This print is one of fifteen chromolithographs that were included in the 1889-1890 folio "Sport or Fishing and Shooting" published by Bradlee Whidden of Boston and edited by A.C. Gould. These prints are based on watercolors that were commissioned for the publication, and illustrated by prominent American artists. Each folio illustration was accompanied by a single leaf of descriptive text followed by an account of the depicted sporting scene. The publication was advertised as having been reviewed for accuracy by a renowned group of anglers and hunters prior to printing.
This print was originally titled and numbered on the text page as 5. Hunting Antelope [i.e. Prong-horn] Frederic Remington. Depicted are two men on barren mesa with the game in the distance. In the foreground, one cowboy is holding a rifle and the reins of his horse while standing near standing near a second saddled and hobbled cow pony. The second hunter is kneeling in the background, shooting at the antelope in the distance.
This print is by well known western artist, Frederick Remington (1861-1909). It is one of his first two prints to be issued in color and was published less than a decade after Remington first traveled to the American West.
This colored print depicts a male from infancy to old age in decade-long spans, which was a popular and recurring theme of genteel society during the 19th Century. The figures are shown on ascending steps up to age 50 and then descending, with age 100 being the lowest to the right. Each image portrays a well-dressed youth or man in appropriate attire for his position in society (i.e., gentleman, soldier, elder). Verses beneath each figure associate a depicted animal with that stage of life. In the lower center is a small vignette of three men drinking at a table while a young man and women walk away. The devil gestures between the two groups.
This print was produced by Frederick Gleason (1814-1896). a lithographer and publisher in Boston, Massachusetts. Born in September 1814 in Germany, Gleason moved to the United States in October 1836, and began his career as a bookbinder. He became a citizen in June 1840. He is best known for establishing the popular illustrated weekly Gleason's Pictorial Drawing-Room Companion in 1851, modelled on the Illustrated London News. At the time an innovation in American publishing, it brought him considerable success. After the Pictorial, Gleason published Gleason's Literary Companion from 1860–70; Gleason's Home Circle from 1871–90; and Gleason's Monthly Companion from 1872–87. He was married a second time after his first wife died, and he died November 6, 1896 in Boston.
Colored print depicting the famous folktale of the Arkansas Traveller, Col. Sandy C. Faulkner. In this scene, Col. Faulkner, on horseback, encounters a family outside a broken-down log cabin. A man sits in front of the cabin playing a fiddle. Other family members are gathered in the doorway, with one boy sitting outside.
This black and white print depicts a farmer stopping for a drink at an establishment "licensed to retail spirits." He is offering a paper, presumably the mortgage for his farm, in payment of the alcohol. A hay wagon pulled by oxen waits in the road. A distillery is visible in the background with a cross above its chimney indicating its priority to serious drinkers. A verse describing the evils of drink appears below the title. In the companion print, Lifting the Mortgage (DL.60.2983), the farmer redeems himself by signing a temperance pledge.
This print was produced by Pendleton's Lithography. John B. Pendleton (1798-1866) was one of America's earliest lithographers. Along with his brother William Pendleton (1795-1879), he started a lithograph printing house in Boston in 1825. The firm printed portraits, landscapes, sheet music covers, and other illustrations. Not long after it opened in Boston, the Pendleton brothers moved their lithograph business to New York City. In 1829 or 1830, John B. Pendleton moved to Philadelphia and briefly operated the firm Pendleton, Kearny, & Childs with Francis Kearny (1785-1837) and Cephas G. Childs (1793-1888). Pendleton then worked as a carpenter and proprietor of a planning mill until 1851.
Wrought iron hasp or hook latch. Flattened shaft with oblong opening at bottom to allow for staple to protrude, circular opening at top, and attached J-shaped latch to hook into staple. No mark. Rusted.
This proof before letters aquarelle print includes the color chart below image. It is of the print titled Bass Ball by Henry Sandman and published by L. Prang, Co. and depicts a baseball game in progress. The batter is dressed in a dark blue or blackish uniform with long white socks and may belong to the Chicago White Stocking Team. His teammates are sitting on a bench in the right foreground. The players in the field are dressed in white or cream uniforms with red belts and long red socks and are probably members of the Boston Beaneaters-earlier known as the Boston Red Stockings. Their star player/manager during this period was Mike "King Kelly", who would have played for the Chicago White Stockings the year earlier but who was in 1887 Boston's catcher, outfielder and star batter. Kelly was noted for his slide and for reciting "Casey at the Bat". The team's name was later changed to the Boston Braves in the National League and they eventually became the Atlanta Braves -but by then Boston had the American league Red Sox. The players are watching the ball being caught by the shortstop.
