city view (41 Ergebnisse)

Paperback. Zustand: Brand New. 100 pages. 10.00x7.00x0.25 inches. In Stock.

"Muteczuma Rex Ultimus Mexicanorum" high-quality facsimile in giclée print on 250g Schwarzwaldmühle art print cardboard (30x21cm) after a copperplate engraving published in 1673 by Jacob van Meurs in Amsterdam.

Zustand: Good. Photo-etching. 54 x 44 cm.

Zustand: Good. leaf 30.0 x 41.5 cm; image 20.0 x 28.5 cm. Loose leaf. Hand-colored lithograph of La Rochelle in France. (Paper sl. tanned, edges sl. dam.).

Zustand: Very Good. leaf 29.5 x 43.5 cm; image 19.5 x 28.5 cm. Loose leaf. Hand-colored lithograph of Nice in France. (Right margin sl. tanned, sl. wrinkled).

Hardcover. Very good. Some discoloration on verso. A few minor margin splits stabilized. Size 24.5 x 17.25 Inches. This is a c. 1912 promotional real estate broadside, consisting of excerpts from the Brooklyn Daily Eagle , promoting the Jamaica Bay Improvement Plan and associated developments around Jamaica Bay, New York City. The broadside illustrates ambitious plans to dredge Jamaica Bay, turning it into a massive seaport. Work on this project was underway but was terminated when the U.S. entered into World War I (1914 - 1918). A Closer Look The recto contains a bird's-eye view (drawn by Arthur H. Heiser) that originally appeared in the Brooklyn Daily Eagle in April 1910. It illustrates Brooklyn and much of Queens, facing westwards towards Manhattan and the Bronx. The view depicts an imagined scene of what Jamaica Bay might look like once the seaport project reached compleation. The proposed development of 'Howard Estates' is highlighted, while an arc is traced through the city, noting real estate prices in different areas, with the implication being that the property value along Jamaica Bay would soon match or exceed that elsewhere in the city. The recto similarly borrows from a January 1912 illustration in the Brooklyn Daily Eagle that provides another perspective on the proposed harbor plan, this time as discussed by Ports Commissioner Calvin Tomkins, again with Howard Estates highlighted, though this time including a representation of the actual current state of the Bay as a shallow estuary filled with marshes. The Jamaica Bay Improvement Plan The Jamaica Bay Improvement Plan in the early 20th century was a major series of engineering and urban development projects aimed at enhancing the infrastructure, water management, and economic potential of the Jamaica Bay area in New York City, on the border of Brooklyn and Queens. The Army Corps of Engineers had conceived plans to dredge the Rockaway Inlet as early as 1886, but the plan was not pursued, given the remoteness of the area at the time. However, in the following decades, as New York City grew and was consolidated as the five boroughs, demand for increased port facilities seemed to justify such a project. In 1910, the idea of a seaport was revived as part of the wider New York State Canal System, meant to replace the Erie Canal. A pier was built, and dredging work began but proved difficult amid the fickle sand and tides of the Bay; the Long Island Railroad built a station and small spur line in anticipation of the project's ultimate completion, and some businesses and housing began springing up, with the same anticipation. A great deal of progress had been made by 1918, but the U.S. entry into the First World War suddenly halted the project after priorities shifted. In the late 1920s, the project was revived and gained political and financial support at the city, state, and federal level, with the LIRR again making plans to build considerable facilities in the area. But New Jersey was deeply opposed to the plan given its own developing port facilities, and the already powerful Robert Moses (at this time New York City Parks Commissioner) disliked the project and had Jamaica Bay designated as a park, effectively killing the port plan. For its part, Howard Estates never developed as intended either. The glove manufacturer William J. Howard had a goat farm in the area (which provided leather for the gloves), but he realized its potential as a real estate development and formed the Howard Estates Development Co. in 1909. Undertaking his own dredging work, streets were laid out, utilities connected, and a distinct neighborhood formed by the mid-1910s. However, the area did not see true urban development until the post-World War II period, by which time it was known by the less grandiloquent name Howard Beach. Meanwhile, the east and southern coasts of the Bay never developed the industrial facilities seen here. A portion of the Bay (seen here at the right) was later filled in to creat.

