPnDoWB5GHZ-lbS_TsXfai11kGWkh1eaOYhA4G9K795DmPOvwaH7MsGY4/s1600/Homer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjw9J80mNrEBh13sqIGYZ0obI_zf-ynEai0mM3EUgMiTmS6dS67APuME7NrXQSIGiGKjl-bzJf3VecMFuOIR3aPnDoWB5GHZ-lbS_TsXfai11kGWkh1eaOYhA4G9K795DmPOvwaH7MsGY4/s400/Homer.jpg" width="272" height="400" data-original-width="700" data-original-height="1030" /></a></div>Winslow Homer (1836-1910) was one of the foremost American artists of the middle of the nineteenth century and we are fortunate that many of his images were produced as prints even a century and a half later are still accessible and affordable.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfV4zY2h_rZX7YnCxGa1Ki5n0d7mQTDMIP2nVwDLwDRnupMHtZS5TSwLvPoCUKO-ZpXzpdLfCeZmXd97ew3Pa3KXBbsgiUF7mYdLkp30RqXKLR5Ggv0TcFyfMBRBZ79Ieg4zghb6IFgDE/s1600/minnieclide.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfV4zY2h_rZX7YnCxGa1Ki5n0d7mQTDMIP2nVwDLwDRnupMHtZS5TSwLvPoCUKO-ZpXzpdLfCeZmXd97ew3Pa3KXBbsgiUF7mYdLkp30RqXKLR5Ggv0TcFyfMBRBZ79Ieg4zghb6IFgDE/s400/minnieclide.jpg" width="301" height="400" data-original-width="425" data-original-height="564" /></a></div>
Homer came from an old New England Family where his mother, an amateur watercolorist, encouraged his artistic inclinations. At age 19, Homer apprenticed in the John Bufford firm in Boston, where he mostly copied the designs of other artists onto sheet music covers and other commercial lithographs.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFsxWt7ktRFQ1iP5vMuRIzhswgTZv8oLD5g7JWp3mYFDq32gFWJUAdkEev_3OG7pdacV9vVGFhatnvU_gh5egbkl1zQS0ikLSaMPeaQ663glPz_j09CPxsdP5rTv2sMq6Snz737Xy5lMI/s1600/homer+ballous.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFsxWt7ktRFQ1iP5vMuRIzhswgTZv8oLD5g7JWp3mYFDq32gFWJUAdkEev_3OG7pdacV9vVGFhatnvU_gh5egbkl1zQS0ikLSaMPeaQ663glPz_j09CPxsdP5rTv2sMq6Snz737Xy5lMI/s400/homer+ballous.jpg" width="289" height="400" data-original-width="1010" data-original-height="1400" /></a></div>
Soon, however, he began to submit his own work to various illustrated newspapers, in 1859 moving to New York where he established himself as a freelance illustrator working for such illustrated newspapers as <i>Ballou’s Pictorial</i>, <i>Harper’s Weekly</i>, and <i>Frank Leslie’s Illustrated News</i>.
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNQ14ORFU3gaSLt_ZEhGS-J14vCrLxQx2tEG_TBtBLnw4ntbul9htDDKP2sKeKnLjx3Lq01nCHrUNWOp4nkG8Gg6m3Womi_ijQqX1ZPjOpypv4undQKIagfNsAxNAYVPP-xPno-o3ncLU/s1600/Homer_Thanksgiving_In_Camp.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNQ14ORFU3gaSLt_ZEhGS-J14vCrLxQx2tEG_TBtBLnw4ntbul9htDDKP2sKeKnLjx3Lq01nCHrUNWOp4nkG8Gg6m3Womi_ijQqX1ZPjOpypv4undQKIagfNsAxNAYVPP-xPno-o3ncLU/s400/Homer_Thanksgiving_In_Camp.jpg" width="400" height="266" data-original-width="700" data-original-height="465" /></a></div>
Homer produced a wonderful series of illustrations for <i>Harper’s</i> during the Civil War, though he focused more on the daily life of the soldiers, rather than battle scenes.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1IXOLsBcsxfJvkgJVR34lHAVfbAPkEEaNzSIWvImYPZvNYVjfwLGw5-pO2plnD0E14MyQzAunOBpz0YIOoke_52rARWWuSFmw1kHjQkmBzG5u_Bll5tB1xWMylK_paSCJ3xi4-WRgt_4/s1600/homseesaw.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1IXOLsBcsxfJvkgJVR34lHAVfbAPkEEaNzSIWvImYPZvNYVjfwLGw5-pO2plnD0E14MyQzAunOBpz0YIOoke_52rARWWuSFmw1kHjQkmBzG5u_Bll5tB1xWMylK_paSCJ3xi4-WRgt_4/s400/homseesaw.jpg" width="400" height="268" data-original-width="1044" data-original-height="700" /></a></div>
After the war, Homer continued to produce images for various publications, with his eye turning to genre subjects which illustrated daily life in America of the middle classes who were the primary readers of those newspapers and magazines. By the 1870s, Homer had built a successful career as a painter and watercolorist, but he continued working as an illustrator to 1875. His images capture America at the time as few others, with a kindness and honesty that provide a privileged look at our past. <a href="https://pps-west.com/shop/?filter_artist=winslow-homer">Click here to see a selection of his prints.</a><P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgihhzFAjwXqECNQmO34IJC_i3vSAoFhPBWA2Jun3nl0Xq6FYNERR3tOvVnJbRndgxpc1uh7k8RjNbGP7MNgOWLcmiJRC5PLOJPPJTVR12fDHRHBN8jmt6pzxGXOHeLgZ2aeaHZVjAyGrY/s1600/homb200.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgihhzFAjwXqECNQmO34IJC_i3vSAoFhPBWA2Jun3nl0Xq6FYNERR3tOvVnJbRndgxpc1uh7k8RjNbGP7MNgOWLcmiJRC5PLOJPPJTVR12fDHRHBN8jmt6pzxGXOHeLgZ2aeaHZVjAyGrY/s400/homb200.jpg" width="400" height="276" data-original-width="1014" data-original-height="700" /></a></div>Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com0tag:blogger.com,1999:blog-4910641775580983726.post-67615873960084221712019-06-26T18:54:00.001-04:002019-06-26T19:01:32.990-04:00Selling plate books by subscription<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgIUgl1Ij7nU0LOg60BAhuFWZuWS_s31XR0MVEtWW3eYCSAuxERwX1ccN210ZxIp6nVU8DtDU1B6B4YBjWOljYXmqWWco5mXOQQfSt4L23hPT5WF-8dCFnP0w6MOfoYiNtkns990UXMEU/s1600/mckenneyparts.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgIUgl1Ij7nU0LOg60BAhuFWZuWS_s31XR0MVEtWW3eYCSAuxERwX1ccN210ZxIp6nVU8DtDU1B6B4YBjWOljYXmqWWco5mXOQQfSt4L23hPT5WF-8dCFnP0w6MOfoYiNtkns990UXMEU/s400/mckenneyparts.jpg" width="400" height="106" data-original-width="792" data-original-height="210" /></a></div>
From the early days of printed book production, in the 17th century, expensive and/or long publications were often initially sold in parts or fascicles. The fascicles were simply a part of the larger work, where the cost to purchase was less so that the buyer could eventually buy the entire book in installments and the publisher would get money as the book was produced, not having to pay for the entire production cost at the beginning.<P><BR>
This method of production also had the advantage to the publisher that if the book proved to not be of interest to the public, with subscriptions not be obtained in sufficient number, only a minimum amount was spent before the project was abandoned. Some of these plate books never got off the ground and others lost subscribers over time, so that the books were never completed. An example of this is James Otto Lewis’ <i>Aboriginal Portfolio</i>. Lewis originally intended to issue ten parts with eight prints in each, but he was unable to obtain enough subscribers so that only a very few sample prints from the tenth part were ever made.<P><BR>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYLJ5697snqkAGqpCBoYOZ_mK6YE3Kg18qGtRwHwgmknmu4W2hNmAfY-JsjG7DCmhf6hvZgnDbRlwtUs-q1kWSvp7gJvqhDWDHlLPS4NrUpZj2_eef4wuRUJNoKPhen9hKHN6gGswD4g4/s1600/mckenney+subscribers.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYLJ5697snqkAGqpCBoYOZ_mK6YE3Kg18qGtRwHwgmknmu4W2hNmAfY-JsjG7DCmhf6hvZgnDbRlwtUs-q1kWSvp7gJvqhDWDHlLPS4NrUpZj2_eef4wuRUJNoKPhen9hKHN6gGswD4g4/s400/mckenney+subscribers.jpg" width="400" height="296" data-original-width="1600" data-original-height="1183" /></a><P>
This method of producing books was particularly important for plate books, where the cost of creating the matrixes, printing the plates, and then often coloring them was substantial. The publisher would start by producing a first part on speculation, using the completed fascicle as a sample to help obtain subscribers for the work. Once he had enough subscribers signing up and paying for the first part, that money was then used to produce the next fascicle, and so on until the publication was completed. The importance of the subscribers is shown by the fact that Thomas McKenney included a facsimile of his subscriber list in his bound <i>History</i>, an image of which is above.<P><BR>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixg4XCM9KjdaGX8lzAamppwbqjfnbGj8265F85BTOYw9sE-PMR6NNin3xLEDxNsRErYGn0igIsfbz3WPJtrJJfZGSskP0a7ShH57gMzDXOGpY_01JkAd5SDAhApdkeTu-aqn-hSwFZU4s/s1600/McKenney+cover.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixg4XCM9KjdaGX8lzAamppwbqjfnbGj8265F85BTOYw9sE-PMR6NNin3xLEDxNsRErYGn0igIsfbz3WPJtrJJfZGSskP0a7ShH57gMzDXOGpY_01JkAd5SDAhApdkeTu-aqn-hSwFZU4s/s200/McKenney+cover.jpg" width="149" height="200" data-original-width="434" data-original-height="581" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj30w5RPIpYkU9ZWExNjr0S4f4307FuoiEw4mnOVDCF4m5hbrrFfAy3vKCLH-9dCEdKq8N5wK-IyCHvDc63vdT0E3NSAucDKQpaOBFmJCQ3sXBXiOLj62h7J-Y-LJKIDFVKlVrw9hVl9Q8/s1600/blogspacer.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj30w5RPIpYkU9ZWExNjr0S4f4307FuoiEw4mnOVDCF4m5hbrrFfAy3vKCLH-9dCEdKq8N5wK-IyCHvDc63vdT0E3NSAucDKQpaOBFmJCQ3sXBXiOLj62h7J-Y-LJKIDFVKlVrw9hVl9Q8/s200/blogspacer.jpg" width="120" height="200" data-original-width="49" data-original-height="82" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA71lFCPe1LZYMBz3d-Gc4h7M3D9mJyRlfyMDQOwh-4IicJPsLkEGZWapbbtvxW92_iz-tGWloM0RXxAG3KmrRjhyoq_oCLiSGYwXvgOXTRppd63y0N2z3SgcfUSTqnjSEbA-bTtbMP88/s1600/JO+Lewis+cover.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhA71lFCPe1LZYMBz3d-Gc4h7M3D9mJyRlfyMDQOwh-4IicJPsLkEGZWapbbtvxW92_iz-tGWloM0RXxAG3KmrRjhyoq_oCLiSGYwXvgOXTRppd63y0N2z3SgcfUSTqnjSEbA-bTtbMP88/s200/JO+Lewis+cover.jpg" width="127" height="200" data-original-width="490" data-original-height="772" /></a><P>
These fascicles were usually produced with paper covers which included information on the book, often including a sales pitch to keep the subscriber interested and to help gain new subscribers.<P><BR>
Once finished, the subscriber would usually have the parts bound together and the publisher could also sell completed copies of the book, using the plates and text that had been printed beyond those needed just for the subscribers. <P><BR>
One of the pioneers of this sort of plate book sold by subscription was Mark Catesby. He produced his <i>Natural History of Carolina, Florida and the Bahama Islands</i> between 1731 and 1743, issued in parts for over a decade. The spread of dates for this book are a result of the subscription process, and this was typical of plates books produced in this manner.<P><BR>
Most elaborate plate books of the nineteenth century were sold by subscription, including Alexander Wilson’s <i>American Ornithology</i>, Thomas McKenney’s <i>History of the Indian Tribes of North America</i>, and even the mammoth <i>Birds of America</i> by John James Audubon.<P><BR>
Occasionally one will come across the original fascicles of these books which were never bound together. In these instances either the subscriber dropped out before the work was finished, or he/she simply didn’t bother bind them even when complete. Other times subscribers would keep the paper covers and bind them together with the text and plates. <P><BR>
Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com0tag:blogger.com,1999:blog-4910641775580983726.post-3352445463434048432019-04-16T17:08:00.000-04:002019-04-17T15:06:33.102-04:00Albert Bierstadt (1830-1902)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVbRADieQStO2tvCps-LFtBjyDRBiYD272hzS9gz_XuaBZIbjPYaARLuAHl_ULjc5kUF5ZuFAW7XY5KDKtM2usPgYfhKfkdOZzQf5eB-fmVnCrRiTJVVVZ5YS2hBYGaFSboMLsfkJ2SOQ/s1600/bierstadt_albert.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="443" data-original-width="305" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVbRADieQStO2tvCps-LFtBjyDRBiYD272hzS9gz_XuaBZIbjPYaARLuAHl_ULjc5kUF5ZuFAW7XY5KDKtM2usPgYfhKfkdOZzQf5eB-fmVnCrRiTJVVVZ5YS2hBYGaFSboMLsfkJ2SOQ/s320/bierstadt_albert.jpg" width="220" /></a></div>
The earliest art of the American West tended to focus on the Indians and their culture. After mid-century, this theme slowly gave way to more of a concern with landscape and genre subjects, often portrayed in a “romantic” style. Perhaps the most influential artist associated with this change was Albert Bierstadt (1830-1902). He was born in Germany, near Düsseldorf, grew up in the United States, and in his twenties studied at the Düsseldorf Academy in Germany.<br />
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In Germany, Bierstadt came to be deeply impressed by the tradition of heroic painting for which the Düsseldorf Academy was famous. Upon his return to the United States he became part of the informal group of artists known as the Hudson River School. Their art work depicted a pastoral American landscape, with detailed and realistic images, but portrayed with a romantic lyricism. In later years, Bierstadt would transfer that aesthetic to the American West.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-a2K0V9BFhU1mDhXuFMHaFI54UtTz-SjiXft3n8ET1emEArRnOk-pjgKUM069RCY-klsj463vIH66abnKojPjywy6p7TBckBjQHtievSNmF71R_LlA28KQuIa4a14zIeCZe2W6QLOrKs/s1600/bierpike.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="843" data-original-width="1389" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-a2K0V9BFhU1mDhXuFMHaFI54UtTz-SjiXft3n8ET1emEArRnOk-pjgKUM069RCY-klsj463vIH66abnKojPjywy6p7TBckBjQHtievSNmF71R_LlA28KQuIa4a14zIeCZe2W6QLOrKs/s400/bierpike.jpg" width="400" /></a></div>
In 1858, soon after returning to America, Bierstadt paid his own way in order to accompany General F.W. Lander on an expedition to improve the wagon route from Fort Laramie to California. In June, 1859, on his way back east, the expedition arrived at the South Platte River where they found a large number of prospectors on their way to the Pikes Peak Gold Rush. Bierstadt made a number of sketches, three of which appeared in <i>Harper’s Weekly</i> on August 13, 1859.<br /><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFuFzCrryJhSJSo8608EI6-wSZRMm-ItbHdvdKqju_dshXFv0IPJzXqEOqrjIwv0kgUuBGP_uls2wXzvXjZ9DfT2Vppq_B1-6CeVpfRFItpwwgMncsrJ2VNjmvxzzASs3_g1b_pMo2PKI/s1600/bierstadtsunlightshadow.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="700" data-original-width="601" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFuFzCrryJhSJSo8608EI6-wSZRMm-ItbHdvdKqju_dshXFv0IPJzXqEOqrjIwv0kgUuBGP_uls2wXzvXjZ9DfT2Vppq_B1-6CeVpfRFItpwwgMncsrJ2VNjmvxzzASs3_g1b_pMo2PKI/s400/bierstadtsunlightshadow.jpg" width="343" /></a></div>
