Color print of horses and carriages in a traffic jam on a road leading to a race track visible in the distance.
Description
A hand colored print of horses and carriages in a traffic-jam on a dirt road leading to a race track (Fleetwood Park, NY). The men and women are well dressed. Vehicles include sulkys, a deep side box buggy, and a coach for four passengers and three liverymen. The roadside house has shattered windows, a shed roof, a veranda, and a semicircular vent in the attic. The grandstand has two balconies. A park in the distance is enclosed by a picket fence. The surrounding area has wooded rolling hills.
Fleetwood Park Racetrack was a trotting track maintained by the Driving Club of NY. While open, it boasted an exclusive membership, which included William K. Venderbilt and William Rockafeller. It closed in 1898.
Thomas Kelly, of New York City, was one of the more successful publishers of the period, creating archetypal and idyllic views of all areas of life in America. Kelly's work is distinctive for strong coloring and vivid, forthright compositions.
Color comic print of a sulky overtaking a carriage (shay) each drawn by a single horse. The driver of the carriage (Deacon Jones) is leaning forward, hanging on to the reins. His glasses are on his forehead and his hat and papers have flown out behind him.
Description
A color comic print of a race in progress on a country lane. It is between “One Hoss Shay” driven by Deacon Jones and a sulky driven by a middle aged man wearing a jacket, cap, and gloves. The Deacon’s horse is rapidly gaining on his competitor. As the Deacon leans forward, his gasses sit high on his forehead and his hat and papers fly out behind. A little dog scampers to the side of the road for safety.
A one hoss shay is a covered carriage for two and pulled by a single horse. It was adapted from the English model and redesigned in Maine because of an overabundance of national pride as symbolized by the harnessed trotting horse. This print might have been made as an illustration of a satirical poem by Oliver Wendall Holmes about a deacon’s one-hoss shay, supposedly crafted so well it needed no repairs for 100 years, when it totally fell apart.
Color print, central image depicts General Tom Thumb and his bride, Lavinia Warren, flanked by Commodore Nutt and Minnie Warren, at their marriage at Grace Church, N.Y., Feb. 10, 1863. This image is surrounded by small views of the midgets in a variety of costumes and roles with the largest of them being a view beneath the central image of a coach and horses labeled "Splendid Equipage of Genl. Tom Thumb & Suite, Cost over $2000."
Color print of a flooded city (Cincinnati) street lined with indusrial and commercial buildings. The buildings are indentified with trade signs. Numerous boats, many of them bearing the names of the businesses along the street, are in the flooded street removing people and goods from the buildings to dry land in the foreground. Charts beneath the image give the high water marks for the Ohio River between 1832 and 1884 and the levels at various points during the flood of 1884.
Color print of a dark brown trotting horse pulling a sulky and driver. White picket fence in background.
Description
A color print of a dark brown stallion pulling a sulky and driver on a race track. The equipment is streamlined and colorful. The driver wears a maroon jacket, white shirt, purple pants, a blue cap and yellow gloves. The track is enclosed by a white picket fence.
Ben Morrill was foaled in 1868 from Winthrop Morrill and the Harrison Ames Mare in Winthrop, Maine. He was owned by T.B. Williams. His career ran from 1872-79. Ben Morrill never reached the level of the Grand Circuit horses, but he was well loved throughout New England and Canada and a particular favorite in Boston. On October 29, 1874 Ben Morrill, driven by J.J. Bowen, won two out of nine heats at Prospect Park Fairgrounds in a race for trotters that had never raced under 2:30. Ben Morrill sired seven trotters that reached the under 2:30 achievement.
Haskell and Allen’s most memorable productions were their horse prints. A Boston based publisher of lithographs, the firm seems to have issued more large folio images than small. Haskell began as a print seller with Haskell and Ripley (1868) but in 1869 he began a partnership with George Allen. In 1873 they moved to 61 Hanover St in Boston where they prospered for a few years. They went bankrupt in 1878.
Color print of a trotting horse (Capt. McGowan) pulling a sulky on a racetrack. A white picket fence borders the track. The caption indicates that this is River Side Park, Brighton, Mass. on Oct. 31, 1865.
Description
A color print of a brown horse attached by a light harness to a sulky with a driver who is intent on holding the reins. The driver wears a heavy red sweater and beaked cap. The sulky is red and highly polished. A picket fence borders the track. Pretentious country homes are in the wooded area beyond the park. It is a scene of River Side Park, Brighton, Mass. on Oct. 31, 1865.
