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Views of cities have long been popular, with perspective and bird's eye views issued of European urban centers as early as the fifteenth century. Among the earliest prints of the New World were urban views and as American communities were established in what is today the United States, prints of them were published both in Europe and America. By the nineteenth century, such views were in great demand and were issued of cities, big and small, across the country. These prints showed both general views of the cities and also views of specific buildings. Before 1800, many of the urban views were sold to people who had never visited the location depicted, so many were inaccurate, but as the nineteenth century progressed, most of the American urban views were sold to local citizens, putting a premium on accuracy. Thus it is, that many American views provide us with remarkably detailed and accurate images of our urban centers from over a century ago.
George Heap. "The East Prospect of the City of Philadelphia, in the Province of Pennsylvania." From London Magazine, 1761. 6 3/8 x 19 1/8. Engraving. Insets: "the State House," and "the Battery." With folds as issued. Later hand color. Expertly lined with rice paper. Very good condition. Prints of Philadelphia: 3; Snyder: 25.
In 1752, in response to an expressed desire by Thomas Penn to have a perspective view of Philadelphia from the east, George Heap, the author of the view of the State House contained in the Scull and Heap map, made a drawing of the Philadelphia waterfront from the New Jersey shore. This drawing was acquired by Penn, who subsequently had two engravings made from it, a large one in 1754 and a smaller version in 1756, the latter with the addition of views of the State House and the Battery and a city plan. Five years later, a copy of the smaller version was published in the London Magazine, with the two views inserted in the upper corners. Heap's was the first view published of Philadelphia, and it shows the city as a bustling river port of some importance and sophistication. A mile of the Philadelphia waterfront, from present-day South Street to Vine Street, is depicted in considerable detail. It shows the major buildings, a number with stately steeples, standing along streets already giving evidence of Philadelphia's impressively organized grid plan. In the foreground lies the Jersey shore and Windmill Island, and the river is congested with vessels of all types. In the upper corners are insets, one with a view of the Battery and the other with a view of the State House taken from Heap's drawing from the Scull & Heap map. This is an excellent example of Heap's wonderful prospect of nascent Philadelphia. $2,800
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Views from Cincinnati in 1841. Cincinnati: Charles Cist, 1841. Engravings by Doolittle & Munson. Ca. 3 1/2 x 5 1/4. Very good condition.
Charles Cist's Cincinnati in 1841. Its Early Annals and Future Prospects was an important early account of the Queen City of the mid-west at a time when it was growing rapidly. Included in it are some early engravings showing buildings of note.
The Washington National Monument Society was founded in 1833, and in 1836 it selected a design by Robert Mills of South Carolina. Some money was raised over the years until 1848 when Congress authorized a site and construction began. This lithograph served as a certificate to be awarded to a person who contributed to the campaign for the monument. The design was drawn by Charles Fenderich, of Washington, after the design by architect Robert Mills. Fenderich, a Swiss immigrant, was best known for his lithographed portraits of politicians, but his printmaking did not seem terribly successful, for in 1849, he joined a gold-prospecting group heading to California, where we worked as an artist until his death.
Fenderich's image of the monument appeared in a number of variations by Fenderich and other printmakers, of which this is the most unusual. In this particular print "Washington" is misspelled in the title, where it appears as "City of Wasihngton." It is not clear if this mistake was later corrected. Parker & Kaplan cite the title as reading "City of Washington," but this may have been just a natural overlooking of the misspelling. Beyond this, Fenderich's image is quite interesting, showing the early design of the monument, complete with the pantheon and terrace, and including a bas-relief of John Trumbull's "Surrender of Cornwallis" on the side of the obelisk. In the background can be seen the Tiber Creek Bridge, and Whitehouse, Treasury, Capitol, and Smithsonian buildings. In the foreground are a number of citizens visiting this impressive planned monument. This fine lithograph, and its siblings, must have been fairly successful, for the Monument Society had raised $87,000 by the time construction began on July 4, 1848. It is interesting that the Associated Press reported that another example of this print with the misspelling was being claimed to be worth more than 2 million dollars. While this seems an overreach in value, it is a rare and most fascinating view of our nation's capital. $2,400
“United States Capitol.” Wood engraving “Executed under the supervision of George E. Perine” and “From a photograph of the Drawings by Thomas U. Walter, Architect, Washington, D.C.” Copyrighted in New York by A.J. Johnson in 1866. 8 1/4 x 15 (image), 12 1/2 x 15 3/4 (sheet). Excellent condition.