These ephemeral images were followed by a much more polished and sumptuous print of a oil painting, <a href="https://pps-west.com/product/bierstadt-sunlight-and-shadow/" target="0">“Sunlight and Shadow,”</a> which Bierstadt painted in 1862 based on sketches he had made while in Germany. The print was produced in Berlin in rich chromolithography, an elaborate process which was thought to be convey the subtlety of Bierstadt’s rendering of the dappling of light and shadow on the church door, statues and cobblestones. This print was quite a success, being touted as “the finest specimen of art yet seen in the country,” and it well demonstrates Bierstadt’s masterful use of light in his paintings.<br />
However, it was the American West which would provide Bierstadt with his greatest subjects. From his travels in 1858 and 1859, Bierstadt was tremendously impressed with the Rocky Mountains, which would provide him with the subject matter for his most famous paintings. Bierstadt passed through the Rockies in the nascent days of the great American expansion west; the transcontinental railroad, the pony express, and most of the Indian wars lay in the future. Thus Bierstadt saw and absorbed an almost pristine frontier, for which the rocky peaks provided an emphatic exclamation.<br />
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In 1863, Bierstadt again traveled west, passing through the Rocky Mountains on the way to California. On this trip, Bierstadt made many sketches which he would mine over the years to create a series of superb, large-scale paintings which established him as the preeminent artist of the West. He was not the first professional artist to depict the west, “But Bierstadt became the most successful of them all and created a vision of the West that still endures..... Bierstadt was the first important artists to satisfy the renewed interest in landscape painting with original scenes from the West.” (Tyler, <i>Prints of the West</i>, p. 133)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivWRQ53n-OOFI_IkcrP4dz2cpy4BK0VJIZ2k165FIqaAJWuD6ZAuGLin94Iz3wkxFU-FcrfrzNp9JucA7w7gJBVwLctW_WKiubB-Mg2J8FVkbEfJatnT6tapnUB8zjP_2BO0OrYjuhXj8/s1600/DT82.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="959" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivWRQ53n-OOFI_IkcrP4dz2cpy4BK0VJIZ2k165FIqaAJWuD6ZAuGLin94Iz3wkxFU-FcrfrzNp9JucA7w7gJBVwLctW_WKiubB-Mg2J8FVkbEfJatnT6tapnUB8zjP_2BO0OrYjuhXj8/s400/DT82.jpg" width="400" /></a></div>
Bierstadt responded to the American West with a series of large, luminous canvases, the first being exhibited at the National Academy in 1860, where it was well received. His sensational 1863 painting, “The Rocky Mountain, Lander's Peak,” which showed the Wind River Mountains of Wyoming, received immediate popular acclaim, establishing Bierstadt, in the minds of some of the public and critics, as the greatest American landscape artist of his day. This painting traveled widely and was purchased by James McHenry for the then fantastic sum of $25,000. Bierstadt described the painting as is it were an actual scene, though it was a fictional construct based on his sketches and photographs.<br /> <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYmafLE6N5txL4YYy3-asWMqqgqLvFJLbSPxI78xw73T6z4eYiNB9SJBTqxDZRi7ghSb4HPXkHowucWHQE2RG5DI_7jAQ3NrtNzb-H4bOQ8ZOCuIGnSBNePaXVgYmShK372St5tlo5kjQ/s1600/bierrocky.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="952" data-original-width="1500" height="254" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYmafLE6N5txL4YYy3-asWMqqgqLvFJLbSPxI78xw73T6z4eYiNB9SJBTqxDZRi7ghSb4HPXkHowucWHQE2RG5DI_7jAQ3NrtNzb-H4bOQ8ZOCuIGnSBNePaXVgYmShK372St5tlo5kjQ/s400/bierrocky.jpg" width="400" /></a></div>
The success of “The Rocky Mountains” led Bierstadt to ask James Smillie, one of the best American engravers of the day, to produce a <a href="https://pps-west.com/product/albert-bierstadts-rocky-mountains/" target="0">large engraving of the painting</a>. It took Smillie three years to finish the print, which is considered one of the best American landscape engravings of the nineteenth century.<br />
Following this, Bierstadt received many commissions for new works, was acclaimed at home and abroad, and hobnobbed with the rich and royal. His canvases continued to dramatically portray the awe-inspiring grandeur of the Rockies. His were “the first paintings to capture successfully the wonder and excitement that the artist and other early trail blazers felt when they confronted the spectacular western scenery.” (Trenton & Hassrick, <i>The Rocky Mountains</i>, Oklahoma, 1983)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAJmZvzdqyTmNjyjrYLOHROp1jWVkUqNK8RIeNs_x70MDeH5iwJ8JjjCIJcEsi6y71gXK9bpra-mibSE4dG8SkeFCw4-WGBVe0QlShoOl1COpFcgAOuugBkLziD5ZvCE__RxNCfUnTDI8/s1600/1280px-Albert_Bierstadt_-_A_Storm_in_the_Rocky_Mountains%252C_Mt._Rosalie_-_Google_Art_Project.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="741" data-original-width="1280" height="232" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAJmZvzdqyTmNjyjrYLOHROp1jWVkUqNK8RIeNs_x70MDeH5iwJ8JjjCIJcEsi6y71gXK9bpra-mibSE4dG8SkeFCw4-WGBVe0QlShoOl1COpFcgAOuugBkLziD5ZvCE__RxNCfUnTDI8/s400/1280px-Albert_Bierstadt_-_A_Storm_in_the_Rocky_Mountains%252C_Mt._Rosalie_-_Google_Art_Project.jpg" width="400" /></a></div>
In 1866, Bierstadt produced another large, sensational painting, “<a href="https://pps-west.com/product/bierstadt-view-mt-evans/" target="_blank">Storm in the Rocky Mountains, Mt. Rosalie</a>,” showing Mount Evans in Colorado. [Bierstadt named the mountain after Rosalie Ludlow, who would soon become his wife. It was renamed Mount Evans in 1895, after John Evans, the second governor of the Colorado Territory.] Like with the earlier painting, Bierstadt used artistic license to rearrange his sketches to achieve what he thought was the most artistic result. In the canvas, Mount Evans is shown from Chicago Lakes, arising out of the midst of storm clouds. An Indian town lies in the middle ground on the shores of a lake while a small hunting party tries to corral some horses that appear frightened by the approaching storm.<br /><br />
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Bierstadt’s painting toured the country on exhibition and was another huge hit. A top London printmaker, Thomas McLean, purchased both this painting and his “The Rocky Mountains” in order to produce two elaborate chromolithographs. McLean used between twenty and thirty stones to make these chromolithographs, which were hailed as “unquestionably the finest examples of the chromolithographic art.” They were sold in London, New York and Philadelphia and today remain among the best specimens of <a href="https://pps-west.com/what-is-a-print/" target="_blank">chromolithography</a> ever produced, not to mention as examples of the greatest nineteenth century art of the American West.<br />
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Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com0tag:blogger.com,1999:blog-4910641775580983726.post-85847246208298815722019-01-28T17:22:00.000-05:002019-01-28T17:24:40.734-05:00Giovanni Belzoni's images of Egypt<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1B1dzWjA9ndqwex1ks3GGcLY-HK90-a-mrOlF5tpc9x3A96-rHbzRqlr8vRMr72JOuZ7gYOoaouITBvDk0kEcNYfV3P4kroizWCb0ibEhCh4So7iJUyfJJeeS-svPz6B2BduKaSHGFP8/s1600/476px-Belzoni1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1B1dzWjA9ndqwex1ks3GGcLY-HK90-a-mrOlF5tpc9x3A96-rHbzRqlr8vRMr72JOuZ7gYOoaouITBvDk0kEcNYfV3P4kroizWCb0ibEhCh4So7iJUyfJJeeS-svPz6B2BduKaSHGFP8/s400/476px-Belzoni1.jpg" width="318" height="400" data-original-width="476" data-original-height="599" /></a></div>
Giovanni Belzoni (1778-1823) was a nearly six foot, seven inch, red-headed Italian whose fascinating life led him to become known as “The Great Belzoni.” As a young man in Rome, studying hydraulics and intending to join a monastic order, Belzoni was driven from the city when it was captured by Napoleon in 1798, moving to the Netherlands where he worked as a barber.<P><BR>
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In 1803 he moved to England (supposedly to avoid being thrown into prison), where he became a circus strongman called the “Patagonian Samson.” Part of his act was to carry a dozen men around the stage on a metal frame.<P><BR>
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In 1816, Belzoni traveled to Cairo in order to interest Mohammed Ali Pasha in a hydraulic lifting device that he had invented. This venture proved unsuccessful, but Belzoni became fascinated by Egypt. He turned to the British Consul, Henry Salt —-who had known him during his time as a strongman—- for possible employment. Salt, who was facing the problem of getting the head and shoulders of the colossal statue of Ramses II (called the “Younger Memmon”) from Thebes to England, hired Belzoni for this job.<P><BR>
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Belzoni was able to complete this task with ingenuity and perseverance. The head weighs over 7 tons and it took Belzoni 17 days and over 100 men to tow it on a wooden sled to the Nile. (The statue is now in the British Museum).<P><BR>
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Belzoni continued his “collecting” of Egyptian artifacts and explored many of the important sites in the country. In 1817, he became the first to perform large scale excavations in the Valley of the Kings, discovering a number of tombs, including those of Amenhotep III, Ramses I, and Seti I, the latter often called “Belzoni’s tomb” in honor of his discovery.<P><BR>
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He was the first person since ancient times to enter the innermost part of the great pyramid of Khafre at Giza, though at one point he became wedged in a narrow passage, having to be extricated by his helpers.<P><BR>
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Belzoni also was the first to excavate the great temples at Abu Simbel, which were buried under 30 feet of sand.<P><BR>
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Belzoni made many enemies and stole many artifacts from Egypt (though he was only one of many Europeans doing the same thing). He also did some cringe-worthy things, such as smashing through a wall with sledge hammers, sitting on mummies so they were crushed underneath his weight, and carving his name on ancient monuments. Still, Belzoni’s enthusiasm and energy allowed him to “achieve” much. He approached his explorations with enthusiasm, mounting excavations on a massive scale, and he was highly systematic in his approach. He destroyed much, but was instrumental in awakening Europe to the glories of ancient Egypt.<P><BR>
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After returning to England in 1820, Belzoni published his famous <a href="https://pps-west.com/?s=belzoni&post_type=product" target=0><i>Narrative</i></a>, a work that excited huge interest. In 1822, the atlas of prints to accompany this work was issued, containing many detailed scenes of sites in Egypt<P><BR>
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and brilliant renderings of the tomb paintings that Belzoni discovered. Such was the impact of Belzoni’s publicizing of his discoveries that this can be seen as the beginning of the popular fascination with Egypt.<P><BR>
After Egypt, Belzoni continued his explorations in Africa, heading an expedition to Timbuktu in 1823. He caught dysentery there and died at the end of that year.<P><BR>
Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com0tag:blogger.com,1999:blog-4910641775580983726.post-63890411690485428882019-01-02T12:41:00.000-05:002019-01-02T12:41:10.141-05:00Drop in prices of antiques since 2000<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvX3S4m1rfHP4A_tL5HQtwN4Umz5x9w64jTvEGrD1OHxL303EwwiQwGxpI6icznkJuT60OZoIqvjTkFWcSrFFqIlHQJ7ZB1rd4tBtszg5rphIYRlPxUzXA4W7r-2uaAHddnY_rw9vy9BI/s1600/404+currier+prints3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvX3S4m1rfHP4A_tL5HQtwN4Umz5x9w64jTvEGrD1OHxL303EwwiQwGxpI6icznkJuT60OZoIqvjTkFWcSrFFqIlHQJ7ZB1rd4tBtszg5rphIYRlPxUzXA4W7r-2uaAHddnY_rw9vy9BI/s400/404+currier+prints3.jpg" width="400" height="300" data-original-width="640" data-original-height="480" /></a></div>A number of months ago, <i>Antiques Roadshow</i> broadcast one of their "vintage" shows, this one showing appraisals from Birmingham in 1999. That was from only the third year of the show, the second year in which I appeared as a print and map appraiser. Watching it, the first thing that I noticed was how young everyone looked. A fair number of the appraisers who appeared in this episode are still appraising for ARS and everyone looked so much younger (of course, I haven't aged a bit...)<P><BR>
The second thing I noticed was how about 3/4's of items had current values below (and often well below) the original appraised values. The show initially puts up the original appraised value, and then after a pause (to let you guess which way the value has gone), they post the current appraised value. In the vintage Birmingham show, from almost twenty years ago, only a couple current values were higher than the original values and just a few were the same. By far most of the new values were below the original appraisals. So what does that mean?<P><BR>
This reflects the fact that, as a general rule, antiques have gone down in value since the turn of the millennium. Part of that is because in the last decade of the twentieth century, prices for antiques were quite strong. Antique shows were going strong, decorators were keen on using antiques in homes and even offices, and there were lots of established and new collectors seeking out the best antiques of all sorts.<P><BR>
In general, it was for the "top end" antiques that prices were steadily going up, the "low end" rising a bit, but really not that much.
