Because of limited capacity of the Centre Square Waterworks, as the city continued to grow it was determined that a new waterworks system should be built at Fair Mount, located along the banks of the Schuylkill River to the northwest of the city. In 1812, an engine house was built at the foot of the hill to house two steam engines which were to pump the water up to a reservoir on the top of Fair Mount. The engines went into regular service in 1815. Between 1819 and 1822, a dam and mill house designed by Frederick Graff were built, and the system was changed from steam to water power. Through these improvements, Philadelphia's water system became the most advanced municipal system in the world, drawing visitors from around the country and the world to marvel at this technological wonder.
The period between about 1830 and 1850 was a golden age for the Fairmount Waterworks. The waterworks had been designed to provide aesthetic appeal as well as to serve practical ends. The buildings had been artistically designed and the setting made into a park. A garden was completed to the south, and paths, fountains, and an esplanade were built around and up to the top of Fair Mount. This created a beautiful natural setting for the waterworks and corresponded with the period's romantic belief that man could harness nature in a benign manner.
In 1855, Fairmount Park was established, extending the park-like setting to the north and protecting the water supply. Beginning in 1859, a new mill house was built with a wide patio on top, and the next year saw the beginning of the establishment of permanent boat houses to take advantage of the navigable and calm waters above the waterworks dam. Improvements continued to be made, but as the nineteenth century progressed the usefulness of this system waned, until it was decommissioned as a water pump station in 1911. At this time the old mill house was turned into an Aquarium and in 1919, construction began on the present Museum of Art, located on top of the old reservoir. Though the Fairmount Waterworks has not been used for its original purpose for almost a century, the superb appearance of the buildings and their setting has maintained it as one of the most popular Philadelphia sites to this day.
"View of Fair Mount Water Works Philad'a." From The Port Folio. Vignette on title page. Philadelphia: 1819. Ca. 2 x 4. Engraving. Without mill house. A few scatted spots.
The Port Folio was a new type of American magazine, "Devoted to Useful Science, the Liberal Arts, Legitimate Criticism, and Polite Literature." It was a product of the new century, appearing first in January 1801. It began as a weekly issue until 1809, when it became monthly until its demise at the end of 1827. As with the many magazines that followed it, The Port Folio included numerous illustrations, including quite a number with a Philadelphia topic. The scenes were often of buildings of particular interest in the early nineteenth century, not necessarily those that are famous today. Thus these prints provide a interesting and more varied view of the city than that found in most other series of the time. $95
Thomas Birch. "View of the Dam and Water Works at Fair Mount, Philadelphia." Philadelphia: Edward Parker, 1824. 7 x 14 3/4. Engraving by R. Campbell. With centerfold as originally issued. Repaired tear in sky near centerfold with minor wear along centerfold. Else, very good condition.
Thomas Birch gained prominence as an artist when he worked with his father on the prints for The City of Philadelphia. But this was only the beginning of his career and his accomplishments. Continuing to work in Philadelphia until his death in 1851, he created a rich and varied group of images of the city and its watery surroundings, including this view of the Fairmount Waterworks. Though the Fairmount Waterworks began operation in 1812 to 1815, very few printed images appeared of the site before the system was converted from steam to water power between 1819 and 1822. With its impressive size, neoclassical appearance, and riverside setting, the waterworks soon became the most popular Philadelphia subject for local and visiting artists. This view by Thomas Birch first appeared in the Report of the Watering Committee (1823), and thus Birch focuses on the mill house and dam, the latter depicted stretching across the center of the print. The original engine house, built in 1812 and also designed by Graff, is shown at the extreme right. To the left is the canal lock by-passing the dam, built as part of the agreement the City made with the Schuylkill Navigation Company in order to obtain the rights to water power at Fairmount. The view is oriented to look up the Schuylkill towards Lemon Hill, which can be seen in the background. Birch shows the Schuylkill teeming with activity. Several fishermen try their luck from the shore and nearby rocks, and more fishermen fill two of the three row boats below the dam. Steaming into the entrance of the lock is a paddle wheeler, ferrying passengers to the upper part of the river. $650
Thomas Doughty. "...This View of Fair Mount Works,..." Philadelphia: C.G. Childs, ca. 1826. 13 x 19 1/4. Etched and engraved by C.G. Childs. Old water stains on back. Short tears professionally repaired. Hand color. Strong impression. Deák: 333; Prints of Philadelphia, 58.