Captain McGowan was bred in 1857 by Sovereign and Sally Miller, but his pedigree is debated. It is believed that he was born in Kentucky and owned by Samuel Emerson of Boston. He set a record in 1865 of trotting 20 miles in one hour (56 minutes, 25 seconds).
This 1837 black and white print depicts Aaron Clark, the Whig nominee for Mayor of New York City, leading a crowd of supporters in a parade procession after he had defeated Tammany candidate, John J. Morgan. An Irish immigrant carries a sign reading “Fortune Favorite Aaron Clark” with an eagle on top, while two others play drums and a third plays a fife. The eagle perched on the sign states, “I’m d—d sick of this set!!,” while in the left corner of the print, a man sitting at a table labeled, “Whig nomination for Mayor Aaron Clark,” collects ballots. Clark became the second popularly elected mayor of New York City, and focused on reviving the city’s economy amidst the Panic of 1837. While his economic policies made him popular, his electoral success is attributed to the rise of the Loco Foco faction of the Democratic Party. While Tammany Hall and Loco Foco Democrats shared some ideas, they differed on economic policy—a key issue of the time. Their split from Tammany Hall meant that there were two Democratic candidates on the mayoral ticket, dividing the vote and securing a win for the Whigs.
The publisher of this print is someone who went by Brown, but no additional information is known about them at this time.
Color print of numerous carriages and horses on the road in front of a four-story white building identified as "Brighton Hotel"
Description
A color print of a four-story white frame hotel (Brighton Hotel) with shuttered windows and a veranda that extends around it. Next to it is another hotel building, a covered breezeway to shelter horses, and a long horse shed. The large yard in front of the complex is filled with horses and carriages, some out of the driver’s control and threatening to collide. There are sulkys, box wagons, and a handsome coach for four and a driver. The people are quite fashionably dressed. This is part of a pair that includes a winter scene.
Haskell and Allen’s most memorable productions were their horse prints. A Boston based publisher of lithographs, the firm seems to have issued more large folio images than small. Haskell began as a print seller with Haskell and Ripley (1868) but in 1869 he began a partnership with George Allen. In 1873 they moved to 61 Hanover St in Boston where they prospered for a few years. They went bankrupt in 1878.
Howe was a Boston lithographer in the 1870’s, having his business on School Street and then Hanover Street. He was an artist often listed as a lithographer.
Black and white print of a trotting horse (Whalebone) pulling a sulky and driver. Inscription beneath image gives details of the horse's breeding and record.
Description
A black and white print of a light horse with dark mane pulling a road sulky and jockey on flat stretch of ground in the open country. The jockey wears a heavily padded suit and a cap tied under his chin. The horse’s equipment includes blinders, a bit, and a harness with attachments for draft poles of sulky.
Whalebone was foaled in New York in 1821, bred by General Coles of Long Island through Bishops Hambletonian and a descendant of Coffins Messenger. He stood out from the other trotters of his day because he focused on stamina instead of speed. In 1827, Whalebone was able to trot 15 miles in 58 minutes and, in 1831, trotted 32 miles in an hour and 58 minutes. He and Top Gallant were hailed as the greatest trotters and rivals of their day. In addition, Whalebone had only one eye.
Kennedy and Lucas was a lithography firm based in Philadelphia from 1829-1835. This firm illustrated work for the “Floral Magazine and Botanical Repository” as well as other contemporary works. David Kennedy and William Lucas were the firm’s partners though the firm itself was listed as a looking glass store, where they retailed prints, mirrors, and frames. Kennedy and Lucas was possibly the first commercial lithographic establishment in the city of Philadelphia.
This black and white allegorical print depicts the course of destruction through drinking. A train with its engine labeled "Distillery" is stopped at "Drunkard's Curve Station". The train is leaving a tranquil valley and heading toward doom with skeletons and snakes in the background. The print has a considerable amount of descriptive and interpretive text.
This print was created by the artist Emil F. Ackermann, who was born in Dresden, Germany in 1840 and came to the United States in 1848. Ackermann eventually went to work for the lithography firm of J.H. Bufford and Sons, which produced the lithograph in the 1860s.