The advent of <i>Antiques Roadshow</i> reflected the popularity of antiques at the time and also helped to sustain the rise in interest and prices. Of course, in general the appraisals which were shown on ARS were for "top end" items, so combining that with high prices of the time means that the appraisals reflected the booming antiques market.<P><BR>
Then, of course, along came 2008 and the great economic crash. Many parts of the American economy were hurt by this, including antiques. In most cases, the purchase of an antique is a luxury or discretionary purchase, and this was the type of purchase that was most hurt after 2008. Auction and retail sales in antiques slowed dramatically. Auction prices dropped quickly, but this did not lead to an immediate drop in retail prices. Many dealers tried to hang on to the "old" pricing structure, though they were certainly much more amenable to giving a discount. Over time, however, it did definitely lead to a lowering of many prices in the antiques world. I would say that by about 2010-12, a pricing structure for antiques had become pretty standard.<P><BR>
In the last few years, in some areas of the antiques market, there has been some rise in prices, though we certainly have not reached the hey-day of 1999. People are much more likely to spend their discretionary dollars on things like antiques, so we have come out of the really dark days of 2008-2010. The market, though, is quite different. Few prices are reaching new heights, and some areas of antiques which used to be "hot" are no longer so.<P><BR>
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I think probably the biggest reason for that is the lack of serious collectors. Back when the Birmingham appraisals were filmed, there were lots of collectors--some long-term, some new collectors--seeking out the best items in many areas of antiques. In my field, collectors of the best natural history prints, prints of Native Americans, Currier & Ives lithographs, and maps were steadily driving prices to new heights. The economic disaster of 2008 knocked most of these collectors out of the market, and frankly, few have come back in even a decade later.<P><BR>
Why is that? I suspect that some of it was that the most of the long-term collectors were not that young, and after they stopped collecting in 2008, they just never had the enthusiasm to restart. It is one thing to gear up for collecting when one is 30 or 40, but another thing when one is 60-70. Adding to the problem is the fact that there just are not that many young collectors entering the market. Whether that is a product of changing interior design styles, a lack of appreciation of "things," or just lack of education about antiques, everyone in the antiques world will tell you that there are not many millennials or other young people purchasing antiques.<P><BR>
Do I think prices will come back? I think eventually for the best of all types of antiques. Antiques are wonderful artifacts of our past which still can play a relevant role in our lives, even if just as furniture, decoration or whatever. If one looks at the prices for a really well-made antique compared to a mass produced modern equivalent, the antiques are often better value just as objects. When one factors in their history and scarcity, they have a huge appeal. Markets do tend to go up and down and I think the antiques market will go back up. How soon, I wish I knew. The continued popularity of <i>Antiques Roadshow</i>, however, is a hopeful sign.<P><BR>
Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com4tag:blogger.com,1999:blog-4910641775580983726.post-26001007724535325572018-12-19T18:43:00.000-05:002018-12-19T18:43:37.183-05:00The format is the messageOne thing that map dealers and map collectors learn early on is that the format in which a map was published has a great deal to do with its historic significance and its monetary value. A very rare example of a hugely important map of the American West is a nice example of this truism.<P><BR>
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In 1843, in response to the great American migration to Oregon and the American West, the U.S. Corps of Topographical Engineers sent out John C. Frémont to survey and map what would soon come to be known as the Oregon Trail up to the South Pass. Two years later, Frémont was sent out again, at the instigation of Senator Thomas Hart Benton (Frémont’s father-in-law) to further explore the western part of the country, following the Oregon Trail all the way to the Pacific Ocean. On his return, Frémont passed to the south of the Great Basin, establishing for the first time the basic outline of the vast region which would become, in just a few years, the western part of the United States.<P><BR>
In 1845, Frémont was sent out again, in part because of the tensions between the U.S. and Mexico which would lead to armed conflict the following year. Frémont arrived in California just when local ferment led to an American rebellion which soon became part of the wider Mexican War. Frémont was appointed the first Governor of California, but soon became embroiled in a conflict with the military commander of California, General Stephen W. Kearny. This led to Frémont being sent back east under arrest and to his eventual court-martial and dismissal from the army.<P><BR>
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Despite the personal failure of this 1845-46 expedition, the 1848 publication of a journal of Frémont’s explorations, entitled <i>Geographical Memoir upon Upper California</i>, was well received, and the map it included, “Map of Oregon and Upper California,” which Charles Preuss produced based on Frémont’s surveys, is a cartographic landmark, one of the most important maps of the American West. It depicts the entire west from the Colorado foothills to the California coast, and from the new Mexican border to the northern border of Oregon. Drawing on an earlier Frémont/Preuss map of the region from 1845, as well as other authorities, this map is corrected and filled in considerably, making it by far the best map of the region to date.<P><BR>
As Frémont himself wrote in his Geographical Memoir, “The map has been constructed expressly to exhibit the two countries of Oregon and the Alta California together. [These territories officially became part of the United States between 1846 and 1848.] It is believed to be the most correct that has appear of either of them...” The importance of this map is indicated by the fact that Carl Wheat gave more space to the description of this map than to any other in his seminal Mapping the Trans-Mississippi West.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXun6oSRv0R_CHCIPEFN5cXy5vGgjKqU7p7ROeh1lKJXwk3wsdPhaaVramfNzT80bzQbY0pc05SqHsdeMzlF_iUOxNnzz6nZN1h0nzFLK2Ve6LtCOLFrfVrwp9on7M7TFfhcc0kbsLCd4/s1600/el+dorado.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXun6oSRv0R_CHCIPEFN5cXy5vGgjKqU7p7ROeh1lKJXwk3wsdPhaaVramfNzT80bzQbY0pc05SqHsdeMzlF_iUOxNnzz6nZN1h0nzFLK2Ve6LtCOLFrfVrwp9on7M7TFfhcc0kbsLCd4/s400/el+dorado.JPG" width="391" height="400" data-original-width="627" data-original-height="642" /></a></div>
The Frémont/Preuss map was probably issued in September, 1848, just after information about the discovery of gold in California reached the east coast. This was reflected in two very small legends on the map, “El Dorado or Gold Region,” placed along the South Fork of the American River and on the upper part of the Rio d.l. Plumas (Feather River), both flowing out of the foothills of the Sierra Mountains. Though inconspicuous, these legends makes the Frémont/Preuss map the first general circulation map to include any mention of the California gold discovery of 1848.<P><BR>
As the news spread of this discovery, through President Polk’s announcement on December 5th and then all the subsequent newspaper articles and private publications, there was an immediate demand for information on the gold strike, especially for maps which prospective prospectors could take with them. Many publishers rushed maps to the market, many containing spotty or completely erroneous details, but the maps which had any accuracy were mostly based on the Frémonth/Preuss map, which was without questions the best map of California available at that time.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7Tf-Sf2dtIYX_Kuj7eFSK_nf64VtEhWurlVXGBoF4N07x3CAz-MrPxARIgQr70uiYAqapkIFeYppWbHYm50FCEyEcXB8-AfjviMOD1WU4rnnK1eD8R0q3hrmDtccFHGyWtpV9XYnsN_U/s1600/small+fremont.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7Tf-Sf2dtIYX_Kuj7eFSK_nf64VtEhWurlVXGBoF4N07x3CAz-MrPxARIgQr70uiYAqapkIFeYppWbHYm50FCEyEcXB8-AfjviMOD1WU4rnnK1eD8R0q3hrmDtccFHGyWtpV9XYnsN_U/s400/small+fremont.jpg" width="344" height="400" data-original-width="1377" data-original-height="1600" /></a></div>
The same demand led to an 1849 reissue of Frémont’s <i>Geographical Memoir</i>, with its maps, as well as a reduced version of the “Map of Oregon and Upper California,” which focused on California, eliminating Oregon Territory and the Rockies. <P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdzWjIpJpnoTp6y9_lQVoZ_DfaS12XoSS5GZxcvdm05nJD9BxsgQqjfEy2NXJAzfOtiQmUrGYHOHN0OwRKh7ywEVGcQyP0F-hxNpVxBlCiG-S2caUHwEA7oxESrs_lDI147p7FjAlea0g/s1600/Fremont+map.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdzWjIpJpnoTp6y9_lQVoZ_DfaS12XoSS5GZxcvdm05nJD9BxsgQqjfEy2NXJAzfOtiQmUrGYHOHN0OwRKh7ywEVGcQyP0F-hxNpVxBlCiG-S2caUHwEA7oxESrs_lDI147p7FjAlea0g/s400/Fremont+map.jpg" width="314" height="400" data-original-width="1254" data-original-height="1600" /></a></div>
What has not previously been reported is that there was the reissue of the full-size “Map of Oregon and Upper California” specifically designed for those planning to head to the “Gold Regions” of California. Rather than being a map that was issued in a report, this was produced as a separately issued pocket map.<P><BR>
The convenience of having maps that folded into a small size had been obvious ever since maps became items that were sold to the general public. For those wanting to take a map with them when they traveled, these maps could be easily carried in a pocket or bag. In the nineteenth century, these maps were printed onto banknote paper, which is tough yet thin, so it could be folded without as much wear. The maps were folded into covers and were usually brightly colored to make them easier to read when on the road. For those heading to the California gold fields, the need for such a map would be clear.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc0YYKr3RzRDaXC4w8RLWoivt89v6L7vN0BsJsPRyjHGo39NU4oAuNJ1gogvS9vYnF5XTeQp0u_h1RDj3Zplap_YIKjyTvv7eKaYX9heQMQPmjb-Zwz_lCoT1xAvDL7TOpqVTgsk9DFJ8/s1600/Fremont+cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc0YYKr3RzRDaXC4w8RLWoivt89v6L7vN0BsJsPRyjHGo39NU4oAuNJ1gogvS9vYnF5XTeQp0u_h1RDj3Zplap_YIKjyTvv7eKaYX9heQMQPmjb-Zwz_lCoT1xAvDL7TOpqVTgsk9DFJ8/s400/Fremont+cover.jpg" width="285" height="400" data-original-width="1139" data-original-height="1600" /></a></div>
Thus, a pocket map edition of the Frémont/Preuss map was issued, probably either right at the end of 1848, or in early 1849 (the date on the map states 1848, but that is from the original title, which the map contains). The covers of the map are entitled "Fremont's Map California. &c." It was printed from the same stone as the original edition, but with a number of changes made, besides the obvious format change.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5XRKLmaohcwKobNu7ReEyBecG1aXH2IIxmVzGgWeSCyYnbuWzQ17DU6Ch5jp6aLnB7fkvnDUvnF_hIAXz-pFCF8nqhKsZ7ActTpS0YLy30q3HH8RReAI0V4oDwVC2kHgh7adS-rHN8T4/s1600/Fremont+gold.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5XRKLmaohcwKobNu7ReEyBecG1aXH2IIxmVzGgWeSCyYnbuWzQ17DU6Ch5jp6aLnB7fkvnDUvnF_hIAXz-pFCF8nqhKsZ7ActTpS0YLy30q3HH8RReAI0V4oDwVC2kHgh7adS-rHN8T4/s400/Fremont+gold.jpg" width="400" height="381" data-original-width="1169" data-original-height="1114" /></a></div>
First, typically of pocket maps, this map was much more brightly and extensively colored than the original issue. Secondly, two additions were made to make the map more useful to the California gold seeker. A large legend, “Gold Regions” is placed along the foothills of the Sierra Mountains, colored with gold highlighting.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimQJ_tq7Vb2-3-vg11bjQmpregRKgNgrrR0iPDvOScrZxs93rRmwDHjDDlvw5TAg22wYaXNcxqj_syJMbPgTsE7vXqxaUqXs_qjlsbsGU-2MgXT43bgeR2FlIyl64oyg3XuPhFCmNm1_c/s1600/Fremont+insert.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimQJ_tq7Vb2-3-vg11bjQmpregRKgNgrrR0iPDvOScrZxs93rRmwDHjDDlvw5TAg22wYaXNcxqj_syJMbPgTsE7vXqxaUqXs_qjlsbsGU-2MgXT43bgeR2FlIyl64oyg3XuPhFCmNm1_c/s400/Fremont+insert.jpg" width="327" height="400" data-original-width="1051" data-original-height="1284" /></a></div>
Then inserted into the upper right corner is a map “showing the various routes from New York to San Francisco.”<P><BR>
It isn’t clear who published the map, but given the use of the original stone Frémont may very well have been involved in its production—perhaps hoping to cash in on his explorations after their rather unpleasant ending. An extensive search has turned up only two copies of this version of the map, and while all pocket maps from the 19th century have a high attrition rate, this would seem to indicate that this map did not sell as well as the publisher would have hoped. This scarcity, and its historical significance, make it perhaps as desirable a map of related to the California Gold Rush as any. A true nugget from the California Gold Rush.<P><BR>
Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com0tag:blogger.com,1999:blog-4910641775580983726.post-71634037295213060242018-09-21T13:50:00.000-04:002018-09-21T13:50:56.707-04:00Early Baseball prints<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYkTvN2DT8xY6G-7uc4XG_W9Mnq1YD8BDRMwhIFTTj_WpQ853q0qy03L2VlUF10bU_Q_hXSbibETJnel_aqfX7D579un-4JWNnR7gyCwZGgz7NTSOas6QJZP9f4HAOQ23BLr4MX416ecQ/s1600/0051v.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYkTvN2DT8xY6G-7uc4XG_W9Mnq1YD8BDRMwhIFTTj_WpQ853q0qy03L2VlUF10bU_Q_hXSbibETJnel_aqfX7D579un-4JWNnR7gyCwZGgz7NTSOas6QJZP9f4HAOQ23BLr4MX416ecQ/s400/0051v.jpg" width="400" height="306" data-original-width="572" data-original-height="438" /></a></div>
The widely told story that baseball was invented by Abner Doubleday in 1839 has been debunked for some time. The first known mention of baseball is in a children’s book from the late eighteenth century. A small illustration of three boys playing is accompanied by a poem:<P><BR>
<blockquote>Base-Ball<BR>
The Ball once struck off,<BR>
Away flies the Boy<BR>
To the next destin’d Post,<BR>
And then Home with Joy
</blockquote><P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3_pptpHD1wXU1n058Hyx0QNahVjyQZl-5-yddP_QE27_N7bxMl1Ng1kGeQIHL0OedjcNGA1wymuM6HekEUkSCVbpax5PUdw26s_sBoy6hRyFPFlEafg1Y8s33X7ty2WIhRMiPc4-uguw/s1600/00440464320796f9b3632964cb5a823b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3_pptpHD1wXU1n058Hyx0QNahVjyQZl-5-yddP_QE27_N7bxMl1Ng1kGeQIHL0OedjcNGA1wymuM6HekEUkSCVbpax5PUdw26s_sBoy6hRyFPFlEafg1Y8s33X7ty2WIhRMiPc4-uguw/s400/00440464320796f9b3632964cb5a823b.jpg" width="366" height="400" data-original-width="395" data-original-height="432" /></a></div>