A second print of the waterworks by Thomas Doughty, this time in combination with another Philadelphia printmaker. The apparent lack of success of the Doughty-Hill print (first entry above) did not discourage Doughty, and within a few years he combined with Cephas G. Childs to produce this somewhat smaller but still impressive engraving. Childs, a native of Bucks county, was an expert engraver and publisher, and later ran an important early lithographic firm. Despite his energy, skill and popularity, Childs never made much money from printmaking, and so in 1834 he abandoned the business to become a newspaper publisher.
Beginning in 1824, Childs had engraved several of Doughty's images of the Fairmount Waterworks, of which this is the finest. It is probably the best example of Child's engraving ability, which was equal to Doughty's painterly skills. The view shows the waterworks from across the Schuylkill River, a vantage point that Doughty had used for a number of his paintings of Fairmount. The print includes a dedication to Joseph S. Lewis, a local merchant who provided significant financial support for the completion of the waterworks a few years previously. The buildings are depicted about a year after William Rush's carved allegorical figures were mounted over the entrances to the mill house. $3,600
Thomas Doughty. "...This View of Fair Mount Works,..." Philadelphia: C.G. Childs, ca. 1826. 13 x 19 1/4. Etched and engraved by C.G. Childs. With two tears into image and wear at lower edge, professionally repaired and nearly invisible. Strong impression. Deák: 333; Prints of Philadelphia, 58.
Another fine example of the Doughty/Childs view of the waterworks, this one uncolored. $3,200
Thomas Doughty. "Fairmount Waterworks from the West." From Cephas G. Childs' Views of Philadelphia. Philadelphia: C.G. Childs, 1827-1830. Octavo. Copper engraving by William. E. Tucker. Very good condition.
Almost three decades after the publication of the first edition of William Birch's City of Philadelphia, Cephas Childs published the second comprehensive series of prints of the city, entitled Views of Philadelphia. The series contained twenty six views of major sites in the city, each rendered by a prominent American artist or architect, including Thomas Doughty, George and William Strickland, Thomas Sully, John Haviland, Thomas Birch and George Lehman. Many new buildings had been erected in the years since the turn of the century, and Childs' detailed prints provide a precious view of many of these. The detail and composition of the engravings is excellent, and they provide an fascinating overall view of the city with its new look. $175
Jacques Gerard Milbert. "Machine à vapeur sur la rivière Schuylkill. Walet [sic] works on the Schuylkill river." From Amérique Septentrionale. Paris, ca. 1835. 9 1/2 x 14 1/2. Lithograph by Arnout. Full hand color. Framed. Very good condition.
Besides his Itinéraire Pittoresque, Milbert also produced a number of other series of views of America, including a set of images titled Amérique Septentrionale. This image is from that set and it shows up upper regions of the Mohawk River in New York State. It is typical of Milbert's excellent artistic ability and provides a wonderful image of this important region shortly after the opening of the Erie Canal. Slightly larger and much rarer than the Itinéraire prints, this is a most desirable American print. $675
Prints by W.H. Bartlett. From American Scenery. London, 1839-40. 4 3/4 x 7 1/4. Engravings. Hand color. Very good condition.
[Fairmount Water Works] From Eli Bowen's The Pictorial Sketch-Book of Pennsylvania. Philadelphia: William Bromwell, 1853. Wood-engraving.
A Philadelphia image from an excellent series of views of Pennsylvania from a guide book of Pennsylvania's "Scenery, Internal Improvements, Resources, and Agriculture, Popularly Described." The volume included descriptions of all parts of Pennsylvania, but its feature of most note was the inclusion of numerous engraved illustrations of scenes of all parts of the state. Another series of excellent images of Pennsylvania communities, both large and small. $50
Prints from John H. Hinton's The History and Topography of the United States of North America. Published in London and Boston, various publisher: 1830-1855. Octavo. Steel engraving. Very good condition. Uncolored unless noted otherwise.
Lovely examples of steel engravings from one of the more popular nineteenth century view books, Hinton's History and Topography. This work contained text and numerous illustrations documenting the history and topography of the United States. Hinton used many different artists, all the engravings being made from drawings made on the spot. For their wide coverage, accurate detail, and pleasing appearance, these are amongst the finest small images of early nineteenth century America to be found anywhere.
Harper's Weekly remains one of the best sources for lively, informative images of 19th-century America. Each issue of this popular illustrated newspaper was filled with popular genre scenes, detailed historical prints, and accurate, contemporary views. Without television, easy access to photography, and modern printing and transmission techniques, these prints were the only means by which much of the country had access to visual images of the people, events and places in other parts of the country and around the world. The prints are not only of some historic note, but they provide us with a contemporary window on our own past. $85
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