Construction on the new dome for the U.S. Capitol continued throughout the Civil War as a symbol of the continued progress of the Federal government and Union. This print was made in the year that Thomas U. Walter’s cast iron dome was finished and replaced the former one by Bullfinch. The lovely setting and ideal human figures give a peaceful and prosperous feel to the picture, and thus reflects the aspirations of government in the nation’s capital. $325
After Henry Firks. "San Francisco 1849." San Francisco: Max Burkardt, 1886. Tinted lithograph by Schmidt Label & Litho. Co., San Francisco. 13 1/4 x 32. With considerable and lengthy tears, but print expertly conserved. Image is clear and though tears are visible, still an attractive and fascinating image. Reps: 344.
This is a view of San Francisco in 1849, based on an original drawing made "on the spot" by Henry Firks. The view shows the city at the dawn of the Gold Rush from a vantage at Rincon Point towards Telegraph Hill. The city consisted then mostly of a cluster of wooden buildings by the harbor, though a number of tents scattered about show that the city couldn't house all the 49ers passing who arrived on the large line of ships shown anchored off shore. A number of larger warehouses and stores have the name of the company printed on the side, and California and Montgomery Streets are labeled. The image is visually stunning, but much of its interest comes from the sixty-two sites, buildings and ships identified in a key at the bottom. One of these (#10) is the Schooner Philadelphia, depicted in flames, as it burned in the harbor on June 24th, 1849. This view was first published by W.H. Jones in 1849, with the lithograph done by T. Sinclair of Philadelphia. It went through a number of editions in the nineteenth century, each issue with an increased number of references, beginning from an initial 45 to this print's sixty-two. A legend at the bottom explains that this "Latest edition corrected by a Committee of Pioneers, consisting of Richard M. Sherman - William Heath Davis - Ferdinand Vassault." The view seems to have remained popular throughout the century and this print states it was "for sale by all principal art & book stores." $1,800
J.W. Hill. "New Orleans From the Lower Cotton Press. 1852." From The Ladies' Repository: A Monthly Periodical, Devoted To Literature and Religion. Cincinnati: March, 1854. Octavo. Steel engraving by W. Wellstood. Very good condition.
An unusual and scarce steel engraving from The Ladies' Repository. This mid-nineteenth century periodical was produced in Cincinnati by members of the Methodist Church. It was a magazine "Devoted To Literature and Religion," containing articles, poetry, fiction, and notes of interest to its readers. One of its most interesting aspects was the inclusion of steel engravings. Many had a religious or "genre" theme, but others were topographical views of different parts of the United States. This magazine had a limited circulation and so these prints are quite a bit more scarce than most steel engravings of the period. Some of the views are based on images by W.H. Bartlett, but others are taken either from some of the large folio views of the period or are drawn first hand for The Ladies' Repository. Whatever their source, these are among the most interesting and hard-to-find American views of the middle of last century. This view is a fine example from the magazine, based on a large view issued by the Smith Brothers of New York City. $150
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A. Yeomans. "Danville, Pa. as seen from the Blue Hill." Danville: E.W. Conkling, ca. 1855. 17 1/4 x 25 3/4. Lithograph by E. Schnabel. Printed by P.S. Duval's Steam Lith. Press. A couple short tears at bottom left edge margin, but else excellent. Reps: 3375.