The first known organized baseball game took place in 1846, by within about a decade a formal set of rules had developed. By the late 1850s, some baseball wood cut prints appeared in the illustrated newspapers of the day. The development of the wood cut for use in newspapers allowed for the publication of images of many aspects of American history and social life which didn’t warrant the production of more elaborate. This image is from the July 24, 1858 issue of <i>New York Clipper</i>.<P><BR><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwJBcJMtb7hJqez79kcNM-ZDxOl4Fj5dVA_vDUIpET8ti8RcCN5xxjVJhitUWWsezFCSLhodme4OsGAOAk-DkYeGLtxE3bIHJ9BvVhOHfG-qasDE82eNebMF0TAwr5NTIYtFVMZkiTv4g/s1600/nypl.digitalcollections.7ffc7194-163a-0935-e040-e00a18062b32.001.w.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwJBcJMtb7hJqez79kcNM-ZDxOl4Fj5dVA_vDUIpET8ti8RcCN5xxjVJhitUWWsezFCSLhodme4OsGAOAk-DkYeGLtxE3bIHJ9BvVhOHfG-qasDE82eNebMF0TAwr5NTIYtFVMZkiTv4g/s400/nypl.digitalcollections.7ffc7194-163a-0935-e040-e00a18062b32.001.w.jpg" width="400" height="322" data-original-width="698" data-original-height="562" /></a></div>
About the same time, a number of baseball images began to appear as music sheets, including this beautiful colored cover for “Live Oak Polka,” which was printed by Endicott & Co.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU37TczjvMvBdOf-P024K1z4nvVtsP_NJ68uMD9ZJ7xh26CcnHYo_LxrCCQFhrezY9Tz24tnVOAsbZp91eazuA76rhbomwvjD6jahkNOmAoLmomYAFPFTA6ojOuC6kqzEDwsnRtvbJkVY/s1600/c%2526ibaseball.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjU37TczjvMvBdOf-P024K1z4nvVtsP_NJ68uMD9ZJ7xh26CcnHYo_LxrCCQFhrezY9Tz24tnVOAsbZp91eazuA76rhbomwvjD6jahkNOmAoLmomYAFPFTA6ojOuC6kqzEDwsnRtvbJkVY/s400/c%2526ibaseball.jpg" width="400" height="295" data-original-width="729" data-original-height="537" /></a></div>
By 1860, the game was well-known enough to be used by Currier & Ives in a political print related to the Presidential election. In their "The National Game. Three 'Outs' and One 'Run.' Abraham Winning the Ball," the four candidates are holding baseball bats and are dressed in baseball uniforms, with their belts giving the names of their “teams.” Lincoln stands on “Home Base,” indicating he is likely to win.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv_g5ApT7U9MGANvTuCYoEPVhpC1aMmYItebBZPP-5gvxftnNzUnbYXT05_oKLFo4xc7f1A6PA20z7pAYXhSvzDvF_zVJ7MNqzXVchVImcs43xImv60DwGo6xp0v4AFrZWXL4j_l0GfSc/s1600/1983_2_38_m1_2012.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv_g5ApT7U9MGANvTuCYoEPVhpC1aMmYItebBZPP-5gvxftnNzUnbYXT05_oKLFo4xc7f1A6PA20z7pAYXhSvzDvF_zVJ7MNqzXVchVImcs43xImv60DwGo6xp0v4AFrZWXL4j_l0GfSc/s400/1983_2_38_m1_2012.jpg" width="400" height="238" data-original-width="1600" data-original-height="950" /></a></div>
<CENTER>Image from collection of the <a href="http://reynoldahouse.org/collections/object/union-prisoners-at-salisbury-nc" target=0>Reynolda House Museum of American Art</a></CENTER><P><BR>
Baseball was popular enough that Union troops played it during the Civil War, helping spread the game around the country, including to the South as the Union prisoners played the game when they could. This print is stated as being as based on a drawing by Acting Major Otto Boetticher “from nature,” indicating he was perhaps a prisoner or at least a visitor. The camp looks quite clean and the players and spectators look quite relaxed.<P><BR>
By the end of the war, Charles Peverelly wrote:<P>
<blockquote>The game of Base Ball has now become beyond question the leading feature of the out-door sports of the United States. (<i>Book of American Pastimes</i>, 1866)</blockquote><P><BR>
The popularity of the game inspired Currier & Ives, “America’s Printmakers,” to decide to produce one of their top quality, expensive, large-folio prints. “American National Game of Base Ball: Grand Match for Championship at the Elysian Fields, Hoboken, N.J.” A notice in an 1860 edition of New York Sunday Mercury reported, concerning a game between the Excelsior and the Atlantic teams for the championship, that:<P><BR>
<blockquote>Messrs. Currier & Ives, the well-known print publishers, had a corps of artists on the ground last Thursday, taking elaborate sketches of the immense field, and of the players. They propose publishing a handsome colored lithograph, which will present an accurate view of the interesting scene.</blockquote><P><BR>
Likely because of the war, Currier & Ives didn't produce the print until 1866, when they revisited the idea, using some of the 1860 sketches as well as later photographs, to produced this terrific print. [An excellent analysis of the print and the game it was meant to represent can be found on the <a href="https://ourgame.mlblogs.com/unraveling-a-baseball-mystery-b443c0541c96" target=0>“Our Game” blog</a>.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd8B0bSaQXl025AvhKk1XYLjSCBzcKMgtoQ5pLN19VWo5DH9RklDSYk5tXEVvHQe9c-xW1OtOzoBadhA-_SlqODC8MlBjl791osL9NLfbPDcEGzFqjEhy78xyByPJZMKUDBS5zbWfilro/s1600/hw91087base.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd8B0bSaQXl025AvhKk1XYLjSCBzcKMgtoQ5pLN19VWo5DH9RklDSYk5tXEVvHQe9c-xW1OtOzoBadhA-_SlqODC8MlBjl791osL9NLfbPDcEGzFqjEhy78xyByPJZMKUDBS5zbWfilro/s400/hw91087base.jpg" width="400" height="286" data-original-width="1600" data-original-height="1144" /></a></div>
More baseball prints followed and I think my favorites are those which continued to appear in the illustrated newspapers, such as “Thrown Out on Second” published in <i>Harper’s Weekly</i>, September 10, 1887. These prints were drawn first hand by some of the newspaper’s many reporters, and they wonderfully capture this part of American life with graphic immediacy.<P><BR>
Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com0tag:blogger.com,1999:blog-4910641775580983726.post-50344743611601268002018-07-17T15:44:00.001-04:002018-07-17T15:44:34.013-04:00Price ranges within series of prints<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr2XkaZZoeEOgX_EhXlyhum3OtNkKAoizFOjUOVm1KggN3QMQKV8ur7pBwtGJLhcTRyGaYP_T4lJKpDMEDTt32Y5BaSoTwHJGdgtpK0u-M2Xb-c8N6HiBALlYyqAPN5EcJ9fGtSCqQONI/s1600/TLM.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr2XkaZZoeEOgX_EhXlyhum3OtNkKAoizFOjUOVm1KggN3QMQKV8ur7pBwtGJLhcTRyGaYP_T4lJKpDMEDTt32Y5BaSoTwHJGdgtpK0u-M2Xb-c8N6HiBALlYyqAPN5EcJ9fGtSCqQONI/s320/TLM.jpg" width="252" height="320" data-original-width="590" data-original-height="750" /></a></div>
About two centuries ago, Thomas McKenney, the head of the United States Bureau of Indian Affairs, began to commission portraits of Native Americans both when they visited Washington D.C. and from artists “in the field.” McKenney realized that the “progress” of American culture threatened to wipe out the Indian cultures and he felt it was important to document the individuals and their culture for posterity.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwCmja4dsFFbJ2IX9XMNlM2qnFsoId3B0yOXBOPxxRhGqkfo2yffyoBVdjXcleAZtkGbJjtSkNbIMUlfIPttsFO3pPGnikles_2iBhUbG6e1tDFmrFQcKUn4R3UUm_F_1eVdsWb_5RrV0/s1600/History_of_the_Indian_Tribes_of_North_America.png" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwCmja4dsFFbJ2IX9XMNlM2qnFsoId3B0yOXBOPxxRhGqkfo2yffyoBVdjXcleAZtkGbJjtSkNbIMUlfIPttsFO3pPGnikles_2iBhUbG6e1tDFmrFQcKUn4R3UUm_F_1eVdsWb_5RrV0/s400/History_of_the_Indian_Tribes_of_North_America.png" width="400" height="382" data-original-width="360" data-original-height="344" /></a></div>
When he left office in 1830, McKenney decided to try to produce a portfolio of lithographs based on the paintings he had gather for the government. He borrowed the paintings, had copies made, and then arranged for the production of the images as hand colored lithographs. After many years of battling poverty, politicians and printers, a portfolio, <i>History of the Indian Tribes of North America</i>, was published with 117 portraits and three scenes (actually 118 portrait prints were produced, but one was never included in the portfolio).<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqPPIVIlfClkePeeu2MmxhNqk7vktceDe6tJWGrwEf5-aEb13tJKZXHmWLT5XOi44FkEkcH37B8n4-qXOixMW4Ctf05od6RTJuujB3VJpaJ3mVUhqlIFbuWmzHK-UZFZYbbB9sQ8s_Ccs/s1600/1985.66.387%252C322_1a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqPPIVIlfClkePeeu2MmxhNqk7vktceDe6tJWGrwEf5-aEb13tJKZXHmWLT5XOi44FkEkcH37B8n4-qXOixMW4Ctf05od6RTJuujB3VJpaJ3mVUhqlIFbuWmzHK-UZFZYbbB9sQ8s_Ccs/s320/1985.66.387%252C322_1a.jpg" width="267" height="320" data-original-width="500" data-original-height="600" /></a></div>
The portraits were all based on life paintings, showing many of the Native America chief from around the country, as well as some lesser individuals and women. These paintings provided an incredibly important documentation of Americans from the period, showing not only their faces, but also their dress and accouterments. Although McKenney was acutely aware that he was preserving a chapter in history, he could not have known that had he not undertaken this project, no record at all would remain, for in 1865, a fire at the Smithsonian destroyed almost all the original paintings from which the lithographs were drawn.<P><BR>
In any case, the prints from McKenney's portfolio all share the same history, they have the same relevance to our past, they are all the same size, and they were done by the same printers and lithographers. However, they sell for a wide range of prices. The most expensive prints in this series sell for over $3,000, whereas there are a number that are generally priced at $300 or less. We had a client in the shop the other day, and he was quite puzzled why there was such a range of prices (of course, he liked the more expensive ones and wanted them to be priced closer to the cost of the less expensive ones). <P><BR>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHABzavztzz6CRYNgPYgZlDRg8n2CO5o0rknhnbzY1peFoU9HF1_TkVC4okln_uDtmembNG8QJ_538QqduoxMy6wFhYisGBMUN8CurdhDyUzK_cx0s0k20PR16msDv3hnijtcjUov26iM/s1600/great-blue-heron.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHABzavztzz6CRYNgPYgZlDRg8n2CO5o0rknhnbzY1peFoU9HF1_TkVC4okln_uDtmembNG8QJ_538QqduoxMy6wFhYisGBMUN8CurdhDyUzK_cx0s0k20PR16msDv3hnijtcjUov26iM/s200/great-blue-heron.jpg" width="196" height="300" data-original-width="612" data-original-height="936" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK25FgulUBPL0derav7w_WUoDvJvuNHTs2GyaP7Z9N3X5dJQhGp-SKTPN6mg_cDgVVL6LpGsobRjDYutOEVgvwmvzSLdGHpuRR7ZOycO9_m3BUALJSw6Yq8l86FZNAWQghVEPTlGymrcc/s1600/blogspacer.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK25FgulUBPL0derav7w_WUoDvJvuNHTs2GyaP7Z9N3X5dJQhGp-SKTPN6mg_cDgVVL6LpGsobRjDYutOEVgvwmvzSLdGHpuRR7ZOycO9_m3BUALJSw6Yq8l86FZNAWQghVEPTlGymrcc/s200/blogspacer.jpg" width="20" height="200" data-original-width="49" data-original-height="82" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIV-70Jk0VBRX3fhbkExqQ9QzEV302u4djoNixXIMckjQA31oMN3mA2DuvhcCAnqm49wCQpeDESwYLlkiBfhywy6zcFBRIF7VQg2EP5UAR5FhOxRKX33sxyBlpAP1i_LYULm4IBnF1t3c/s1600/Havell_pl._110_-_Hooded_Warbler.JPG" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIV-70Jk0VBRX3fhbkExqQ9QzEV302u4djoNixXIMckjQA31oMN3mA2DuvhcCAnqm49wCQpeDESwYLlkiBfhywy6zcFBRIF7VQg2EP5UAR5FhOxRKX33sxyBlpAP1i_LYULm4IBnF1t3c/s200/Havell_pl._110_-_Hooded_Warbler.JPG" width="196" height="300" data-original-width="1040" data-original-height="1600" /></a><BR></CENTER>
Thus it seemed that a blog explaining why there was such a variation in prices for the prints within one series would be useful, for this type of variation occurs with lots of different series of prints, not just the McKenney portraits. It happens with most natural history prints, and probably the extreme example are the first edition, Audubon bird prints. Some of the prints from that series sell for over $100,000, which others sell for just a few thousand dollars! <P><BR>
The bottom line is that there is often a variation in prices within a single series of prints based purely on desirability of the prints with the public. The prints in one series tend to have equal, general historic value and quality of production, but that doesn’t mean that the public has equal interest in all of them. Sometimes there is a variation in the specific historic import of a particular print (for instance, in general prints of extinct birds sell for more than the ones of birds which are still around today), sometimes there can be prints which have a particular appeal to the public (for instance, prints of dogs and cats tend to be more popular than prints of aardvarks and mice), but the most common reason is appearance.<P><BR>
Within most series, some of the prints are just more visually attractive than others. It can be size (the larger birds from the Audubon series sell for more than the smaller birds), it can be color (a print of a Cardinal will sell for more than a Wren), or it can just be the prettiness of one image compared to the other.<P><BR>
When a print dealer sets prices for the individual prints within a series, he/she will line them up in order of what he/she thinks how their appeal compares to the others. The print market will generally set the value range of a series (so, for instance, first edition Mark Catesby prints will sell for a range between about $7,000 and $700) and each dealer will then assign his/her prints to a place within that range. It is interesting that different dealers will assign different prices to prints depending on their reading of the market, though the ranges for most dealers will be consistent.<P><BR>
This, of course, makes total market sense as the more desirable prints can be sold for more, while one sometimes has to really cut prices on some of the less desirable prints in order to sell them at all. Typically, despite what can be a very large variation in prices, it is the more expensive prints which tend to sell more quickly than the less expensive ones. An interestingly phenomenon is that as dealers get different groups of prints from one series over time, they will sell the more expensive prints, while the lower end tend not to sell, resulting in many dealers have few of the “better” prints, but often multiple copies of the “lesser” prints.<P><BR>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbiQ0FThllm1WlEMZkBTCUgth-a170o3U3NAaiaYuuNbmddrAYZwDuemGF76eXrtdkdKMM29zkOCI_AGfJfY7x5RY-wLI8E4N_pgXj9kUMAOg8P1_r6X5gJdgeZ8oB1HDpTl5k7vjz-6A/s1600/mk119-279x370.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbiQ0FThllm1WlEMZkBTCUgth-a170o3U3NAaiaYuuNbmddrAYZwDuemGF76eXrtdkdKMM29zkOCI_AGfJfY7x5RY-wLI8E4N_pgXj9kUMAOg8P1_r6X5gJdgeZ8oB1HDpTl5k7vjz-6A/s320/mk119-279x370.jpg" width="200" height="280" data-original-width="279" data-original-height="370" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK25FgulUBPL0derav7w_WUoDvJvuNHTs2GyaP7Z9N3X5dJQhGp-SKTPN6mg_cDgVVL6LpGsobRjDYutOEVgvwmvzSLdGHpuRR7ZOycO9_m3BUALJSw6Yq8l86FZNAWQghVEPTlGymrcc/s1600/blogspacer.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK25FgulUBPL0derav7w_WUoDvJvuNHTs2GyaP7Z9N3X5dJQhGp-SKTPN6mg_cDgVVL6LpGsobRjDYutOEVgvwmvzSLdGHpuRR7ZOycO9_m3BUALJSw6Yq8l86FZNAWQghVEPTlGymrcc/s200/blogspacer.jpg" width="20" height="200" data-original-width="49" data-original-height="82" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdu3gThh7vqR3Byzoxpy30TZFtbQxKmqP3CzjUUXQ63Nm0VTiwKNGxUxLom0jvY7XmZHSSD5lW94oFroxTtXOgQl5Gnyn8AoVUlihG8cr-EeVBSVYoIEvEna00H7A1ftB-7GZTm0amUAM/s1600/mk86.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdu3gThh7vqR3Byzoxpy30TZFtbQxKmqP3CzjUUXQ63Nm0VTiwKNGxUxLom0jvY7XmZHSSD5lW94oFroxTtXOgQl5Gnyn8AoVUlihG8cr-EeVBSVYoIEvEna00H7A1ftB-7GZTm0amUAM/s320/mk86.jpg" width="200" height="280" data-original-width="404" data-original-height="556" /></a></CENTER><BR>