Soft cover. Average. Wear on old fold lines. Paste downs. Discolorations. Size 11.25 x 30.5 Inches. This is Edward Spofford's bird's-eye view of the Triborough Bridge and connections, New York City. The map was issued at the peak of Robert Moses' controversial efforts to build highways connecting New York's boroughs, Long Island, and Westchester. A Closer Look The view looks eastward, providing a high-oblique perspective from a point over midtown Manhattan. Coverage extends from the Long Island Sound to the northern tip of Roosevelt Island and from the Upper East Side well into Long Island. The centerpiece is the Triborough Bridge, connecting Manhattan with Ward Island, Randall's Island, the Bronx, and Queens. The Whitestone Bridge and the notorious prison on Riker's Island are recognizable. Of secondary emphasis are the major motorways, including Grand Central Parkway and Astoria Boulevard, shown cutting through Queens, underscoring the connectivity the bridge and other Robert Moses projects provided. The area where La Guardia Airport now stands is blank. A pastedown in the upper right titles the view and provides context. Robert Moses and the Triborough Bridge The Triborough Bridge (Robert F. Kennedy Bridge) was born of New York City's ambition to modernize its infrastructure and improve transportation during the early 20th century. Initially proposed in the 1920s as a means of connecting Manhattan, the Bronx, and Queens, the project gained momentum with the formation of the Triborough Bridge Authority in 1933, led by the influential urban planner Robert Moses. The bridge's construction was envisioned as part of the city's response to the increasing demand for efficient transportation routes and as a strategy to provide jobs during the Great Depression. Funded in part by federal New Deal programs, including the Public Works Administration, the ambitious project faced numerous financial and engineering challenges before construction began in earnest in 1934. The Triborough Bridge opened to traffic on July 11, 1936, and immediately transformed regional connectivity, facilitating commerce and travel between the boroughs while embodying the era's spirit of bold, transformative infrastructure projects. Its completion marked a pivotal moment in New York City's evolution into a modern, car-centric metropolis. Publication History and Census This view, as presented here, with the title pastedown in the upper right, is by all appearances an artist or publisher's proof. The view was made by Edward W. Spofford, c. 1936, likely for the opening of the Triborough Bridge. It clearly predates the construction of LaGuardia Airport, which followed from 1937-39. Later, it was revised significantly, including the addition of LaGuardia, and reissued by the Triborough Bridge Authority for the 1939 New York World's Fair. The present publisher's proof is unique and unrecorded. Nor are we aware of printed editions of this state - all printed examples follow the 1939 revision.

Soft cover. Very good. Closed diagonal tear extending 6 inches within printed area expertly repaired. Size 6.25 x 20.75 Inches. This is a superb example of the 1761 London Magazine edition of the famous Burgis view of New York City, one of the earliest generally acquirable dedicated views of the city. The bustling, nautical view shows the city as viewed from Brooklyn Heights. It illustrates from the battery in the south to the stockade of Wall Street. The East River teems with sailing ships, including three great warships. Fort George, the Exchange, City Hall, and a variety of churches can be seen, along with a shipyard. The Long Island terminus of the ferry across the East River is visible in the foreground. Precursors to this View The view is based on a painting executed by William Burgis around 1718. It was first published in a large format - more than six feet long, engraved in England by John Harris between 1719 and 1721. (Just three examples of this large view are known to exist.) A restrike of that view was printed in 1746 by Thomas Bakewell, with some alterations to the plates. This, too, is extremely rare, with a single example appearing in OCLC. Publication History and Census The present view was engraved by an anonymous hand in 1761 for inclusion in the London Magazine and is one of two versions of the view to appear in that publication. Of the two the edition ending with the title ending in 'North America' is the more detailed and desirable. This, and the other 1761 variant, appear on the market from time to time. References: OCLC 316401826.