A lovely lithographed view of Danville as seen from across the Susquehanna River on Blue Hill. The print was published by E.W. Conkling from Danville and intended for a local audience. As such, it had to be accurate in order to sell and thus the detailed image of the houses, factories, roads, and so forth in the town provide fascinating detail of the town in the mid-nineteenth century. The print was produced in Philadelphia by the leading lithographic firm of the time, P.S. Duval's press, and the image is charming. Of interest is the long covered bridge shown crossing the Susquehanna, long since demolished. $750
"Opera March." Cincinnati: W.C. Peters & Sons; Louisville: Tripp & Cragg; New York: W. Hall & Son; St. Louis: Palmer & Weber; Louisville: D.F. Fouldsac. 1858. Music sheet. Tinted lithograph by Ehrgott, Forbriger & Co. Some wear to images and with old tape stains, but overall very good condition.
A detailed image of Opera Hall in Cincinnati on the cover of a music sheet issued in 1858. The tinted lithograph shows the front Pike's Opera Hall, a building that housed a number of businesses, including the Ehrgott, Forbriger & Co. firm that produced the lithograph. $65
James Queen after ambrotypes by H.P. Osborn. "Allentown, Pa." Ca. 1855. Tinted lithograph with hand color, by P.S. Duval & Son. 5 3/4 x 14 3/4. With old folds. Some wear along folds, but otherwise, very good condition. Framed.
A very rare, separately issued print of Allentown, "Situated on the Lehigh River at the junction of the East Pennsylvania and Lehigh Valley Rail Roads." Allentown was laid out in 1762 by William Allen, chief justice of Pennsylvania, and was first known as Northampton. It was renamed Allentown in 1838 and is the seat of Lehigh County. The print was drawn by Philadelphia artist James Fuller Queen based on an ambrotypes by H.P. Osborn. The prosperous city is shown from a field with cows and a horse grazing in the foreground. A railroad bridge is shown at right. $675
F.N. Otis. "San Francisco (From Rincon Point)." From The Ladies' Repository: A Monthly Periodical, Devoted To Literature and Religion. Cincinnati: February 1857. 4 3/4 x 8. Steel engraving by W. Wellstood. Very good condition.
An unusual and scarce steel engraving from The Ladies' Repository. This mid-nineteenth century periodical was produced in Cincinnati by members of the Methodist Church. It was a magazine "Devoted To Literature and Religion," containing articles, poetry, fiction, and notes of interest to its readers. One of its most interesting aspects was the inclusion of steel engravings. Many had a religious or "genre" theme, but others were topographical views of different parts of the United States. This magazine had a limited circulation and so these prints are quite a bit more scarce than most steel engravings of the period. Some of the views are based on images by W.H. Bartlett, but others are taken either from some of the large folio views of the period or are drawn first hand for The Ladies' Repository. Whatever their source, these are among the most interesting and hard-to-find American views of the middle of last century. $165
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J.W. Hill. "Boston." New York: F. & G.W. Smith, 1857. Excellent, early hand color. Engraving by C. Mottram. Printed by McQueen, London. 24 1/2 x 38. With tear at left into image and other marginal tears. 1 1/2" missing section at bottom edge. Expertly conserved. Overall, very good condition and fine appearance.
A very large and finely detailed panoramic view of Boston. The Smith brothers, Francis, George W., David C., and Benjamin F., grew up in Maine working on their father's farm. By 1846, Francis and George became involved as agents and salesmen for Edwin Whitefield, who had recently started his series of American views. Shortly thereafter, Benjamin also joined Whitefield, possibly helping him with the drawing on some of his prints. In 1849 the Smiths established their own print publishing firm and proceeded to produce some of the most impressive American city views of the nineteenth century, including this lovely image of Boston. This print was drawn by J.W. Hill, with C. Mottram engraving it onto steel. It is interesting to note that though the Smith brothers' views were generally lithographs, this was done as an engraving, and was printed in London. The perspective is convincingly rendered and the detail is excellent. As John Reps says, "the Smith brothers' views achieved a standard that equaled or surpassed the best work of its kind." [Reps, Views and Viewmakers of Urban America p.207] $6,200
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“State House, Columbus, Ohio. As remodeled by Isaiah Rogers, Architect.” Cincinnati, ca. 1861. Credits read: “Isaiah Rogers, Architect and Superintendent,” Photographed by Heritage Winchester Rooms,” and “Chromolithography of Ehrgott & Forbriger, S.W. Cor. 4th. & Walnut St. [Cincinnati].” 13 1/2 x 20 (image) plus full and generous margins. Some few old stains and text lightly printed. Conserved and stable.