So, how does this play out for the McKenney prints... The most important factor in desirability is the print's appearance. Some of the Indians are spectacular, with strong colors and fierce aspects, while others look like they are refugees from an immigrant camp. Looking at the two prints above, it is not hard to see which would sell for more, and would still be easier to sell at that higher price.<P><BR>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBAskQvswhiPHAid2_hE4osREufal-mBWAsAl_pPqRwAEi_Lpgj_AiO7tqPwEPcO7cU6jNJpO2KbVxDB90_L43oz5umk-PHtrKNVQ1_EK4PGMB0wkT4Y3UXDdKmplELm-xkHuW8YkSRS0/s1600/mk21.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBAskQvswhiPHAid2_hE4osREufal-mBWAsAl_pPqRwAEi_Lpgj_AiO7tqPwEPcO7cU6jNJpO2KbVxDB90_L43oz5umk-PHtrKNVQ1_EK4PGMB0wkT4Y3UXDdKmplELm-xkHuW8YkSRS0/s200/mk21.jpg" width="190" height="290" data-original-width="454" data-original-height="700" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK25FgulUBPL0derav7w_WUoDvJvuNHTs2GyaP7Z9N3X5dJQhGp-SKTPN6mg_cDgVVL6LpGsobRjDYutOEVgvwmvzSLdGHpuRR7ZOycO9_m3BUALJSw6Yq8l86FZNAWQghVEPTlGymrcc/s1600/blogspacer.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK25FgulUBPL0derav7w_WUoDvJvuNHTs2GyaP7Z9N3X5dJQhGp-SKTPN6mg_cDgVVL6LpGsobRjDYutOEVgvwmvzSLdGHpuRR7ZOycO9_m3BUALJSw6Yq8l86FZNAWQghVEPTlGymrcc/s200/blogspacer.jpg" width="20" height="200" data-original-width="49" data-original-height="82" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZsncXqhDSPmNZBKtuv9rU74s1mpGDixFJ29s0SvOiTNU1Y8SgE1j-1g6vt0i0Vqvh7PqbfkLyfW2rIWIdG0ISkxQ24Cy3ZPdW39fKiRzMfuDW4Fz75VorSwNpPVcokbCJbCnRa7jqmGs/s1600/mk72-1.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZsncXqhDSPmNZBKtuv9rU74s1mpGDixFJ29s0SvOiTNU1Y8SgE1j-1g6vt0i0Vqvh7PqbfkLyfW2rIWIdG0ISkxQ24Cy3ZPdW39fKiRzMfuDW4Fz75VorSwNpPVcokbCJbCnRa7jqmGs/s200/mk72-1.jpg" width="200" height="290" data-original-width="456" data-original-height="604" /></a></CENTER><BR>
There are two other aspects to the visual premium besides just appearance. There are a few prints in the McKenney series which show full figured Indians, while most are just bust portraits. Being a full figure adds a price premium. Then there is the premium for having regalia or accessories which are of interest. There is only one of the figures with the archetypal full feathered headdress, only one figure with the classic bow & arrow, and a few with interesting weapons, robes or necklaces. All of these are worth more than they would have been without those accouterments. <P><BR>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPTUXYntHTAa8pJePc03wcdDcyqlXBtyG1S730FafUPo-RZw5R9G9_tVZVTm9x070QSvEFv8zriTr3nzyydcoe3Q4nh_I2V0ifrgDLctD8haLQo197pqVZ0baP0IoN-b9aYobk6X752Ds/s1600/mk71.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPTUXYntHTAa8pJePc03wcdDcyqlXBtyG1S730FafUPo-RZw5R9G9_tVZVTm9x070QSvEFv8zriTr3nzyydcoe3Q4nh_I2V0ifrgDLctD8haLQo197pqVZ0baP0IoN-b9aYobk6X752Ds/s320/mk71.jpg" width="200" height="310" data-original-width="1070" data-original-height="1600" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK25FgulUBPL0derav7w_WUoDvJvuNHTs2GyaP7Z9N3X5dJQhGp-SKTPN6mg_cDgVVL6LpGsobRjDYutOEVgvwmvzSLdGHpuRR7ZOycO9_m3BUALJSw6Yq8l86FZNAWQghVEPTlGymrcc/s1600/blogspacer.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK25FgulUBPL0derav7w_WUoDvJvuNHTs2GyaP7Z9N3X5dJQhGp-SKTPN6mg_cDgVVL6LpGsobRjDYutOEVgvwmvzSLdGHpuRR7ZOycO9_m3BUALJSw6Yq8l86FZNAWQghVEPTlGymrcc/s200/blogspacer.jpg" width="20" height="200" data-original-width="49" data-original-height="82" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsnG4jbSU3JgxsF7DljPf7KSr6qFQ6Qgr3DsjXLknRSqqEdtWAZ0MwCekmIOBNFG0T-O6pmDjUD8jcD68qKpt67GnHzEa-aEha1171ZR2UIQmL-RCfcYPm-Dh52ks2cp0SrO7p77TyJXA/s1600/mk101.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsnG4jbSU3JgxsF7DljPf7KSr6qFQ6Qgr3DsjXLknRSqqEdtWAZ0MwCekmIOBNFG0T-O6pmDjUD8jcD68qKpt67GnHzEa-aEha1171ZR2UIQmL-RCfcYPm-Dh52ks2cp0SrO7p77TyJXA/s320/mk101.jpg" width="200" height="310" data-original-width="1052" data-original-height="1600" /></a></CENTER><BR>
Two other factors in the valuation of McKenney portraits relate to the history of the particular individual depicted. Some tribes are more desirable than others, for various reasons; there are only two portraits of the romantic Pawnee tribe, the Seminoles and Creeks remain of great interest in the American southeast, and the Iroquois appeal to many in the mid-Atlantic region. Other tribes have much more passed into the historical shadows, such as the Chippewa.<P><BR>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVkAFHUZ3HLOAaIzBUzrylUj6Po4fy_tR5xD5FG_g9xM3Gt7NbmjPOE1gOUGskZyPpUSs3QAp9Mtxm9z5ESbbv6k2jc7bnDSwGJg2tb8jHjntnPc8odeUdv6Gd64C1_HG7l_iu9CwBNwc/s1600/mk57.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVkAFHUZ3HLOAaIzBUzrylUj6Po4fy_tR5xD5FG_g9xM3Gt7NbmjPOE1gOUGskZyPpUSs3QAp9Mtxm9z5ESbbv6k2jc7bnDSwGJg2tb8jHjntnPc8odeUdv6Gd64C1_HG7l_iu9CwBNwc/s320/mk57.jpg" width="200" height="300" data-original-width="1081" data-original-height="1600" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK25FgulUBPL0derav7w_WUoDvJvuNHTs2GyaP7Z9N3X5dJQhGp-SKTPN6mg_cDgVVL6LpGsobRjDYutOEVgvwmvzSLdGHpuRR7ZOycO9_m3BUALJSw6Yq8l86FZNAWQghVEPTlGymrcc/s1600/blogspacer.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK25FgulUBPL0derav7w_WUoDvJvuNHTs2GyaP7Z9N3X5dJQhGp-SKTPN6mg_cDgVVL6LpGsobRjDYutOEVgvwmvzSLdGHpuRR7ZOycO9_m3BUALJSw6Yq8l86FZNAWQghVEPTlGymrcc/s200/blogspacer.jpg" width="20" height="200" data-original-width="49" data-original-height="82" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsPd2QPzTGbUqvN7jNOPRhe4XS1i19bS4h6-s0Ei30tN5wUDJTWwZj_KNtHugZWVm8GNPsULgG5qkK1-Mb7hLHBworbaU1X3L0jxbs2XR-fDsIMcrg5jwVUqysQrlXHZj7Ny5cva7cOk4/s1600/mk83.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsPd2QPzTGbUqvN7jNOPRhe4XS1i19bS4h6-s0Ei30tN5wUDJTWwZj_KNtHugZWVm8GNPsULgG5qkK1-Mb7hLHBworbaU1X3L0jxbs2XR-fDsIMcrg5jwVUqysQrlXHZj7Ny5cva7cOk4/s320/mk83.jpg" width="200" height="300" data-original-width="1107" data-original-height="1600" /></a>
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More important is who the individual is, for there are a number of portraits of Native Americans who are of particular interest or importance in American history. Portraits of Pocahontas, Red Jacket, McIntosh, and Black Hawk sell for more because of who they show, not particularly because of their appearance.<P><BR>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPuBfKXuapVQRhaMPBMTF0ykgR-muHHrjTIc_4saC9SSpJVEaxkUB9XpsR3DU7AXX4pX25uicP3f25ZCbgYoJWHff7ViNUSTI41VgA2h6jPrh2hcTYHGK53MPdJdNUt6EqwWjltQIM2nM/s1600/Chief_Osceola.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPuBfKXuapVQRhaMPBMTF0ykgR-muHHrjTIc_4saC9SSpJVEaxkUB9XpsR3DU7AXX4pX25uicP3f25ZCbgYoJWHff7ViNUSTI41VgA2h6jPrh2hcTYHGK53MPdJdNUt6EqwWjltQIM2nM/s320/Chief_Osceola.jpg" width="198" height="300" data-original-width="600" data-original-height="822" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK25FgulUBPL0derav7w_WUoDvJvuNHTs2GyaP7Z9N3X5dJQhGp-SKTPN6mg_cDgVVL6LpGsobRjDYutOEVgvwmvzSLdGHpuRR7ZOycO9_m3BUALJSw6Yq8l86FZNAWQghVEPTlGymrcc/s1600/blogspacer.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK25FgulUBPL0derav7w_WUoDvJvuNHTs2GyaP7Z9N3X5dJQhGp-SKTPN6mg_cDgVVL6LpGsobRjDYutOEVgvwmvzSLdGHpuRR7ZOycO9_m3BUALJSw6Yq8l86FZNAWQghVEPTlGymrcc/s200/blogspacer.jpg" width="20" height="200" data-original-width="49" data-original-height="82" /></a>
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkkVuSQfSTdDN37c58WqMDeAEFebvXKJvGN__RiU0g2V1W7I4JOumFo_C7TVPtZ-hZ-qoJNRqm_ps7c7F9vbRIbnTc9Ck8jAEOuSkgI3SIZaDZTR677Q8NBQF2NdViMe5-TaERvd0U8Go/s1600/mk27.jpg" imageanchor="1" ><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkkVuSQfSTdDN37c58WqMDeAEFebvXKJvGN__RiU0g2V1W7I4JOumFo_C7TVPtZ-hZ-qoJNRqm_ps7c7F9vbRIbnTc9Ck8jAEOuSkgI3SIZaDZTR677Q8NBQF2NdViMe5-TaERvd0U8Go/s320/mk27.jpg" width="185" height="300" data-original-width="1043" data-original-height="1600" /></a>
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So at the top of the price list, one would find a magnificent portrait of a full-figured chief of great importance; that is Osceola. At the other end of the range you will find a rather pathetic portrait of an emaciated chief from a tribe which excites little interest about whom no one knows very much; that is Waemboeshkaa. These prints share a history and quality of production, but it is really not surprising that the one is worth over ten times the other. If you look at <a href="https://pps-west.com/product-category/western-indians/western-indians-native-americans/?orderby=price-desc&filter_series=mckenney-hall&filter_size=folio" target=0>our listing of McKenney folio prints in price order</a>, one can see all these factors played out; one might disagree on our particular ranking, but it should make sense.<P><BR>
Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com0tag:blogger.com,1999:blog-4910641775580983726.post-1796142718409210522018-05-11T18:10:00.001-04:002018-06-06T18:46:43.857-04:00A Cartographic War<div class="separator" style="clear: both; text-align: center;">
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On May 15, 1756, Britain declared war on France, opening the <a href="https://pps-west.com/product/french-indian-war-map-palairet-ca-1755/" target="_blank">Seven Years War</a>, the American part of which was called the French & Indian War. Though that was the official start of the French & Indian War, fighting had actually been going on for almost two years before that between the French and British in America. Beginning even earlier, however, was a cartographic war which was very much a prelude to the “hot” war that followed.<br />
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By the late seventeenth century, the French colonies in America consisted of two main parts. <i>New France</i>, or <i>Canada</i>, bordering the St. Lawrence River and the Great Lakes, and <i>La Louisiane</i>, considered by France to include the entire Mississippi River basin. The British lands in America at that time consisted of a series of colonies along the Atlantic coast, with a number of the original charters stating that they ran “from sea to sea,” though in practical terms they were limited to lands east of the Appalachian Mountains.<br />
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It wasn’t long before the British colonies began to look to expand. Their population was growing rapidly; for instance, it grew from about 250,000 in 1700 to over 1 million by 1750. The French were naturally concerned about British expansion. They had a relatively small population (only about 50,000 Europeans in 1750), and they saw British expansion as creating competition to their fur trapping and Indian trade.<br />
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This led to a series of Wars: King Williams War (1689-97), Queen Anne’s War (1702-1713), and King George’s War (1744-1748). Despite all this fighting, the treaties which ended those wars did not resolve the problems between the French & British in North America.<br />
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The Treaty of Utrecht ended Queen Anne’s War in 1713. By its terms, the French ceded to the British the lands around Hudson’s Bay, the island of Newfoundland, and Acadia, which the British called Nova Scotia. The problem with the treaty, though, was that the exact definitions of the regions mentioned were ambiguous, with a boundary commission supposed to adjudicate the exact borders. The commission didn’t meet until 1720, and then never really got anywhere.<br />
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The Treaty of Aix-la-Chapelle ended King George’s War in 1748. By that treaty, North America was supposed to return to the situation ante bellum. However, what that situation was, was no clearer then than it had been at the end of the previous war.<br />
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Naturally, French and British mapmakers tended to reflect their nation’s outlook on the issues related to North America, and this led to what has been called a “cartographic war.” This notion is well known among map dealers and collectors, the idea being that the maps for each side made claims promoting their colonies while diminishing the other country’s colonies. The idea is that each side was ‘flying the flag’; reflecting national pride. However, the cartographic war was much more than this and the story is worth examining closely.<br />
Maps were one of the few ways European powers could establish their claims to territory. In the wilderness of North America, with relatively few settlements at the edges of the territories, the location of a border was often not marked in any way in the physical world. A line drawn on the map might be the only physical manifestation of a border. Sometimes, maps created the territories more so than any action on the ground.<br />
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Borders depicted on maps could have a reality beyond simply a line drawn on paper. Printed maps have an aura of legitimacy. If a feature is “on the map” the tendency is usually to accept it as real. If a particular border line was not questioned, then this could be taken as <i>de facto</i> evidence of its acceptance. Also, treaties often referred back to previous political situations, and what was shown on maps was sometimes the only way that this could be determined.<br />
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Besides their reifying power concerning borders, maps also had a considerable influence on public opinion. For instance, they could stir up the public if citizens thought another country was taking away their land, stiffening their resolve to resist any diminishing of the territory as shown on a map. The public’s attitude could in turn influence the government, so maps did sometimes have an effect on government decisions.<br />
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For all these reasons, the cartographic war which raged in the first part of the eighteenth century is best seen as a non-military, but still significant part of the conflict between France and Great Britain.<br />
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The first map in the cartographic war was this one by British cartographer Herman Moll. It was issued just two years after the Treaty of Utrecht as a statement of the British view of her colonies as determined by that treaty.<br />
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In the north it shows the British colonies as extending all the way north to the St. Lawrence River and up to the Great Lakes as far as Lake Erie. The colony of Carolina, which has its own inset, is shown extending south to just a bit above St. Augustine.<br />
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This British volley was answered just three years later by French cartographer, Guillaume Delisle.<br />
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Delisle moved the British border well south and east of the Great Lakes and the St. Lawrence River. He also claimed that Carolina was named after Charles IX of France and settled originally by the French, in effect claiming that region for France as well.<br />
This map provoked considerable consternation in Great Britain. Because Delisle was the Premier Géographe du Roi, that is geographer to the King, his maps were regarded as semi-official, reflecting the views of the French government.<br />
