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Chromolithography: The Art of Color
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An unrecorded pair of prints by the famous American genre artist John George Brown (1831-1913). Born in Durham, England, on the 11th of November 1831, Brown studied at Newcastle-on-Type, in the Edinburgh Academy, and after moving to New York City in 1853, at the schools of the National Academy of Design. In 1866 he became one- of the charter members of, the Water-Color Society, of which he was president from 1887 to 1904. He is best known for his images of children, though usually street urchins rather than the beatific young ladies depicted here.
Here we have a pair of prints designed to provide morally uplifting images for the home, with figures representing the virtues of hope and purity. Catherine E. Beecher & Harriet Beecher Stowe, in The American Women's Home (1869), said this about the role of such prints, "The educating influence of these works of art can hardly be overestimated. Surrounded by such suggestions of the beautiful, and such reminders of history and art, children are constantly trained to correctness of taste and refinement of thought, and stimulated-sometimes to efforts at artistic imitation, always to the eager and intelligent inquiry about the scenes, the places, the incidents represented." We have been unable to find any record of J. Snedecor nor his "Chromos," so this may have been a failed attempt to break into the market for top end chromolithographs that had been pioneered by Prang. Despite this apparent lack of success for these prints, their quality is very fine and the artist an important one, making them wonderful example of Victorian American prints for the home. For the pair, $1,200
A particularly large and wonderfullly rendered image published by the best American chromolithographic publisher, Louis Prang. $725
Two shoeshine boys at odds over a corner prime for the trade. $800
This lovely image was aimed at those who desired the sophistication of European oils but could not afford to purchase the real thing. Though affordable compared to paintings, this print was still one of the most expensive Prang issued, selling for $10. Even for the price, consumers felt this was a worthy buy - as the art journal The Aldine noted in 1869, "For ten dollars the working man may glorify his house with one of Correggio's masterpieces…." A nice example of Prang's most beloved type of print. $950
Eastman Johnson. "The Old Kentucky Home." New York: Chas. C. Lucas & Co., 1876. 18 x 24. Chromolithograph by Bencke & Scott. Some repaired surface punctures and tears, and some cracks along edges. Otherwise, very good condition. This example of a usually dark print is the brightest that we have seen. Presented in an antique, folk art frame which was with it when found. The original canvas is laid onto a new and stronger canvas. Conserved and refit to archival specifications.
An American artist, Eastman Johnson returned from his training in Paris with a commitment to contemporary American subject matter. After living among and painting American Indians in Wisconsin, Johnson returned to New York to establish a studio, where he completed ground-breaking paintings like "A Ride for Liberty --The Fugitive Slaves." His adept handling of domestic subjects built his reputation and his living. But his special place in the canon of American painting was secured by his willingness to represent marginalized people groups like American Indians and African-Americans. Taken from his painting, "Old Kentucky Home, Negro Life in the South" this exceptional chromolithograph presents the African-American family with a remarkable respect tinged with romanticism. Though printed in post-bellum New York, the original painting was completed just before the dawn of the Civil War. Before Johnson's A Ride to Liberty -before the Confederate states seceded-this painting appeared in New York at the National Academy of Design. In the abolition-tinged Northeast, the painting took on indications of slavery's decay: a crumbling building signified, to some viewers, the decrepit morals of slaveholders and their inevitable demise. Conversely, slavery's supporters drew from it the assurance that enslaved families did, indeed, remain together, and even their hard tasks did not preclude an occasional leisurely evening. Known also by the title, "Life in the South," it portrays not Kentucky but an urban building in Washington, D.C., and scholars suggest its layers of potential meaning mirror the complexity of slavery in the Union's capital. Its reproduction as a chromolithograph indicates that, whatever its morality, the painting's aesthetic appeal made it widely popular with the American public, especially those buying prints from New York publishers. This is a richly colored, deeply interesting print that represents the best of nineteenth century American chromolithography. $2,800
Eastman Johnson. "The Barefoot Boy." Boston: L. Prang & Co., 1867-69. 12 3/4 x 9 3/4. Chromolithograph. In classic period frame.
Johnson's "The Barefoot Boy" is one of the most famous of all Prang's chromos, advertised by Prang as the personification of the American character: the boy "in homespun clothing, barefooted," symbolizing "that self-reliant aspect which characterizes the rural and backwoods children." Based by Eastman Johnson on John Greenleaf Whittier's poem, "The Barefoot Boy," the print was praised in magazines and books as the paradigm of the quality chromolithographs could display, and Prang claimed that it was "the most popular of all our publications." It took three months to make the twenty-six stones used to make this print and another five months to print the first run. For promotion, Prang provided free copies to the poet and painter and then quoted their replies in his advertisements. Whittier wrote, "It is a charming illustration of my little poem, and in every way satisfactory as a work of art"; and Johnson claimed that, "It strikes me as being one of the best chromolithographs I have ever seen." This print is not only a classic American genre image, but it is a wonderful example of the quality of prints published by the greatest of American chromolithograph publishers. $600
George C. Lambdin, "Wild Fruit." Boston: L. Prang & Co., 1867-69. 12 3/4 x 9 3/4. Chromolithograph. Mounted on boards with original label. In elaborate period frame.