It was issued by the Massachusetts Temperance Alliance and published by Reverend Steadman Wright Hanks in his book The Crystal River Turned Upon the Black Valley Railroad and Black Valley Country -- A Temperance Allegory (also known as The Black Valley: The Railroad and the Country). Hanks called the print "probably the most successful temperance lecture in the country." Stedman Wright Hanks (1811-1889) was a Congregational minister in Lowell, Massachusetts, as well as an author, artist, and fervent supporter of both the temperance and anti-slavery movements. Hanks spoke to audiences around the United States about the evils of overindulging in alcohol. In addition to his book about the Black Valley Railroad, his published works included Sailor Boys, or, Light on the Seaand Mutineers of the "Bounty and compiled a temperance song book and served as a representative in the Massachusetts General Court. He is also noted for performing the sermon commemorating John Quincy Adams death at the St. John Street Congregational Church.
This print was produced by J. Mayer and Company. Julius Mayer was a lithographer in Boston from 1857-1872. He was associated with Prang & Mayer (1857-1860), Mayer & Stetfield (1861-1862), and J. Mayer & Co. (1863-1872). His prints included scenes of Boston and Portland, Maine.
Campbell General Hospital, one of about 25 hospitals opened in the Capital and Alexandria to care for wounded Union soldiers, was located on the northern outskirt of D.C. near Seventh Street. It opened in September of 1862 and a wartime census in December of 1864 found that the hospital maintained 900 beds, of which 633 were occupied. This print displays the square-shaped formation of the hospital’s long, narrow buildings, which had previously been used as a barracks for cavalry. Campbell was among the hospitals at which the poet Walt Whitman volunteered as a nurse during the war.
Washington Sanitary Commission, a relief agency approved by the War Department on June 18, 1861 to provide assistance to sick, wounded, and travelling Union soldiers. Nurses and inspectors belonging to commission provided suggestions that helped to reform the U.S. Army Medical Bureau. Although the leaders of the Commission were men, the agency depended on thousands of women, who collected donations, volunteered as nurses in hospitals, and offered assistance at rest stations and refreshment saloons. They also sponsored Sanitary Fairs in Northern cities, raising millions of dollars used to send food, clothing, and medicine to Union soldiers.
Charles Magnus (1826-1900) was born Julian Carl Magnus in Germany and immigrated with his family to New York City sometime between 1848 and 1850. During the 1850s, he learned the printing business while working with his brother on a German language weekly newspaper, the Deutsche Schnellpost. He later began his own lithographer firm, producing city views and commercial letterhead designs. During the Civil War, he designed pro-Union envelopes and illustrated song sheets. The firm’s Washington, D.C. branch also produced small, hand-colored scenes of Union camps and hospitals. Soldiers purchased these picturesque scenes of camp life to send home to calm the worries of anxious family members.
The Battle of Fredericksburg was fought December 11-15, 1865, as part of a Union attempt to capture the Confederate capital of Richmond. Ambrose Burnside became the commander of the Army of the Potomac after McClellan’s removal by Abraham Lincoln in November 1862. As the Union general approached Fredericksburg, Lee entrenched his army among the heights behind the town. On December 12, the Federal forces crossed the Rappahannock River and began a series of frontal assaults against the Confederate positions. The attacks were futile and the Union forces suffered heavy casualties, forcing Burnside to call off the offensive on the 15th, and lead a retreat back across the river.
This print depicts the regiments commanded by General Nathan Kimball as they endure heavy fire in an attempt to seize the high ground of Marye's Heights. Kimball was severely wounded in the offensive and his brigade suffered a casualty level of 25 percent. There is an explanation key below the image.
Peter S. Duval, a French-born lithographer, was hired by Cephas G. Childs in 1831 to work for the firm of Childs & Inman in Philadelphia. Duval later formed a partnership with George Lehman, and Lehman & Duval took over the business of Childs & Inman in 1835. From 1839 to 1843, Duval was part of the lithography and publishing house, Huddy & Duval. He established his own lithography firm in 1843, and was joined by his son, Stephen Orr Duval, in 1858.
Private John G. Keyser was an artist from Bridgeton, New Jersey. He made sketches during the Civil War, particularly of Regiment 24, which were then turned into prints.