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The publication of Delisle’s map provoked Herman Moll to issue a new map of North America to highlight the “Incroachments” shown on Delisle’s map, as a warning to the British of what the French were doing. A note on the map explained that
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“All within the Blew Colour of this map, shews what is Claim’d by France...According to a French Map published at Paris with the French King’s Privelege. The Yellow Colour what they allow ye English.” Moll concluded that “any body may see how much they [that is the French] would Incroach &c.”</blockquote>
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The New York officials were particularly upset about the French cartographic claims, as much of the land they considered to fall within their jurisdiction was usurped in Delisle’s map. Governor William Burnet wrote to the Board of Trade that “I observe in the last Mapp published at Paris with Privilege du Roy par M. de Lisle in 1718...that they are making encroachments on the King[‘s] territories...”<br />
Many of the British claims around the Great Lakes were based on their long standing relationship with the Iroquois, especially concerning the treaties which they believed gave them the rights to the Iroquois lands. This British position was reinforced by a clause in the Treaty of Utrecht which stated that the Iroquois were British subjects. In 1724, Cadwallader Colden, the Lieutenant Governor of the colony, issued the map above to show how the region around the Great Lakes belonged to New York through their treaties with the Five Nations.<br />
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The British government felt the need for better maps, so it ordered the Lords Commissioners of Trade and Plantations, more commonly called the Board of Trade, to send a circular letter on this point to the Governors of the various colonies. The Board was the primary policy-making and administrative agency for the British colonies and in 1719 it sent the following instructions:
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“It being necessary for H.M. Service and for the benefit of the Plantations, that the limits or boundaries of the British Colonies on the Continent of America, should be distinctly known and marked out, more particularly so far as they may border on the settlements made by the French or any Foreign Nations, we desire you to send us, as soon as possibly can, the best informations [sic] you can get upon your Government, together with a chart or map, and the best accounts and vouchers you can obtain to support the same....”</blockquote>
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David Rumsey Map Collection</center>
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This resulted in a number of new maps being sent to the Board from the colonies. As the maps arrived in London, an assistant clerk to the Board, Henry Popple, compiled a general map of the “British Empire in America” with the Board’s “approbation.” As he stated on the map
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“great care has been taken by comparing all the maps, charts, and observations that could be found, especially the authentick records and actual surveys transmitted to their Lordships by ye governors of the British Plantations and others to correct ye many errors committed in former maps.”</blockquote>
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Issued in 1733, Popple’s production was a huge and detailed map which represented the best British mapping of the continent to date. The Board of Trade initially seemed impressed, writing to the Lords of Treasury that
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“Mr. Henry Popple having with great care and Diligence drawn a Map of the British Empire in America, which, from the assistance he has had, from the best Charts and actual Surveys, is rendered infinitely more complete than any other now extant.”</blockquote>
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Not only was the map detailed and based on the “best Charts and actual Surveys,” but it exhibited an expanded view of British holdings in America compared to Delisle and Moll. Nova Scotia is depicted as extending north all the way to the St. Lawrence River, and New York and Pennsylvania are shown reaching to the Great Lakes, while North and South Carolina are clearly depicted as British colonies.<br />
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However, British critics soon appeared. Popple was criticized for relying too much on French maps for his sources and for not taking a strong enough position relative to the extent of the British colonies. For instance, though New York and Pennsylvania reach the Great Lakes, Fort Niagara, on the eastern side of the Niagara River, is shown as part of French Canada. In 1738, Cadwallader Colden, clearly referring to the Popple map, wrote that “The English maps are such servile copies of the French that they mark out the boundaries between the English and French with the same disadvantage to the English as the French do.” <br />
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In the 1720s and 30s, the main area of conflict between the French and British in North America concerned the region north of New England and south of the St. Lawrence River. By the Treaty of Utrecht, in 1713, the French had ceded “all of Nova Scotia or Acadia, in its entirety, conformable to its ancient borders.” The British understood “Nova Scotia” as encompassing the entire region up to the St. Lawrence, today’s New Brunswick and Nova Scotia, whereas the French understood it as applying only to the Nova Scotia peninsula.<br />
In 1740, political tensions in Europe led to the War of Austrian Succession, between Austria and France allied with Prussia. Great Britain was drawn into the war as an ally of Austria, declaring war on France in 1744. The war between France and Britain almost immediately led to armed conflict in the northern parts of America, what is called King George’s War. Various raids and battles occurred, with the only major event being the British capture of the fortified French port of Louisbourg. This war ended with the Treaty of Aix-la-Chapelle in 1747, which essentially restored the situation in North America ante bellum, a situation which, as I have said, was ambiguous and contentious.<br />
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Like with the Treaty of Utrecht, the new agreement called for an Anglo-French commission to meet and determine the borders of the regions referred to in the treaty. Beginning in 1750, commissioners met in Paris to negotiate on these matters. By that time, two main areas of conflict had developed. One was the old issue of what meant by “all of Nova Scotia or Acadia according to its ancient borders.” The other concerned the Ohio River Valley.<br />
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The French well knew that the British colonies were wealthier and more populous than their own, and they were afraid that the British would expand westward into the regions they depended on for their fur trapping and Indian trading. In 1749, Pierre-Joseph Céloron de Blainville led a French expedition down the Ohio River, leaving engraved plates along the way expressing French claims for the Ohio River.<br />
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Meanwhile, the British were starting to focus on their own claims to the lands west of the Appalachian Mountains, based on the original charters. A number of groups were formed to pursue British settlement and development across of the mountains, and these were granted large tracts of land by British colonial governments. Obviously, French and British interests conflicted in the Ohio River Valley.<br />
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<center>
Library of Congress</center>
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This map by British map publisher Robert Sayer shows, from the British perspective, “The Limits of His Majestys several Provinces...here laid as they at present exercise their Jurisdictions.”<br />
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The British colonies are shown encompassing all the lands south of the St. Lawrence, and extending all the way to the Mississippi. To make sure the point was clear, Sayer added a note that said:
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“The French have streched [sic] their Louisiana on both sides the Mississipi [sic], which is another instance of their Incroachment, for they have no just claim to any part of the Country lying Eastward of that River.”</blockquote>
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The French and British border commissioners, trying to determine what were the “ancient borders” referred to in the treaty, naturally looked at maps published previously as part of the negotiations. However, they could find no consistency nor clear answer, as the maps, both those made by the French and by the British, were unclear and showed contradictory information.<br />
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Library of Congress</center>
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The Acadian boundary dispute was the most important part of the negotiations for both the French and the British commissioners, for it was seen as the key to the sea routes to and from North America and the economic wealth from the nearby fisheries. Thus French and British mapmakers paid special attention to the details in the mapping of the region. One of the leading French mapmakers, Didier Robert du Vaugondy issued a map of Canada in 1753 which made no mention at all of “Nova Scotia” and showed Acadia as referring to a just a small strip along the bottom edge of the peninsula. <br />
This map caused quite a stir in Great Britain, for not only was Vaugondy’s map dedicated to the French secretary of state, but he advertised that his map was based on reports communicated to him from the Ministry of War, implying it represented official French policy. As what the designation “Acadia” referred was just the point then being negotiated by the Boundary Commissioners, Vaugondy had to provide a retraction stating that his map did not reflect an official government position.<br />
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Library of Congress</center>
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Vaugondy’s map, naturally, provoked a British response with this map by Bradock Mead, which shows Nova Scotia as extending from the peninsula all the way to the St. Lawrence River. Mead was very clear in his attitude to the French maps that claimed otherwise, writing in a 1754 pamphlet, “[France’s] geographers and historians have been influenced to prostitute their pens in the most shameful manner, to serve the injurious cause.”<br />
Interestingly, the Popple map, which had been made specifically to support the British position in North America, actually caused the British negotiators problems two decades later with their claims to the Ohio River Valley. The French commissioners pointed out that Popple did not show the British colonies extending beyond the Appalachians, and that since Popple stated on the map that he “undertook this Map with ye approbation” of the Board of Trade, this implied that it reflected the official British position at the time.<br />
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The British had to reply that while the Board “might very well [have approved] of such an Undertaking,” Popple’s map was
“framed according to his own particular Notions; he published it upon his own single Authority; the Board of Trade at the Time gave it no extraordinary Sanction... it has ever been thought in Great Britain to be a very incorrect Map, and has never in any Negociation between the two Crowns been appealed to by Great Britain as being correct, or a Map of any Authority.”<br />
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In any case, the Boundary Commission negotiations continued through 1753, but no progress was made and soon the commissioners were recalled. Negotiations didn’t stop, however, but changed their nature. The Boundary Commissioners had been tasked with determining what was meant by the terms of the existing treaties, but now there was direct negotiations between British and French officials to work on a new geopolitical agreement with newly determined borders. The discussions continued to focus on the Acadia question and the trans-Appalachian region, with various proposals being put forth, including the possibility of having a neutral ground in between the French and British colonies, with rights to free access by traders of both nations.<br />
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The Boundary Commissioners had used old maps to try to determine existing borders, but in the new negotiations, the British officials wanted accurate maps upon which to establish new boundaries. The problem was that with the discrediting of Popple’s map, they did not have any really good British-made maps of North America. Consequently, in 1749, the Earl of Halifax, the president of the Board of Trade, commissioned a prominent Virginia-born physician, John Mitchell, to compile a map of North America using the Board of Trade’s archives. Mitchell produced a manuscript draft in 1750, but this was seen to be inadequate. Thus the Board sent out another directive to the governors of the American colonies for them to have better maps made and sent to London. As the new maps came in to the Board from the colonies, Mitchell was given access to them.<br />
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Newberry Library</center>
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The result was that in February 1755, Mitchell’s huge “Map of the British and French Dominions in North America” was published. Mitchell not only used the latest information, but he based the political borders on the original Royal charters and patents, showing the colonies as extending well beyond the Appalachians, and indeed beyond the Mississippi to the edge of the map. In the northeast he showed British lands as not only reaching up to St. Lawrence River and the Great Lakes, but also to lands north of Lakes Ontario and Erie.<br />
It is interesting to note that the Earl of Hardwicke, the British Lord Chancellor, who was in charge of the negotiations then going on with the French, was very concerned about the publication of the map. He wrote:
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“I fear very inconvenient Consequences from it, for it carries the Limits of the British Colonies as far, or farther than any other, which I have seen. If it should out just at this juncture with...the Sanction of the Board of Trade, it may fill people’s heads with so strong an opinion of our strict Rights, as may tend to obstruct an Accommodation, if attainable, ...& make what may be necessary to be done to avoid the fatal Evil of a War, the Subject of great Clamour.”</blockquote>
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This is actually just what the Board of Trade intended. The Earl of Halifax, the President of the Board, was a hawk in terms of British rights in North America and he specifically wanted the Mitchell map to be released so as to pressure His Majesty’s Government not to concede too much to the French.