Prang was inspired by the popularity of Eastman Johnson's "The Barefoot Boy" to commission a companion image from George C. Lambdin. Lambdin was an artist from Germantown, PA, who later moved to New York City where he was elected an Academician at the National Academy. Lambdin painted genre and military scenes, but later in his life he devoted his time to paintings of flowers. This Lambdin painting shows a shy little girl, barefoot, leaning on a tree and holding a hand-full of grapes. This image, entitled "Wild Fruit," was published as a companion chromolithograph by Prang two years after Johnson's "Barefoot Boy." Each print beautifully express the ideal image of American youth - innocent and unspoiled - that was prevalent after the Civil War. With its deep color and rich texture, this print is also an excellent example of the work of one of the greatest American publishers of chromolithographs. $425
Eastman Johnson, "The Barefoot Boy" and George C. Lambdin, "Wild Fruit." Boston: L. Prang & Co., 1867-69. 12 3/4 x 9 3/4. Mounted on boards with original labels. Some surface blemishes and wear, but overall very good condition. In period wood frames.
A matching pair of Prang's most popular genre prints, in period frames. $900
"Hurrah for the snow." Portland: H. Hallett & Co., 1879. 13 x 19. Chromolithograph. A few minor surface blemishes. Framed.
A charming genre scene by Portland, Maine published H. Hallett & Co. A young man probably on his way to school (note the chalk board hanging from his pouch) is delighted by the snow, preparing to launch a snow ball. $275
[Mother with children at bedtime.] Boston: J.H. Bufford, 1872. Subscriber print for The Christian At Work. Chromolithograph. 14 1/4 x 11. Mounted on board as issued. In fine period frame.
This image, of a mother with her two daughters, was issued as a bonus print for the subscribers of The Christian at Work. It is a fine example of chromolithography and of American genre art. $425
Felix Schlesinger. "A Friend In Need." Boston: L. Prang & Co., 1867. 16 1/2 x 13. Chromolithograph. Mounted on board with original label. Very good condition. Framed.
This print reflects Prang's own response to the success of "The Barefoot Boy." Based on a painting by a German artist, the European dress and setting would have appealed to the huge potential market of European immigrants, who might not respond to the American paradigm of Johnson's image. $425
"Little Students." Boston: D. Lothrop & Co., 1872. Chromolithograph by Hencke & Scott. 13 x 16 1/4. Mounted on board, as issued. With original label and in period frame. Very good condition.
A charming example of a American post-Civil War chromolithograph. These prints, popularized by Louis Prang, were intended to allow middle class families to own art work that had the appearance of original paintings, but without the same cost. This print was issued by Daniel Lothrop, who in 1868 began to publish children's books, adding a children's magazine, Wide Awake, in 1875. This particular image is some sort of promotion for his books, which are clearly shown being read and sitting on the floor and table, each elaborate binding and title clearly depicted. An most unusual aspect of the print is the cover of the book in the bottom right has a promissory note for $1,000, referring to "The Thousand Dollar Prize Series." It is possible that this print was intended to be hung in book stores, or perhaps was given out to subscribers, but whatever its history, it is a charming example of American chromolithography. $425
"So Tired." and "Good-night, Frolic." Chromolithographs. New York: Brett & Co., 1872. 16 x 12. With original labels and period frames. Colors strong and bright with some light wear. Very good condition.
In these two images, young girls are perfectly at their leisure, enjoying time for a relaxing read or playful fun with the pet kitten. Probably issued as a subscription bonus, these prints were designed to appeal to the readers of The Independent, who might hang these prints in a bedroom or sitting room. $425 each.
E. Ackerman. [American Genre Scene.] Washington: Chas. H. Taylor and Co, 1873. Chromolithograph by Chas. H. Crosby, Boston. 21 1/2 x 14 1/2. Very good condition. In period frame.
A charming scene by the Boston chromolithographer, Charles H. Crosby. This image shows an idyllic lakeside scene with a family on a lake in a row boat, led by their father effecting a Washington-like stance, approaching the grandparents watching from the shore. Other happy figures complete this wonderful picture of American Victorian life. $325
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