Soft cover. Very good. Wide margins. Some mat burn. Size 11.5 x 16 Inches. This is a rare c. 1850 German lithograph view of Sacramento, California, at the height of the California Gold Rush. A Closer Look The map depicts the booming city of Sacramento from the waterfront on the Sacramento River looking down J Street. Numerous buildings are illustrated along the waterfront and J Street. Building materials are stacked along the shoreline at the lower right - underscoring the building boom that ran in tandem with the Gold Rush. Ships moored along the riverfront include sailing ships and a sidewheel steamship. Rowboats are used to ferry people and goods from the ships to the shore. American flags fly from two of the ships, and front and center, another bears the flag of Chile. I've Seen the Elephant One of the buildings along the waterfront bears the image of a large black elephant. This is a reference to the popular Gold Rush saying, 'I've Seen the Elephant', meaning I have passed through great adversity and come out the other side stronger and still motivated. The cross-country trek or round-Cape-Horn sea voyage to California was then so arduous that, by the time '49ers arrived in Sacramento, all had 'seen the elephant'. The symbol of the elephant was adopted as a marker of pride, and placed on saloons and businesses - as here. The expression originates from an old fable. A poor farmer heard a circus with an elephant was coming to a nearby town. Curious to see one of the giant creatures, he headed to town, also taking his cart and produce, hoping to sell to circus-goers. On the road, he encountered the elephant, who spooked the horse, upset the cart, and ate all of the produce. To which the farmer declared, 'I don't care, for I have seen the elephant!' The California Gold Rush The discovery of gold at John Sutter's mill by James Wilson Marshall (1810 - 1885) in January of 1848 was one of the most definitive moments in American history. Coming at the end of the Mexican-American War (1846 - 1848), the timing of the discovery could not have been more propitious. The combination of new, seemingly unlimited territory and the lure of gold led to a stampede of adventurers, prospectors, merchants, and homesteaders ready to take their chance with a new life on the frontier. The Gold Rush was not limited to Americans crossing the Great Plains. European, Australian, and even Chinese immigrants rushed into California hungry for their part in the great strike. This Great Migration of peoples transformed the United States in the span of just a few years from a former colony into an expansive transcontinental nation on the cusp of becoming a world power Chromolithography Chromolithography is a color lithographic technique developed in the mid-19th century. The process involved using multiple lithographic stones, one for each color, to yield a rich composite effect. Often, the process would start with a black basecoat upon which subsequent colors were layered. Some chromolithographs used 30 or more separate lithographic stones to achieve the desired product. Chromolithograph color could also be effectively blended for even more dramatic results. The process became extremely popular in the late 19th and early 20th centuries when it emerged as the dominant method of color printing. The vivid color chromolithography produced made it exceptionally effective for advertising and propaganda imagery. Publication History and Census This view was printed by Johann Friedrich Hesse around 1850 and published by the German magazine Verlags Magazin . Scarce. References: Library of Congress, #PGA - Hesse--Sacramento. (B size).

Very good. Minor staining on margins. Size 4.5 x 6.5 Inches. This is a beautiful 1868 view of the Lake in Central Park as seen from the east, by Shannon and Rogers. The view features a boat in the water with the Bow Bridge visible in the distance. The Lake, Central Park's largest naturalistic body of water, was created from a former swamp. Vaux and Olmstead envisioned this 20 acre lake would be used for boating in the summer and ice-skating in the winter. Central Park Vaux and Olmstead were awarded the task of designing Central Park in 1853 by the City Common Council. Olmstead's vision drove the overall design while Vaux concentrated on bridges, buildings, and other structures. The creation of Central Park, which was to consist of some 800 acres of public forest, pathways, promenades, lakes, bridges, and meadows, was a seminal moment in civic urban design. The park itself was designed as a whole with every tree, pond, and bench meticulously planned. Olmstead wrote: 'Every foot of the park's surface, every tree and bush, as well as every arch, roadway, and walk has been placed where it is for a purpose.' Historian Gloria Deak writes, 'There was a staggering amount of work to be done to transform the area into a blend of pastoral and woodland scenery. This involved the design and construction of roadways, tunnels, bridges, arches, stairways, fountains, benches, lamp posts, gates, fences and innumerable other artifacts. It also involved the supervision of an army of about five thousand laborersOlmsted, to whom most of the credit goes, insisted on seeing the multidimensional project as a single work of art, which he was mandated to create. For this purpose, he ventured to assume to himself the title of 'artist' Today, because of Vaux and Olmstead's efforts, New Yorkers, ourselves included, have the privilege of enjoying what is, perhaps, the finest example of a planned urban public recreation area in the world. Publication History Prepared for inclusion in the 1868 edition of Joseph Shannon's Manual of The Corporation of the City of New York .