The baseball diamond is enclosed by a wooden fence with spectators standing on a hill in the background, outside the fence. In the background, in the far outfield are several flag poles flying the American flag, and lines run between the poles displaying numerous colorful pennants. Curiously, there are also 2 flag poles flying white flags with big red balls or circles in the middle and a third that had a red border on the top and edge. They appear visually similar to the national flag of Japan that was introduced in 1868 but maybe they were Sandman's invention to add additional color and variety and have no significance?.
Henry "Hy" Sandman was born May 24, 1842 in Montreal, Canada. He studied under British artist/lithographer John Arthur Fraser, and later married Fraser's sister. He became an illustrator and painter, creating works for Harper's Weekly, Scribner's Monthly, and Century Magazine. In 1885 he moved to Boston and would have then worked with Prang. By 1901 Sandham had moved to England and participated in the Royal Academy of Arts Annual exhibition. He died in England June 21, 1910.
Louis Prang (1824-1910) was the founder of L. Prang and Co. He was born in Breslau, Prussian Silesia, and immigrated to America in 1850. Settling in Boston, he began his lithographic career in 1856, partnering with Julius Mayer. In 1860, he established his own firm, which grew to become one of the largest producers of American colored lithographs during the 19th century. The company’s first lithographic prints were Civil War battle scenes, maps, and portraits of military and political leaders. Louis Prang & Co. remained in operation until 1898, producing greeting cards, facsimiles of American and European paintings, and natural history prints.
This print is one of fifteen chromolithographs that were included in the 1889-1890 folio "Sport or Fishing and Shooting" published by Bradlee Whidden of Boston and edited by A.C. Gould. These prints are based on watercolors that were commissioned for the publication, and illustrated by prominent American artists. Each folio illustration was accompanied by a single leaf of descriptive text followed by an account of the depicted sporting scene. The publication was advertised as having been reviewed for accuracy by a renowned group of anglers and hunters prior to printing.
This print was originally titled and numbered on the text page as 15. Stalking the Wapiti. Henry Sandham. Depicted are four Wapiti or elk- one stag and three doe- standing on a grassy ridge, overlooking two men walking on a path below the ridge.
The artist was Henry Sandham (1842-1910), a Canadian born illustrator and artist of hunting and fishing scenes.
This black and white print is a full-length portrait of two lovers on a balcony with tree branches and leaves in the foreground. The production is likely an abridged version of Roméo et Juliette , an 1867 opera in five acts by Charles Gounod to a French libretto by Jules Barbier and Michel Carré, based on Romeo and Juliet by William Shakespeare. A datebill or printed label contains information about a performance at Park Theatre: “Two Nights / Tuesday and Wednesday, March 1 and 2/ Grand Matinee Wednesday P. M.”
The Park Theater was built in 1798 on Park Row in Manhattan and was New York City’s premiere performance space in the early 19th Century. It attracted a diverse audience with each class sitting in its preferred section. Working class men sat in the pit; members of the upper class and women in the boxes; the least affluent sat or stood in the balcony. This included immigrants, people of color, and prostitutes.
Emma Abbott (1850-1891) was an American opera soprano whose popular appeal earned her the title "the people's prima donna." Born in Chicago, she began studying music at an early age and made her debut as a singer and guitar player in Peoria, Illinois in 1859. Emma Abbott toured the Midwest professionally as a teenager and eventually moved to New York City, where she sang in the choir of the Universalist Church of the Divine Paternity. The congregation included wealthy members like P.T. Barnum, Horace Greeley and the Carnegies, and when Abbot left to study music in Europe, the church helped fund her efforts. After stays in Milan and Paris, she joined London's Royal Opera and made her debut at Covent Garden in 1876. Her contract was canceled, however, when she refused to appear as the courtesan Violetta in Verdi’s La Traviata , claiming the character was immoral.
After returning to the New York stage, she and her husband Eugene Wetherell established the Abbott English Opera Company in 1878, which was said to be among the earliest American opera companies founded by a woman. Among the notable roles she sang with the company was Juliette in Gounod’s Romeo et Juliette . Her company became known for charging low ticket prices, performing operas in English translation with abridged musical pieces, and introducing songs from hymns and other sources. She also made use of modern marketing techniques. Although attacked by critics for taking a lowbrow approach, Emma Abbot has been credited with helping expand the middle-class audience for opera. She continued to sing professionally until her death from pneumonia at the age of forty.
