1895 currier (5 risultati)

hardcover. Condizione: Good. cover shows minor wear, tear, rubbing. pages lightly tanned and foxed.

Soft cover. Condizione: Very Good. 104 pp. ; color illustrations throughout, suitable for framing ; 38 cm. Folio ; ISBN: 0896600076 ; 9780896600072 ; LCCN: 78-2205 ; "An Artabras book." ; OCLC: 3669317 ; stiff paper wrappers ; wear to wrappers, else VG. Book.

1st edition. 6, [2] pp of text. 8 tipped-in full-color plates, with printed tissue guards noting title, size & publication information of the original image. Folio. 12" x 9-5/8" VG (bit of chipping to spine crown/binders glue discoloration to ep gutters)/VG (some wear/spine panel sunned). Printed orangish-yellow paper boards. Printed red dust jacket.

Lithograph with hand-coloring and gum arabic on wove paper. Title printed in lower margin, "F.F. Palmer, Del." on lower left; "Currier & Ives, Litho. NY" on lower right. 21 x 29 ¾ sheet; 35 x 43 ½ framed This magnificent and superbly colored lithograph is based on a drawing by Frances F. Palmer (1812-1876), and depicts the steam paddlewheeler Princess at a landing along the Mississippi river, where men load firewood to feed the steamboat's engine. A campfire burns nearby, and a second steamers approaches from the distance. At the top left of the composition, a full moon glistens luminously in the midst of silver-lined clouds, illuminating an otherwise pitch black sky. The moonlit river, the billowing black smoke from the boat, and the intense labor of the wood loaders all contribute to the drama and tension of the scene. The stark juxtaposition of the peaceful nighttime scenery of the river with the roaring activity surrounding the steamer captures a vision of America's transition into an industrial superpower. The steamboat was quintessential to 19th-century industrial development around the Mississippi river, since its steam power allowed for the practical large-scale transport of passengers and freight both up and down-river, as well as navigation in shallow waters and upriver against strong currents. The publishing firm of Currier & Ives created the most popular and highly regarded lithographs of quintessentially American scenes ever produced. The quality, vast scope and engagingly populist style of their works have made their names synonymous with an idealistic vision of 19th-century American promise and optimism. Nathaniel Currier began his lithographic career as an apprentice in 1828. By the mid-1830's he had established his own firm on Spruce Street in New York City. In 1857 James Ives became a partner in the flourishing business, which went on to produce over 7,000 lithographs by 1907. Frances F. Palmer was an England-born lithographer and draughtswoman who became one of the most impressive graphic artists of the 19th century. She learned to draw at a Leicester girls' school run by the artist Mary Linwood (1756-1845). In the 1830s, she married Edmund Seymour Palmer, with whom she started a lithography business in 1841. In 1843, she immigrated to the United States with her family, and opened a lithography company in New York. Although she gained an excellent reputation for lithography, the business lost money and closed in the 1850s. However, Currier & Ives recognized her talents and hired her in 1849. Palmer was particularly skilled at background tinting and rendering atmospheric landscapes, and soon became one of the company's core artists. She had a prodigious output, completing several hundred lithographs, more than any of the other regular artists employed by Currier & Ives. Catalogued by Xueli Wang, Columbia University, BA; Courtauld Institute of Art, MA. You are warmly invited to visit our gallery at 1016 Madison Avenue in New York City to view this work whenever it might be convenient.

STUNNING BIRD'S EYE VIEW OF NEW YORK WITH NUMEROUS LANDMARKS KEYED BELOW THE IMAGE Hand-colored lithograph. 27 x 37 inches sheet, 31 ½ x 42 inches framed. Legend with numbered landmarks and title printed on lower margin. This breathtaking bird's-eye view of New York is drawn from a work by the accomplished cityscape artists Charles R. Parsons and Lyman W. Atwater. It looks from northeast, with Jersey City at the very fore, Manhattan island at the center, and Brooklyn in the distance, and shows the glorious ribbon of water surrounding Manhattan island teeming with sailboats and steam vessels--a sign of the flourishing commerce that defined Postbellum New York. This composition encompasses numerous famous landmarks that remain thriving centers of New York life today, including Union Square, Madison Square, NYU, Harlem River, Astoria, Prospect Park, Redhook Point, Gowanus Bay, and the Navy Yard. Of these, the most prominently featured are Battery Park, the Hudson and the East River, and the Brooklyn Bridge, which was represented here as only a projection, since construction for the actual bridge was not completed until six years after this view's publication. The land of New York was discovered in 1524, and colonized by the Dutch in 1624, when it was named New Amsterdam and became a trading port of the Dutch West India Company. In 1664 this Dutch colony was surrendered to British forces and was renamed New York after James Duke of York (1633-1701), who had been granted the land by his brother King Charles II. Within fifteen years of this present view, New York would become one of the most important cities in the new nation. Today it is a vibrant and diverse beacon of culture, finance, and education for the world. The publishing firm of Currier & Ives created the most popular and highly regarded lithographs of quintessentially American scenes ever produced. The quality, vast scope and engagingly populist style of their works have made their names synonymous with an idealistic vision of 19th-century American promise and optimism. Nathaniel Currier began his lithographic career as an apprentice in 1828. By the mid-1830's he had established his own firm on Spruce Street in New York City. In 1857 James Ives became a partner in the flourishing business, which went on to produce over 7,000 lithographs by 1907. Our goal is highly competitive prices and the best quality of pull, paper patine, and condition. Catalogued by Xueli Wang, Columbia University, BA; Courtauld Institute of Art, MA. You are warmly invited to visit our gallery at 1016 Madison Avenue in New York City to view this work whenever it might be convenient.