The town of Columbus was founded in February 1812 and the borough was officially established in 1816. Not until after the National Road in 1831 complemented the Ohio & Erie Canal was a charter granted the city so that with the statehouse begun in 1839 the transient capital’s permanent location was set. In 1850 the Columbus & Xenia Railroad was the first of many into the central city of Ohio so that after seven architects worked on the building, it was opened to the public on 7 January 1857. Isaiah Rogers (1800-1869) was a Boston architect who later did work in Washington, D.C. and then moved to the mid-west locating offices in Cincinnati and Louisville. He, in partnership with his oldest son, completed the building in 1861. A scarce and wonderful print of Ohio from Ohio. $2,100
Louis Kurz. "Rush Street Bridge. From State St." From Chicago Illustrated. Chicago: Jevne & Almini, 1866. With literary descriptions by James W. Sheahan. Tinted lithograph by the Chicago Lithographing Company. Ca. 8 1/4 x 12. Overall very good condition.
Beginning on the evening of October 8, 1871, Chicago suffered a devastating fire, after which about 300 citizens were dead, nearly 100,000 were homeless, and the city had suffered property loss of around $200 million. Its geographic position and the survival of the transportation network meant that Chicago was soon rebuilt, but much of the pre-fire city was lost forever. Luckily, just five years before, an enterprising group of men had produced an unparalleled portrait of pre-fire Chicago. In the period after the Civil War, there was a spirit of civic boosterism in Chicago and this inspired Otto Jevne and Peter M. Almini to embark on the publication of an elaborate work to illustrate the scenes and buildings of the city. In 1865, Jevne and Almini joined with three lithographers, Louis Kurz, Otto Knirsch, and Edward Carqueville to form the Chicago Lithographing Co.. Kurz, later to form the famous Kurz & Allison firm, drew and lithographed the prints for the ambitious Jevne and Almini portfolio, entitled Chicago Illustrated. The portfolio was to consist of twenty-five part, each of which was to contain at least four tinted lithographs, accompanied by text description, and when completed it was to be accompanied by a "General View of the City." The parts were issued, at $1.50 per fascicle, between January, 1866, and January, 1867, when the project abruptly stopped. The views showed street scenes, transportation sites, and major buildings throughout the city. Only fifty-two images were completed, but they provide a fascinating documentation of pre-fire Chicago. These rare views are among the most desirable nineteenth century images of any American city. This view has us looking up the Chicago River towards the Rush Street Bridge from a viewpoint on the State Street Bridge. Until 1857 there was no bridge on the Chicago River east of Clark Street, with only a ferry boat crossing at the end of Rush Street. In 1856 the ferry was run down by a tug and a number of people died. This calamity spurred the erection of a bridge on Rush Street in 1857, but just six years later this bridge was destroyed in another accident. The bridge was replaced the following year, 1864, and that is the structure shown in this view. $775
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After Currier & Ives. "The City of Chicago, Showing The Burnt District." From Harper's Weekly. New York: August 1, 1874. Wood engraving. Good margins. Very good condition.
Harper's Weekly remains one of the best sources for lively, informative images of 19th-century America. Each issue was filled with popular genre and detailed historical prints through which much of the country got its visual information about their world. Views of American cities were amongst the most popular of prints of the period, and this is a particularly nice example of that genre. The print shows Chicago three years after the great fire of 1871, based on a Currier & Ives print of the same year. The burnt districts are indicated by shading, and the point of the print was to indicate how fully Chicago had recovered from this disaster. An excellent item of Chicago interest. $325
A. Ruger. "Toledo Ohio 1876." Madison: J.J. Stoner, 1876. 12 x 25 3/4. Lithograph by Chas. Shober & Co, Chicago Lithograph Co. Full margins. Very faint old stainds. Very good condition. Reps: 3152.