This lithograph was produced by the Forbes Lithograph Manufacturing Company and Joseph E. Baker. Joseph E. Baker (1837-1914) was a lithographer, cartoonist, and pencil portraitist who became especially well known for an 1860 portrait of Abraham Lincoln. He began his printing career as an apprentice at J. H. Bufford & Co. in 1857, and eventually became John Bufford’s principal draftsman and illustrator of sheet music. During the Civil War Baker produced political cartoons and lithographs for Bufford. He also did playbills and advertisements for the Forbes Company. Baker later worked for Armstrong & Company, remaining active until 1888.
The Forbes Lithograph Manufacturing Company was founded by William H. Forbes (ca 1836-1915), who immigrated to the United States from Liverpool, England in 1848. Forbes became an apprentice in the lithography business while still a boy and established William H. Forbes and Company in Boston in 1861. The firm expanded to become Forbes Lithograph Manufacturing Company in 1875 with hundreds of employees and offices in Boston, New York, Chicago, and London. During World War II the company became a major printer of allied military currency but went out of business later in the twentieth century.
Circular name boss from an arched clock dial plate, cast and engraved across its slightly domed front "Made.By / Rich : Manning / In:Ipswich / 1751" inside a band border with wavy line. Pierced post or shank with two wire hooks is brazed at center of reverse.
Made by clockmaker Richard Manning (b. c. 1701-1774) of Ipswich, MA.
Colored print of a rural scene in spring. In the foreground a man is hitching oxen to a plow while another man is plowing in the background. A farm house appears at left and another farm building appears in the background. Two women perform chores around the barnyard. A stream runs through the foreground with sheep and ducks nearby. Hills appear in far background.
This black and white print depicts a man seated at a table, with a dog at his feet. The man in the center of the print is signing a temperance pledge to give up “Strong Drink” with "total abstinence." A well-dressed man, perhaps the holder of the mortgage, looks on. A woman, young daughter and baby are in the background looking relieved as the home appears to be deteriorating. A man in rags, probably the farmer’s drinking partner, is carrying a bottle and seen departing. The companion print, Mortgaging the Farm, depicts the farmer trading a mortgage on his farm for alchol. (DL.60.2982)
This print was produced by Pendleton's Lithography. John B. Pendleton (1798-1866) was one of America's earliest lithographers. Along with his brother William Pendleton (1795-1879), he started a lithograph printing house in Boston in 1825. The firm printed portraits, landscapes, sheet music covers, and other illustrations. Not long after it opened in Boston, the Pendleton brothers moved their lithograph business to New York City. In 1829 or 1830, John B. Pendleton moved to Philadelphia and briefly operated the firm Pendleton, Kearny, & Childs with Francis Kearny (1785-1837) and Cephas G. Childs (1793-1888). Pendleton then worked as a carpenter and proprietor of a planning mill until 1851.
This print is one of fifteen chromolithographs that were included in the 1889-1890 folio "Sport or Fishing and Shooting" published by Bradlee Whidden of Boston and edited by A.C. Gould. These prints are based on watercolors that were commissioned for the publication, and illustrated by prominent American artists. Each folio illustration was accompanied by a single leaf of descriptive text followed by an account of the depicted sporting scene. The publication was advertised as having been reviewed for accuracy by a renowned group of anglers and hunters prior to printing.
This print was originally titled and numbered on the text page as 12. A Day with the [Prairie] Chickens. R. F. Zogbaum. Depicted are two hunters shooting at prairie chickens. A dog stands at point flushing birds out of the brush. In the background a man sits in a horse-drawn wagon.
The artist was Rufus Fairchild Zogbaum (1849-1925) known for his images of horses, cowboys, and battle scenes.
Marie Joseph Paul Yves Roch Gilbert Du Motier Marquis de Lafayette
Warren, Joseph
Jefferson, Thomas
Washington, George
Adams, John
maker
Moore, Thomas
Arnold, Joseph A.
ID Number
DL.60.2579
catalog number
60.2579
accession number
228146
Description (Brief)
Black and white print; central figure of George Washington surrounded by one representative from each of the thirteen states. Washington is holding a scroll upon which is printed, "We declare ourselves free and independent. Behind him is a depiction of the Battle of Bunker Hill. Above him are bust portraits of the first eight presidents of the U.S. The print is flanked by two columns intended to represent New England rising out of Old England surmounted by Hope and Liberty. This print was an example of a commemorative created about 50 years after the American Revolution.