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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.
"A View of the City of Boston the Capital of New England." From Universal Magazine. London, March, 1775. 4 3/4 x 9 1/2 (image) plus complete borders. Engraving. An expertly repaired and stained vertical repair toward the left side, otherwise fine, strong impression. Not in Cresswell book or dissertation. A scarce print. With six pages of text from the magazine.
The view is taken from Cambridge looking across the Charles River to the Boston Common. Governor Thomas Pownall was credited with making a first draft, then had it painted by a "Mr. Pugh" and engraved by Pierre Canot for a series of folio prints in a collection titled Scenographia Americana (London, 1768).
In 1775, accompanied by an article about the revolting New England colonies, this image was reduced and printed as a foldout plate. Similarities between this picture of Boston and one published in the Columbian Magazine (Philadelphia, December 1787), which changed the flag from the British Union Jack to the American stars and stripes, reveals this to be the source of the early American view of Boston. See Cresswell, Amer. Rev., items 523 and 523a. $750
Carington Bowles after George Heap. "An East Perspective View of the City of Philadelphia, in the Province of Pensylvania, in North America, taken from the Jersey Shore." London: Bowles, [1778]-ca. 1790. 9 1/2 x 16 1/4. Engraving. Original gouache hand coloring. Deak: 101; Snyder, state between first 100 and 100A. The date "1 Jany 1778" and the singular reference "at his Map & Print Warehouse" remain, but the number "38" to the left of the title is removed. Age browning and a few stains. Old scrapes have rubbed areas of the sky in upper right quadrant. Cut close on top margin, sides and bottom are complete but as usual not expansive. A fine example with antique tones. Framed to archival standards.
This is considered the finest and most decorative of the reissues of Heap's "East Prospect" of Philadelphia, and this ambitious and delicate eighteenth-century print is one of the most desirable early profiles of the city. 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 Windmill Island, and the river is congested with vessels of all types.
The creator of this print was London print maker, Carington Bowles, who was able to acquire the large, unwieldy original drawing made by George Heap in 1752, directly from which he made the engraving. Bowles described this print in a 1790 sales catalogue as one of a collection of 271 prints "designed to be used in the Diagnal Mirror, an Optical Pillar machine, or peep show." This was one of the vue d'optique or perspective views showing the cities of the world, prints that were very popular in the late eighteenth century. These prints were produced for a viewing machine that was used both in private and by peddlers in the streets of Europe. The hand color, necessitated by the optical show, is also noteworthy, the tones being more vivid and brilliant than on other, similar views of the period. The intended use of the print necessitated a standard size, and thus Bowles faced some space limitations in rendering the scene. $14,000
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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.
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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"Saint Paul, Capital of Minnesota August 1853." After a daguerreotype by J.E. Whitney and lithographed by Endicott & Company. New York: Whitney & Le Duc, 1853. Plus five inset views. 9 x 19 3/4 (central image) on sheet 17 1/2 x 23. Hand color. Repaired tears hardly noticeable; conserved. Reps, 1946.
An exquisite view of this Mississippi River city in its early days. Saint Paul was made the capital of the Minnesota Territory in 1849 and was chartered as a city the year after this print was published. When the territory entered the Union in 1858, the capital stayed in Saint Paul. No doubt this print was made to celebrate entry to the United States.
The inset views are of the Falls of Saint Anthony, Fort Snelling, "Ha Ha Falls," and a small depiction of the chapel which was the first building. The legend beneath the illustrations claims that the city had "between 4 and 5 thousand inhabitants" at that time, i.e. 1853. A fine and beautiful document. $1,850
C.C. Kuchel. "View of San Francisco. 1857." [Taken from a high point on the south side]. New York: Henry Bill, 1857. Copyrighted in Connecticut. Second state due to date. From The History of the World. 8 x 16 (image) plus generous margins. Tinted lithograph originally by P.S. Duval. Folded as issued. Very good condition.
A wonderful panoramic view of San Francisco near the beginning of the Gold Rush, "Published by the Author of 'Sights in the Gold Region &c.'" This first-hand print was drawn by C.C. Kuchel (1820-ca. 1865). Kuchel was born in Switzerland and emigrated to America in the 1840s. He moved to San Francisco about the time he drew this image, later forming a lithography firm with Emil Dresel. The scene shows Yerba Buena harbor from Rincon Point, looking towards Telegraph Hill. The town is spread out mostly in the valley, and the harbor is shown bustling with ships—mostly involved in the traffic related to the Gold Rush which started just the year before this print was originally issued in 1850 in Henry Bill’s History of the World. $900
"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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A pair of lovely views of East Rock and West Rock in New Haven. The scenes were drawn by the great New England painter, George H. Durrie, best known for his work with Currier & Ives. The landscapes show impressive, accurate detail, but still exhibit the charm for which Durrie is famous, each containing vignettes of daily life in New England. $2,600
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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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"Washington, D.C. - The Inauguration of Rutherford B. Hayes, March 5th., 1877." Wood engraving. 21 1/2 x 29 1/2 (full sheet). New York: Frank Leslie's Illustrated Newspaper, 1877. Folds as issued. Full margins. Excellent condition for a large foldout plate. Ref.: not found in any reference source we used, especially Reps' Views and Viewmakers.
View from east to west overlooking the north side of the Capitol Building so that the viewer sees most of Pennsylvania Avenue up to the Treasury Building. On the far horizon is the Potomac River with the Smithsonian Castle seemingly alone in a field with one small building between it and the incomplete Washington Monument. In the foreground the inauguration of Rutherford B. Hayes is happening, so a great crowd is assembled on the east steps of the building. Credit for the origins of the illustration is to "Our Special Artists," so we can assume that a number of artist-journalists collaborated to add many details to this work. Wood engravings from Frank Leslie's Illustrated Newspaper are very scarce, and most of such large, foldout views would have long ago been destroyed when handling. This is a fine and unusual view of Washington. $1,200
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
Henry Wellge. "Pikes Peak Panorama." Milwaukee: American Publishing Co., 1890. Chromolithograph. 15 x 42. Framed by previous owner and not seen out of frame. Very good appearance. Denver.
One of the most dramatic of Colorado views, Henry Wellge's image of Colorado Springs with Pike's Peak and the Rocky Mountains in the background. The detail of the town is impressive, showing major buildings such as hotels. Colorado Springs was a popular destination at this time, driven in part by the many railroads that brought tourists into town and then to the Rockies. These railroads are nicely shown on this wonderful and very rare view. $9,000
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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