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That the Mitchell map had an impact on the British public is clear, for reduced versions of the map were published in at least four different British “gentleman’s magazines” within the year. <br />
Illustrated monthly magazines first appeared in London in 1731. These magazines, with such names as Gentleman’s Magazine and London Magazine, contained poetry, prose, and articles on events, fashions, personalities, and other items of the day that might be of interest to the British gentleman. Illustrated by wood and copper engravings, the magazines included many maps, often related to current events.<br />
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Naturally, the tensions with the French generated a good number of maps, some appearing as early as the 1740s but then a large number by 1755, when at least 18 magazine maps related to the conflict in North America were issued.<br />
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These maps not only informed readers on the events taking place over the oceans, but they also helped to sway public opinion. The many copies of Mitchell’s map in the British magazines, and of course the extraordinary original eight-sheet Mitchell map itself, had a considerable effect on the British public, stiffening their attitude towards any sort of compromise with the French. Not surprisingly, the British government began to take a harder line and very soon the negotiations with the French were broken off.<br />
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<a href="https://pps-west.com/product-category/maps/north-america/?filter_events=french-indian-war">Click here to see maps of the French & Indian War</a></center>
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While these negotiations had been going on—-to no avail-—events in North America were progressing on their own towards war. Fighting in western Pennsylvania, combined with increased public fervor concerning the French “Incroachments,” as well as concerns elsewhere in the British empire, led to the inevitable declaration of war on May 15, 1756.<br />
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Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com0tag:blogger.com,1999:blog-4910641775580983726.post-91376435317854713632018-05-02T13:06:00.001-04:002018-05-02T13:06:15.970-04:00The Arkansas Traveler<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI23lNmKtSPbtvyiExU2W3T9JR3Fzx0NoQ_wWrqIYjmYaG-MUM28TTOC4uZ_-TvpSF_b_cALp2aOtJ-rWX9aNoLfVTOtkdGfOlW-GywHAhx6hpMfI0iYZBTg_q22BGYDNDcXiQCy_qurA/s1600/the-arkansas-traveller-scene-in-the-backwoods-of-arkansas-by-currier-ives-980x728.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI23lNmKtSPbtvyiExU2W3T9JR3Fzx0NoQ_wWrqIYjmYaG-MUM28TTOC4uZ_-TvpSF_b_cALp2aOtJ-rWX9aNoLfVTOtkdGfOlW-GywHAhx6hpMfI0iYZBTg_q22BGYDNDcXiQCy_qurA/s400/the-arkansas-traveller-scene-in-the-backwoods-of-arkansas-by-currier-ives-980x728.jpg" width="400" height="285" data-original-width="897" data-original-height="638" /></a></div>
The story of the “Arkansas Traveler” naturally has its roots in Arkansas, but over time it has come to be a universal American folk tale. The origin of this tale is in a story recounted by Colonel Sanford Faulkner, an Arkansas farmer and politician. According to his telling, Faulkner got lost somewhere in the Ozarks in 1840 while on a political canvasing trip. Searching for directions, Faulkner came across a ramshackle squatter’s cabin with its occupant sitting outside playing his fiddle.<P><BR>
Faulkner's queries to the squatter were met with humorous but unhelpful replies until Faulkner showed he was able to play the second “turn” of the tune the squatter had been playing. This thawed the squatter’s attitude, and he subsequently offered welcome hospitality and directions to Faulkner.<P><BR>
The tune supposedly played in this perhaps apocryphal episode probably had older roots in American folk music, but it was first published in 1847, and it went on to become a standard part of the American folk repertoire. The story later became part of a popular sketch performed regularly on the vaudeville circuit, featuring a lost city slicker as the brunt of evasive banter by a cagey country fiddler.<P><BR>
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In the mid-1850s, Arkansas artist Edward Payson Washbourne made a painting of the meeting between the traveler and fiddler, which in 1859 was turned into a lithograph by J.H. Bufford. That print is very rare, but a number of years later, Currier & Ives issued their own version of this scene and it is that print which has come to be the iconic image of the Arkansas Traveler.<P><BR>
One of the things I enjoy most about the print/map business is that I share a love for the items I deal in with many others. Often, those fellow enthusiasts share their enjoyment and knowledge with me. This recently happened where a fine banjo player, Don Borchelt, sent me <a href="https://youtu.be/0z9a71B4lJw" target=0>this link</a> to a delightful rendition of the tune, as well as a fun version of the dialogue between the traveler and fiddler, using—-naturally—-the Currier & Ives print as illustration.<P><BR>
Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com2tag:blogger.com,1999:blog-4910641775580983726.post-55414385109589410112018-04-03T15:45:00.000-04:002018-04-03T15:45:24.545-04:00John E Dillingham<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgAvTwCWZI0kE37UWeHU4RfB3OidB9Op9J1wBIaIaQO3s-vtJtXwlLYtcIXbN9VgM3YvqGoBkJToRF7OR02E0ANuTPUrLECGKs_ptKZQf_vCgyno8fZbkjNTVrYkZTQx7UbGhrH_YH7pk/s1600/lithographer2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgAvTwCWZI0kE37UWeHU4RfB3OidB9Op9J1wBIaIaQO3s-vtJtXwlLYtcIXbN9VgM3YvqGoBkJToRF7OR02E0ANuTPUrLECGKs_ptKZQf_vCgyno8fZbkjNTVrYkZTQx7UbGhrH_YH7pk/s400/lithographer2.jpg" width="400" height="328" data-original-width="1360" data-original-height="1114" /></a></div>
By the middle of the nineteenth century, lithographic publishers were popping up around the country and this provided a new outlet for the artistic and commercial interests of American artists. Without a huge investment, artists could have their images turned into prints and sold to the public and many took advantage of this opportunity. Some of these prints were sponsored by the publishers, some by the artists themselves, and some jointly, but in all cases, it was hoped that these lithographs would sell well, producing profit for all involved.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIXknzMnPSkWqzpelEsZsUOUqrzyJ7Dzg0JkuuqB2YSL8RJ2_vZNmukPV_2eEQdc4spwZBsv2eA_DTF2WmU2T5_cS04s_0WgmSkYIgOrpfiAtw1FnFn9QHb0RlLa5MmTeXLIAdgazicAw/s1600/Dillingham+Fort+Dearborn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIXknzMnPSkWqzpelEsZsUOUqrzyJ7Dzg0JkuuqB2YSL8RJ2_vZNmukPV_2eEQdc4spwZBsv2eA_DTF2WmU2T5_cS04s_0WgmSkYIgOrpfiAtw1FnFn9QHb0RlLa5MmTeXLIAdgazicAw/s400/Dillingham+Fort+Dearborn.jpg" width="400" height="211" data-original-width="572" data-original-height="302" /></a></div>
One artist who tried to career path was a Connecticut born artist named John E. Dillingham. Trained as an accountant, Dillingham moved to Chicago about 1852, where he branched out a bit, being listed also as an artist, designer or writer in the city directories. In the March 1857 issue of <i>Chicago Magazine</i> two prints of Fort Dearborn appeared for which Dillingham made the drawing on the wood blocks.<P><BR>
At some point, Dillingham decided to throw his hat completely into the artistic ring, heading out to the region of the Pikes Peak Gold Rush, today's Colorado, and trying his hand at painting local scenes. He may have come with the intent of making sketches for eastern newspapers or magazines, though none are known to have been published. Dillingham traveled around the Front Range trying to sell his work to local businessmen and citizens. At some point he hooked up with John J. Pratt and Bela S. Buell, two local engineers and surveyors, who
had been planning to issue a large map of the Colorado gold fields since late 1860.<P><BR>
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When their map appeared in 1862, it included 27 images around the sides. Twenty of these are images of buildings in Colorado, mostly businesses and one private residence. Most, if not all, of these were based on photographs. These illustrations were paid for by the building owners as promotion for their business or simple prestige.<P><BR>
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Besides the twenty building vignettes based on photographs, there are seven scenes of Colorado. These were intended in part to help to give an idea of the terrain of the territory, but they were also for sale as separate prints. Four of the images are attributed to a specific artist and the other three are unattributed. The view of Bear Creek Valley gives the artist’s name as “F.M. Case,” that is Francis M. Case, the first Surveyor General of Colorado. As part of his survey work, Case would need to have be able to make drawings of the land to accompany his reports. Case’s image is reasonable, but relatively crude. This matches the style of the three unattributed views on the map, which leads me to think they may also have been drawn by Case. The last three views of Colorado are attributed to Dillingham, and they are of better quality than all the other views.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxScX2mPG1Gj6b7s4cmr5_vm_WoqmjgGxpiWt9O6DYgsf_imbB2kCea1iyDuNutFt6lC-kiPZ_rcOvqi1OFBLhQGlQOkmHEqMvxgkg_L-1PUV5Rip9dR2r1Wl33jfTDPDyyaBz5MKx_to/s1600/weld.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxScX2mPG1Gj6b7s4cmr5_vm_WoqmjgGxpiWt9O6DYgsf_imbB2kCea1iyDuNutFt6lC-kiPZ_rcOvqi1OFBLhQGlQOkmHEqMvxgkg_L-1PUV5Rip9dR2r1Wl33jfTDPDyyaBz5MKx_to/s320/weld.jpg" width="320" height="166" data-original-width="828" data-original-height="430" /></a></div>
The first image is a small oval at top which shows Camp Weld. This was built in 1861 so that Colorado could raise and train troops for the defense of the Union.<P><BR>
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A bigger scene shows the mining town of Central City.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlNabeUjwwCsKB33Uwc8dU0BrV9qQjLc0eylFOVl4aflbihODnU0QhBx8Tq79z99m3xLTAkfDK_VU1bxrZ371mzN8jKwHTOA1CBkfxl0cyi8UrITCyf5zGfHdnopncXUNqCRlf7T2vjG0/s1600/dev.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlNabeUjwwCsKB33Uwc8dU0BrV9qQjLc0eylFOVl4aflbihODnU0QhBx8Tq79z99m3xLTAkfDK_VU1bxrZ371mzN8jKwHTOA1CBkfxl0cyi8UrITCyf5zGfHdnopncXUNqCRlf7T2vjG0/s400/dev.jpg" width="400" height="76" data-original-width="1600" data-original-height="303" /></a></div>
The largest image was at the bottom, a panoramic view of Denver, drawn from a location then just outside of town, today where the state capitol is located.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhli6Q1tn62rB1KJy0LYL7uwgAPR5gSYnYXSug3p9bmfW6e3Ra5HoKzsa4lByFQRlL9rh8-sVEXCTgO90M33Qv2cy3dA-9Za9XOJQV795Dp1ahXgC-Btx9y88bIY8Tu9ayVqgRdYhVpbl0/s1600/DENVER_CITY.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhli6Q1tn62rB1KJy0LYL7uwgAPR5gSYnYXSug3p9bmfW6e3Ra5HoKzsa4lByFQRlL9rh8-sVEXCTgO90M33Qv2cy3dA-9Za9XOJQV795Dp1ahXgC-Btx9y88bIY8Tu9ayVqgRdYhVpbl0/s400/DENVER_CITY.jpg" width="400" height="148" data-original-width="1600" data-original-height="590" /></a></div>
Dillingham, as an enterprising and hopeful artist, did not simply have his images used as illustrations on the map, but also had them issued as separate lithographs for sale to the public. It does not appear that this effort was that successful, as only two examples are known of his separate print of Denver.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmKiXNpY1YXfpHKUz1vMgKMPg724joMxeeJnLwrZPmyP6pllgfZ3su4Xow0zDCcEOqXFmfis8PKgxnu3fYYypu5Ls78cLvFQdvSVuyIWx-C6Uk5TNDSt8m5cMRprjJYK073fKvRxr0hPk/s1600/bob.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmKiXNpY1YXfpHKUz1vMgKMPg724joMxeeJnLwrZPmyP6pllgfZ3su4Xow0zDCcEOqXFmfis8PKgxnu3fYYypu5Ls78cLvFQdvSVuyIWx-C6Uk5TNDSt8m5cMRprjJYK073fKvRxr0hPk/s400/bob.jpg" width="400" height="211" data-original-width="1382" data-original-height="730" /></a></div>
The fluid nature of the market for prints at the time is demonstrated by another image by Dillingham. The first edition of the Pratt and Buell map had only the three illustrations by Dillingham, but a variant edition of the map added a fourth. In place of a building picture and a general view in the top left corner of the map, a new image of "Bob Tail Hill" was put in their place. There had to be some reason this change was made and it likely was a commercial one. It is possible that the owners of the mines shown on Bob Tail Hill paid extra to have the image added, or perhaps Dillingham instigated the change so that he could market a new print. This latter notion gets some support from that fact that this view of Bob Tail Hill was sold as a separate print.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiizhUgSinNv2JK8h829uXxjnwgtVlpu11E8t__Gt3dZxnTucXNWMQ_CnM0dYbd7UDiAjvox1-kFI5dpoHzuU-gPhIH7Ad0jkLUkuvodnAqKOp9DQbOWok8rZsZep1xh5SdoDpO4aTPcLo/s1600/Dillingham+Black+Hawk..jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiizhUgSinNv2JK8h829uXxjnwgtVlpu11E8t__Gt3dZxnTucXNWMQ_CnM0dYbd7UDiAjvox1-kFI5dpoHzuU-gPhIH7Ad0jkLUkuvodnAqKOp9DQbOWok8rZsZep1xh5SdoDpO4aTPcLo/s400/Dillingham+Black+Hawk..jpg" width="400" height="300" data-original-width="1600" data-original-height="1200" /></a></div>