Capitalizing on the success of Civil War-related artwork during the 1880s and 90s, the Chicago-based printmakers Louis Kurz and Alexander Allison published a series of 36 battle scenes commemorating famous engagements of the war. All displayed idealized, panoramic representations of the battles with statistics of the killed and wounded below each image. Kurz and Allison did not consult photography or Civil War historians when designing their prints, instead relying on Kurz’s own first-hand experience as a soldier during the conflict. They included historical inaccuracies and eschewed aesthetic realism to remain true to earlier, pre-photographic lithographic traditions, which preferred bold graphics, black outlines, and figures performing grand, exaggerated gestures.
This 1893 chromolithograph depicts the Third Battle of Winchester, fought on September 19, 1864. The Union victory here resulted in Federal forces under General Philip Sheridan gaining the upper hand over the Confederate army of General Jubal Early in the Shenandoah Valley. In the foreground of this print, Union and Confederate cavalries clash. At the center, a Union cavalryman raises his sabre over his head while his Confederate foe to his right take aim with a pistol. Behind them, rows of riflemen reinforced with cannons exchange fire across an open field at the bottom of a valley. A cloud of smoke from the Confederate artillery fire rolls down between the two armies. Below this smoke, the bodies of killed soldiers are scattered across the battlefield.
Louis Kurz was a mural and scene painter before the Civil War, explaining the mural-like format of the images. His illustrations also appear to have been inspired by cycloramas, which were popular at the time, such as Paul Philippoteaux’s Gettysburg Cyclorama. Kurz was an Austrian immigrant who settled in Chicago during the 1850s, where he formed a partnership with Henry Seifert of Milwaukee. He later fought for the Union Army during the Civil War. After the conflict, he co-founded the Chicago Lithographic Company. When the company’s assets were destroyed during the Chicago Fire of 1871, Kurz started a new business with his partner, financial backer, and business manager, Alexander Allison.
Capitalizing on the success of Civil War-related artwork during the 1880s and 90s, the Chicago-based printmakers Louis Kurz and Alexander Allison published a series of 36 battle scenes commemorating famous engagements of the war. All displayed idealized, panoramic representations of the battles with statistics of the killed and wounded below each image. Kurz and Allison did not consult photography or Civil War historians when designing their prints, instead relying on Kurz’s own first-hand experience as a soldier during the conflict. They included historical inaccuracies and eschewed aesthetic realism to remain true to earlier, pre-photographic lithographic traditions, which preferred bold graphics, black outlines, and figures performing grand, exaggerated gestures.
This 1889 chromolithograph commemorates the 25th anniversary of the battle of Olustee, the only major battle of the Civil War fought in Florida, which took place on February 20, 1864. The Confederacy earned a major victory over Union forces. Federal casualties were high, and the Union Army decided against engaging in future contests in Florida for the remainder of the war. In the print, a Union force composed mainly of free blacks and freedmen from the United States Colored Troops, advance on a heavily fortified Confederate position. In actuality, however, the Confederate forces did not fire from trenches as they do in the print and the battle was fought in a pine forest with relatively few large clearings.
Louis Kurz was a mural and scene painter before the Civil War, explaining the mural-like format of the images. His illustrations also appear to have been inspired by cycloramas, which were popular at the time, such as Paul Philippoteaux’s Gettysburg Cyclorama. Kurz was an Austrian immigrant who settled in Chicago during the 1850s, where he formed a partnership with Henry Seifert of Milwaukee. He later fought for the Union Army during the Civil War. After the conflict, he co-founded the Chicago Lithographic Company. When the company’s assets were destroyed during the Chicago Fire of 1871, Kurz started a new business with his partner, financial backer, and business manager, Alexander Allison.
Capitalizing on the success of Civil War-related artwork during the 1880s and 90s, the Chicago-based printmakers Louis Kurz and Alexander Allison published a series of 36 battle scenes commemorating famous engagements of the war. All displayed idealized, panoramic representations of the battles with statistics of the killed and wounded below each image. Kurz and Allison did not consult photography or Civil War historians when designing their prints, instead relying on Kurz’s own first-hand experience as a soldier during the conflict. They included historical inaccuracies and eschewed aesthetic realism to remain true to earlier, pre-photographic lithographic traditions, which preferred bold graphics, black outlines, and figures performing grand, exaggerated gestures.