A fine example of the American bird's eye view of the nineteenth century. Beginning after the Civil War, the bird's eye view became one of the most popular of print genre. 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 American cities and towns. According to John Rep's seminal Views and Viewmakers of Urban America (Columbia, 1984), 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 of the town. 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. Thus these views are not only highly decorative, but are also detailed and accurate pictures of each place shown, providing us with a wonderful documentation of nineteenth century urban America. This view shows Toledo stretched along the Maumee River, crossed by a railroad bridge and a bridge for carriage and pedestrian traffic. Factories, warehouses and shops line the river, which is filled with ships of all sorts, including rowers in shells. $1,850
W.W. Denslow. "Frederick, Md. 1878. Viewed from the top of the Deaf & Dumb Institute." Philadelphia: C.J. Corbin, 1878. 12 14 x 27 1/4. Tinted lithograph by Thomas Hunter. Drawn on stone by Traubel. Some light stains in margins; professionally conserved. Overall, very good condition.
This is a wonderful example of a nineteenth century American city view, showing Frederick from the roof of the Deaf & Dumb Institute (the best vantage point of the town at that time). One of the ways publishers were able to raise funds was by selling to local residents, churches and businesses the opportunity of having their buildings depicted in an inset on these views. Corbin was here successful in this, for the view is surrounded by 18 inset views of various structures, including some private residences, churches, businesses, the court house, and the Deaf & Dumb Institution itself. A rare and wonderful view of Frederick, Maryland. $2,150
Geo. E. Norris. "Montpelier, County Seat of Washington County, & Capital of Vermont. 1884." Brockton, Mass.: Geo. E. Norris, 1884. 21 x 29. Lithotint by George H. Walker, Boston. Cracks and tears, mostly in margins. Expertly repaired and conserved. Reps: 4065.
A handsome and ornate Victorian period view of Vermont's Capital city, Montpelier, with a key below to the important sites. A fine late nineteenth century view. $850
L.R. Burleigh. "Windsor, Vermont. 1886." Troy, N.Y.: Burleigh, 1886. 12 x 21 1/8. Lithotint. Tears, mostly in margins, not affecting image. One section of repair in key at bottom right. Expertly repaired and conserved. Reps: 4086.
A fine view of Windsor, Vermont, from the late 19th century. City views were extremely popular during this period, and several firms were producing them using lithography. $450
"Hartford Fire Insurance Company's Building, Hartford Connecticut." Ca. 1890. Steel engraving by John A. Lowell & Co. 20 1/4 x 27. Some light stains, but overall very good condition.
A handsome steel engraving of the Hartford Fire Insurance Co.'s building at 53 Trumbull Street in Hartford. This company is the oldest insurance firm from Hartford, founded in 1810, it survived through the many disasters of the nineteenth century and still exists, though in modified form, as the Hartford Financial Services Group. This was probably issued shortly after the their new building was built. The structure was located on the northwest corner of Pearl and Trumbull, and the Pearl Street trolley is shown at left. Also documented are many dapper Hartford citizens, on foot, riding bicycles, or in carriages. $350
T.M. Fowler. "Clarksburg, West Virginia." Morrisville, PA: 1898. Ca. 18 x 27 1/4. Tinted lithograph. Repaired tear at left just into border. Otherwise, very good condition.
A nice example of a nineteenth century bird's eye view, this showing this central West Virginia city. Homeowners and businesses that paid a bit extra had portraits of their buildings included in vignettes surrounding the main image. $975
Anton Schutz. “Cleveland Public Square.” 1927. 11 3/4 x 9. Signed in pencil. Very good condition.
Anton Joseph Friedrich Schutz, was born in Berndorf, Austria in 1894 and died in 1977. He came to the United States in the 1920s and became a documentary print maker depicting American cities, especially New York and vicinity, in his time. He toured Europe billed as an “American artist.” His etchings can be found at the Metropolitan Museum; the Chicago Museum; Washington D.C.; National Library, in Paris; and the British Museum. He was the founder and director of the New York Graphic Society and was the author of a book published in 1939 titled New York Etchings. $450
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