At about the time as he produced the print of Bob Tail Hill, Dillingham was working on another picture of the essentially the same area. This image was never intended for a map illustration, but rather specifically to be sold as a separate lithographic print. In January 1863, a large lithographed view of Black Hawk drawn by Dillingham was lithographed by Charles Shober of Chicago. By March 12, 1863, a local paper was advertising this print as being sold by subscription, and the next month Dillingham announced that he was heading back east to try to find additional subscribers there.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaUEQuQl7RLRRzgqI_Ohv8P7DF7EJFWNj4ZFsmO4o6xIkFNAh3U3ZwuF3hqsY0h3qM5PSxFrv8h71xkQSblQP1_GuTWoKc7l-kpHG38QzbtAVV2zYHpEiVYi3-1zdB2onN_7y2fBgn7co/s1600/dill+det.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaUEQuQl7RLRRzgqI_Ohv8P7DF7EJFWNj4ZFsmO4o6xIkFNAh3U3ZwuF3hqsY0h3qM5PSxFrv8h71xkQSblQP1_GuTWoKc7l-kpHG38QzbtAVV2zYHpEiVYi3-1zdB2onN_7y2fBgn7co/s400/dill+det.jpg" width="400" height="182" data-original-width="1600" data-original-height="727" /></a></div>
The print shows Black Hawk as a booming community, with many prosperous, well-dressed citizens shown peacefully congregating around the town—-including one woman on a horse and another woman and child pair. Note that many of the businesses have their name displayed on their building. This was a way in which Dillingham could make some money on his print besides simply selling subscriptions. Dillingham would offer to display a business’s name for a fee, and if you didn’t pay the fee, you didn’t get your name in the print.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMNX6CBSyLAIfHhkRf-Ibsngu3VIlHyIOgxPDstwkpGqYPyfaXfl2TpDqRskSI1rqGrwQHKeYkt4jmLcO7-u7KYpEW-mc-sojuZOnoeXGP1hFq6APIzryJBYUahkAUGZXiJKQQMwZfaag/s1600/dill+crest.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMNX6CBSyLAIfHhkRf-Ibsngu3VIlHyIOgxPDstwkpGqYPyfaXfl2TpDqRskSI1rqGrwQHKeYkt4jmLcO7-u7KYpEW-mc-sojuZOnoeXGP1hFq6APIzryJBYUahkAUGZXiJKQQMwZfaag/s400/dill+crest.jpg" width="400" height="202" data-original-width="1600" data-original-height="808" /></a></div>
This was not the only supplemental way in which Dillingham was able to get money for this particular print, an interesting story detailed in a Colorado state resolution. On the 1862 Pratt & Buell map of the gold regions, the name of the small community just east of Central City was listed as “Enterprise.” Supposedly three local mill owners, William Lee—-proprietor of the Black Hawk Mill, Fredrick H. Judd—-owner of the Eagle Mill, and Mylo Lee-—who owned the Tiger Mill, all wanted the town to be named Black Hawk Point. So, they are said to have commissioned Dillingham to produce this print with their preferred name prominently in the title. This story is confirmed by the crest in the bottom margin, which contains symbols representing their three mills; the Eagle, Black Hawk and Tiger.<P><BR>
Despite all the ways he tried to make money with his drawings-—by having them used as map illustrations, marketing the prints by subscription, selling naming rights, and getting commissions-—Dillingham does not appear to ultimately have been successful. The last we definitely hear of him is in April 1863, shortly after the Black Hawk print was published, when he announced he would be heading back “for a short trip East” in order to sell subscriptions. He isn’t mentioned again in Colorado, though appearing back in Chicago directories as an artist.<P><BR>
Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com1tag:blogger.com,1999:blog-4910641775580983726.post-84067859827616412912018-03-19T13:03:00.000-04:002018-03-19T13:05:13.734-04:00John Reps on American Bird's Eye Views<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0hsgeYrWpXdwlCzk4Y0swSI4RsdAEXD1B4cbU6N7NMOY5FkRIr7223UhVk8fIT3DOSnpyKIPKGyPmJRIjHSdE1aAsoc9dqrDvTd0xbto7mZMC8l5qbpO4Vc97RF6cSeMFuf-2EuinTW0/s1600/reps.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0hsgeYrWpXdwlCzk4Y0swSI4RsdAEXD1B4cbU6N7NMOY5FkRIr7223UhVk8fIT3DOSnpyKIPKGyPmJRIjHSdE1aAsoc9dqrDvTd0xbto7mZMC8l5qbpO4Vc97RF6cSeMFuf-2EuinTW0/s400/reps.jpg" width="400" height="227" data-original-width="870" data-original-height="493" /></a></div>
I just wrote about the excellent exhibit on Fowler's bird's-eye-views of Pennsylvania towns which is at the State Museum of Pennsylvania (as well as on line). One thing which I didn't mention was the excellent slide-show presentation on the general subject of American bird's-eye-views put together for the exhibit by John Reps.<P><BR>
John Reps is the dean of scholars on this topic. His classic <a href="https://pps-west.com/product/views-and-viewmakers-of-urban-america/" target=0><i>Views and Viewmakers of Urban America</i></a> is the "bible" on the subject, not only because of Reps amazing listing of thousands of these views, but also because of his insightful text on the views and their makers. Well, John added to this story in a very interesting slide show which can be <a href="https://www.youtube.com/watch?v=r9v2fpnGb2E&t=28s" target=0>seen on the internet</a>. It talks about how the prints were made and includes some fascinating images that I have never seen. Anyone interested in this topic should take a look!<P><BR>Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com0tag:blogger.com,1999:blog-4910641775580983726.post-82241787816452937332018-03-13T17:24:00.000-04:002018-03-13T17:24:44.750-04:00T.M. Fowler's Bird's Eye Views<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLzDi5mXqcbpGQbxwSQyUl9hezAvIsLDut51r_ljeUmLDXPmkKMejJJ9cr-n0VG6-ii4ZNN1cSN_kpQLGRZkP21cH1iMrDANRy69jQyFjPNFfycaBWou9KIIBv23rxNcFcMGMBi7zOwZo/s1600/TFMain-copy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLzDi5mXqcbpGQbxwSQyUl9hezAvIsLDut51r_ljeUmLDXPmkKMejJJ9cr-n0VG6-ii4ZNN1cSN_kpQLGRZkP21cH1iMrDANRy69jQyFjPNFfycaBWou9KIIBv23rxNcFcMGMBi7zOwZo/s400/TFMain-copy.jpg" width="400" height="196" data-original-width="1500" data-original-height="734" /></a></div>
I recently heard of a wonderful exhibit at the State Museum of Pennsylvania which I am happy to call to everyone's attention. A description of the exhibit is given on the <a href="http://statemuseumpa.org/fowlers-pennsylvania-birds-eye-views/" target=0>exhibit web site</a>:<P><BR>
<blockquote><b>‘Every Thing of Interest Shown’: T.M. Fowler’s Bird’s-Eye Views of Pennsylvania, 1885-1905</b>, on exhibit through May 6 on the first floor of The State Museum, showcases a series of bird’s-eye views, or panoramic maps, of Pennsylvania communities as they appeared during the late 19th century.</blockquote><P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwTIl2g_18_wbk6hBpPo1B2P4uqAAWmNWM4BFURjAC4AUdDNrYtYoXJwTtFlWDq-yO315n57UiJmA_qgcJbcQNrgev6ZzbbpM3PyERZ2-9nOJNxpDK6hfrTmZuWcxWNFgRtPxWERMxo-M/s1600/getty.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwTIl2g_18_wbk6hBpPo1B2P4uqAAWmNWM4BFURjAC4AUdDNrYtYoXJwTtFlWDq-yO315n57UiJmA_qgcJbcQNrgev6ZzbbpM3PyERZ2-9nOJNxpDK6hfrTmZuWcxWNFgRtPxWERMxo-M/s400/getty.jpg" width="400" height="270" data-original-width="1600" data-original-height="1081" /></a></div>
Urban bird’s eye view of the nineteenth century are one of the most interesting type of American prints there are. Beginning after the Civil War, the bird’s eye view became one of the most popular of print genre, with these prints being made of thousands of American towns and cities from the late 1860s into the early twentieth century. This was a period of significant urban growth throughout the country, and the civic pride which proliferated provided a fertile field for print publishers to market these visual vistas of America. According to John Rep’s seminal <a href="https://pps-west.com/product/views-and-viewmakers-of-urban-america/" target=0><i>Views and Viewmakers of Urban America</i></a>, publishers sent their artists out into the field throughout all parts of the country to draw and market the views. The artist would walk the streets of the town or city, drawing all the buildings and encouraging the citizens to subscribe to the view that would be produced. Once the entire area was sketched and enough subscriptions obtained, the artist would use a standard projection to turn his street-level images into a bird’s eye view.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGY3tji0-aVe223qIkrGYlxqrCjg9O9UnTWgFAO-WBNHH9x3qvXJleCjBD6uismaWTvoI8BpiVf7rXVeCEDKJdJ7fRtu7B4ib2gCdbmXFdhIxwJiwIvrlpVLkx3VZHmwCpdow3DrccznE/s1600/ambler.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGY3tji0-aVe223qIkrGYlxqrCjg9O9UnTWgFAO-WBNHH9x3qvXJleCjBD6uismaWTvoI8BpiVf7rXVeCEDKJdJ7fRtu7B4ib2gCdbmXFdhIxwJiwIvrlpVLkx3VZHmwCpdow3DrccznE/s400/ambler.jpg" width="400" height="259" data-original-width="1600" data-original-height="1037" /></a></div>
Because these views were primarily sold to citizens of the place depicted, they had to be accurate and all buildings shown, lest an owner were to be insulted. The relative size of buildings might be off, some physical features might be exaggerated (for instance the size of a river might be increased to emphasize its importance), or a building not-yet-built might be inserted so the view would not be out-of-date as soon as it was issued, but on the whole the views were amazingly detailed and accurate. Thus these views are not only highly decorative, but are also remarkable historical documentation, providing us with a wonderful documentation of nineteenth century urban America.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdD9WgtTFQgWNf-_Mp0wfsYHD-OX5Kd86gOS-vvhjX_85NREmNkXRK67ACiVJw95m7C5Tvrj6tJe2EBv3afUNGBT1rOO0ZKzCzWFWhPAaV6oXM1k3PDinlFTFRDEvpPLVVUGgmm1HQcnM/s1600/chambers.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdD9WgtTFQgWNf-_Mp0wfsYHD-OX5Kd86gOS-vvhjX_85NREmNkXRK67ACiVJw95m7C5Tvrj6tJe2EBv3afUNGBT1rOO0ZKzCzWFWhPAaV6oXM1k3PDinlFTFRDEvpPLVVUGgmm1HQcnM/s400/chambers.jpg" width="400" height="239" data-original-width="1600" data-original-height="956" /></a></div>
Thaddeus Mortimer Fowler (1842-1922) was the most prolific of all American bird’s eye view makers. Fowler served in the Civil War and was wounded at the Battle of Bull Run. That led to a discharge, but Fowler kept involved with the army by making tintypes of soldiers. He later moved to Madison to work for his uncle, a local photographer. Fowler began his career with bird’s eye views about 1868 by working as a subscription and canvassing agent for Albert Ruger of Chicago. Fowler soon came to work also as an artist of the views, making the sketches and preparing the final drawings. By 1870, he set up as his own publisher and from then on he acted as both artist and publisher on many prints, sometimes on his own and sometimes with others.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdPjpwVNBkXZb-8nd2ZJpoTk-UzWrL9qcwCnQXGc4u3VdM7O7OKlruEKOMcIfexsHB1GzKn7GAlOLaArI83O8GEtrS3WZ25SyEjDIfMCDidfSe3Dix4nro_krf4qKQpYp3Flgzu4p5Qwo/s1600/hones.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdPjpwVNBkXZb-8nd2ZJpoTk-UzWrL9qcwCnQXGc4u3VdM7O7OKlruEKOMcIfexsHB1GzKn7GAlOLaArI83O8GEtrS3WZ25SyEjDIfMCDidfSe3Dix4nro_krf4qKQpYp3Flgzu4p5Qwo/s400/hones.jpg" width="400" height="221" data-original-width="1600" data-original-height="882" /></a></div>
Over the years, Folwer was involved in over 400 different views! He worked right up to 1922, when at age seventy-nine he slipped on the ice in Middletown, N.Y., where he was undoubtedly promoting a revised view of the city which was planned for that year. Fowler made his first view of Pennsylvania, of Altoona, in 1872, subsequently making more that 240 more views of the Keystone State, more than half of his output. As noted on the State Museum web site, because of this Pennsylvania has more bird’s eye views than any other state.<P><BR>
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6ayUWhGVkbZPKIQ_cXBL_Q4MdxUpDx-FousOtwC8qLfWIDde5fIea62kIeATIkz0WJTSUxKxma_RJmf8TccVpeLzjrQMe0wAccizP1XNHSIryGSo6ZI-YhQiNrAIKtE-0Lz9KOHHpB3E/s1600/manayunk.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6ayUWhGVkbZPKIQ_cXBL_Q4MdxUpDx-FousOtwC8qLfWIDde5fIea62kIeATIkz0WJTSUxKxma_RJmf8TccVpeLzjrQMe0wAccizP1XNHSIryGSo6ZI-YhQiNrAIKtE-0Lz9KOHHpB3E/s400/manayunk.jpg" width="400" height="250" data-original-width="1600" data-original-height="999" /></a></div>
The State Museum exhibit is well worth visiting by anyone who is interested in bird's eye views or Pennsylvania history. The <a href="http://statemuseumpa.org/fowlers-pennsylvania-birds-eye-views/" target=0>web site</a> is also excellent, presenting much information and lots of images. The State Museum, along with the Library of Congress, have digitized many of Fowler's prints, shown both in the exhibit and in this blog.<P><BR>
Chris Lanehttp://www.blogger.com/profile/03095758274368520536noreply@blogger.com0