This 1893 chromolithograph depicts the Battle of Wilson’s Creek, fought on August 10, 1861, as part of the larger struggle over control of the state of Missouri, which was officially neutral at the start of the war. The Confederacy won the battle, but ultimately failed to establish dominance in Missouri. In the print, General Nathaniel Lyon leads the men of the First Iowa out of a forest to engage the Confederate Army in a clearing. At center, General Lyon’s horse rears as he falls back mortally wound from a gunshot to the heart. Several wounded men lie in the foreground amongst the charging troops.
Louis Kurz was a mural and scene painter before the Civil War, explaining the mural-like format of the images. His illustrations also appear to have been inspired by cycloramas, which were popular at the time, such as Paul Philippoteaux’s Gettysburg Cyclorama. Kurz was an Austrian immigrant who settled in Chicago during the 1850s, where he formed a partnership with Henry Seifert of Milwaukee. He later fought for the Union Army during the Civil War. After the conflict, he co-founded the Chicago Lithographic Company. When the company’s assets were destroyed during the Chicago Fire of 1871, Kurz started a new business with his partner, financial backer, and business manager, Alexander Allison.
Located on Corcoran Farm on 7th Street, NW, Harewood General Hospital operated from September 1862 to May 1866. It was one of about 25 hospitals opened in the Capital and Alexandria to care for wounded Union soldiers. This print illustrates the original “V” shaped design of the hospital, which could accommodate a total of 945 patients. As the war continued, hospital tents were erected to house additional wounded men, and are visible above the wooden hospital wards. At one point, 312 tents were built at the hospital, contributing an additional 1,872 beds. Medical operations at Harewood were directed by Surgeon Reed A. Bontecou, who used photography to document the injuries and treatments of his patients.
Washington D.C. hospitals were supported by the United States Sanitary Commission, a relief agency approved by the War Department on June 18, 1861 to provide assistance to sick, wounded, and travelling Union soldiers. Nurses and inspectors belonging to commission provided suggestions that helped to reform the U.S. Army Medical Bureau. Although the leaders of the Commission were men, the agency depended on thousands of women, who collected donations, volunteered as nurses in hospitals, and offered assistance at rest stations and refreshment saloons. They also sponsored Sanitary Fairs in Northern cities, raising millions of dollars used to send food, clothing, and medicine to Union soldiers.
Charles Magnus (1826-1900) was born Julian Carl Magnus in Germany and immigrated with his family to New York City sometime between 1848 and 1850. During the 1850s, he learned the printing business while working with his brother on a German language weekly newspaper, the Deutsche Schnellpost. He later began his own lithographer firm, producing city views and commercial letterhead designs. During the Civil War, he designed pro-Union envelopes and illustrated song sheets. The firm’s Washington, D.C. branch also produced small, hand-colored scenes of Union camps and hospitals. Soldiers purchased these picturesque scenes of camp life to send home to calm the worries of anxious family members.
Capitalizing on the success of Civil War-related artwork during the 1880s and 90s, the Chicago-based printmakers Louis Kurz and Alexander Allison published a series of 36 battle scenes commemorating famous engagements of the war. All displayed idealized, panoramic representations of the battles with statistics of the killed and wounded below each image. Kurz and Allison did not consult photography or Civil War historians when designing their prints, instead relying on Kurz’s own first-hand experience as a soldier during the conflict. They included historical inaccuracies and eschewed aesthetic realism to remain true to earlier, pre-photographic lithographic traditions, which preferred bold graphics, black outlines, and figures performing grand, exaggerated gestures.
This 1891 chromolithograph depicts the Battle of Nashville, fought on December 15 and 16, 1864. Part of the Franklin-Nashville Campaign, it was a major victory for the Union. General George H. Thomas soundly defeated the Confederate General John Bell Hood’s Army of Tennessee. In this print, Union troops overtake a Confederate artillery position during the battle. All soldiers’ uniforms are trimmed with different colors to represent their respective branch of service: light blue for infantry, red for artillery, and yellow for cavalry. The infantry regiment storming the hilltop in the upper portion of the illustration is composed of men from the United States Colored Troops. The retreating Confederate soldiers in the lower right corner wave white flags in surrender. A number of soldiers in the foreground of the scene lay either dead or dying.
Louis Kurz was a mural and scene painter before the Civil War, explaining the mural-like format of the images. His illustrations also appear to have been inspired by cycloramas, which were popular at the time, such as Paul Philippoteaux’s Gettysburg Cyclorama. Kurz was an Austrian immigrant who settled in Chicago during the 1850s, where he formed a partnership with Henry Seifert of Milwaukee. He later fought for the Union Army during the Civil War. After the conflict, he co-founded the Chicago Lithographic Company. When the company’s assets were destroyed during the Chicago Fire of 1871, Kurz started a new business with his partner, financial backer, and business manager, Alexander Allison.
Color print of a trotting horse (Ethan Allen) pulling a wagon on a track.
Description
A color print of a liver bay trotting horse with a harness pulling driver along a track.
Ethan Allen was foaled on June 18, 1849 by Joel W.Holcomb of Ticonderoga, NY. He was sired by Vermont Black Hawk, a distant descendant of the thoroughbred Messenger, and birthed by Poll. On the Holcomb farm, he was treated as a family pet, admiration that continued through his public career. Orville S. Roe of Shoreham, Vermont, bought half an interest in the colt, so during his earlier years, he was owned jointly by Holcomb and Roe. That was the beginning of his many owners. In 1862 he was sold to Frank Baker, who, after a time, sold him to Dan Mace and I. D. Walton. In 1866 he was purchased by J. E. Maynard of Boston, who sold him to Eph. Simmons, but afterwards bought him back, and again sold him, November 5th, 1868, to Wesley P. Balch of Boston, who in turn sold him to Col. H. S. Russell of Milton, Massachusetts. Ethan Allen was known for being the most handsome trotter in the races and had one of the longest racing careers, spanning 18 seasons. In 1853 he set the 4-year-old record of 2:36. In 1858 he reduced the stallion record to 2:28 for the mile. The great achievement of his life occurred on June 21, 1867, when, at age eighteen, and hitched with a running mate, he defeated Dexter, at the Fashion Course in Long Island in 2:15, 2:16 and 2:19. He won a total of 33 races, 22 in a single harness. His titles included Champion Trotting Stallion of the World, Champion of the World at Four Years of Age, and Champion of the World to Pole, with a best time of 2:25 ½. Ethan Allen was highly popular at stud, with his fees reaching $500. He produced six under 2:30 trotters. Ethan Allen died at Sprague and Akers Farm, owned by Colonel Amasa in Lawrence Kansas on September 10, 1876 at age 27 and was buried at the entrance of the trotting course in Kansas, with a monument to commemorate his career. Later, his skeleton was exhumed and displayed at the Museum of Natural History in Lawrence. He was inducted into the Harness Racing Hall of Fame in 1999 as an “Immortal.” The popular trotting horse weather vane was based upon his silhouette.
Haskell and Allen’s most memorable productions were their horse prints. A Boston based publisher of lithographs, the firm seems to have issued more large folio images than small. Haskell began as a print seller with Haskell and Ripley (1868) but in 1869 he began a partnership with George Allen. In 1873 they moved to 61 Hanover St in Boston where they prospered for a few years. They went bankrupt in 1878.
A color print of a race track scene. The spectators in two grandstands and behind the fence cheer the winning horse as he crosses the finish line with his jockey, a full length ahead of the next competitor. A large pack of horses and jockeys follow. The judge at the finish line observes with folded hands. Two American flags rise above the stands.
Color print of a dark brown trotting horse pulling a sulky and driver.
Description
A color print of a dark brown stallion with white nose and stockings on his back feet, and a black mane, tail, and legs. He is pulling a jockey on sulky. His equipment is light weight and designed to promote speed. The jockey wears a white shirt, long pants, and a billed cap. The track is bordered by grassy fields and woods. Low hills are in the distance.
Great Eastern was a descendant of Hambletonian bred in New York. He was one of Smuggler’s principle rivals. They faced off at Mystic Park on October 16, 1876 to a crowd of 3000 people, where Great Eastern was beaten. In the rematch scheduled for October 20, Great Eastern, driven by A.J. Feek beat Smuggler with a time of 2:21. He went on to win thirteen more times between 1875 and 1883, traveling as far as Illinois.
Haskell and Allen’s most memorable productions were their horse prints. A Boston based publisher of lithographs, the firm seems to have issued more large folio images than small. Haskell began as a print seller with Haskell and Ripley (1868) but in 1869 he began a partnership with George Allen. In 1873 they moved to 61 Hanover St in Boston where they prospered for a few years. They went bankrupt in 1878.