Very good. Foxing throughout but especially in margins. Size 5 x 7 Inches. This is a lovely 1868 view of the Loew Bridge over Broadway and Fulton Street in New York City, by Shannon and Rogers. The view features the short-lived cast iron pedestrian bridge across New York City's busiest street. Pedestrians are seen walking over the bridge and sidewalks with carriages on the street. St. Paul's Chapel, which still exists today, can be seen on the corner. Astor House, the city's first luxury hotel, is seen in the background. The Loew bridge opened in 1867 after a petition from John Genin, a milliner, who wanted his customers to be able to visit his shop across form St. Paul's Chapel, in comfort. Unfortunately, the business of another hatter on the St. Paul's side of the street, Charles Knox, suffered due to the shadow cast by the bridge. Knox sued the city and the Loews Bridge was torn down in 1868, lasting only a year. Mary Eliza Tucker wrote a 65-stanza poem about the bridge called, 'Loew's Bridge: A Broadway Idyl' in 1867. This view was prepared for inclusion in the 1868 edition of Joseph Shannon's Manual of The Corporation of the City of New York . References: New York Public Library, Art and Picture Collection, b17515544.

Very good. Minor staining on margins. Size 7 x 5.5 Inches. This is a nice 1868 view of the corner of Ann Street and Broadway in New York City, the former site of the Barnum Museum, by Shannon and Rogers. The view features the building that replaced P.T. Barnum's American Museum, which burned to the ground in 1865. The Barnum's American Museum opened in 1841 in lower Manhattan and was a significant part of urban culture. With a combination of entertaining, educational and almost ostentatious displays, from the Fejee Mermaid to General Tom Thumb, it was a combination of a zoo, museum, lecture hall, theater and freak show. The museum also promoted educational ends. In 1865, in what would be one of the most spectacular fires New York has ever witnessed, the American Museum burned to the ground. Witnesses saw animals jumping from the buildings and two whales were reported to have boiled alive in their tanks. P.T. Barnum eventually turned to the circus, for which he remains well known to this day. This view was prepared for inclusion in the 1868 edition of Joseph Shannon's Manual of The Corporation of the City of New York . References: New York Public Library, Art and Picture Collection, b17094222.

Very good. Minor toning along edges. Size 4.5 x 7 Inches. This is a beautiful view of Trinity Place in New York City issued by D. T. Valentine. The view looks southward on Trinity Place with Trinity Church and the Trinity Church cemetery on the left. It features a gravedigger near a grave, some trees and bushes in the foreground and surrounding buildings. Illustrates the third and current Trinity Church buildings, built in 1846, which, with its spire and cross was the highest point in New York until 1890. This view was engraved by Sarony, Major and Knapp and published as part of D. T. Valentineâs Manual of the Corporation of the City of New York , 1862.

Very good. Minor spotting in margins. Size 5 x 7.5 Inches. This is a charming 1868 chromolithograph view of the New Harlem Bridge over the Harlem River by Shannon and Rogers. The view features the Harlem River with various boats including sailboats, rowboats and steamboats. The New Harlem River Bridge, created in 1868 connects the Burroughs on Manhattan and the Bronx. The Third Avenue Bridge, still functioning today, now stands in its place. This view was prepared for inclusion in the 1868 edition of Joseph Shannon's Manual of The Corporation of the City of New York .

Very good. Minor spotting in margins. Size 7.5 x 10 Inches. This is a charming view of the city of Louisville, Kentucky issued by Appleton in 1872. It features a view of the Ohio River with bridge with the buildings of Louisville in background. The foreground shows the riverbank and pier with fishermen and boats. The view was drawn by Asa Coolidge Warren, and engraved by E. P. Brandard and 'Entered according to Act of Congress A.D. 1872 by D. Appleton and Co. in the Office of the Librarian of Congress of Washington'. References: Library of Congress, Prints and Photographs Division, 92506771.

Very good. Repairs along the centerfold and edge on verso. Size 20 x 13.5 Inches. A beautifully colored 1884 view of Philadelphia City Hall by the artist Frederic B. Schell that appeared in Harper's Weekly . When published, the building's central tower had not yet been completed and it would not be fully opened until 1901. Still, the images capture the massive ambitions of the building, which took thirty years to build and held multiple records when it was completed (and retains several today). A Closer Look The sheet includes six illustrations: a central depiction of the City Hall structure as it would appear when completed and five additional views. The main view demonstrates how the structure absolutely dominated over other buildings of the Philadelphia skyline. The inset at top-left depicts the building's Western Dome, with human figures to highlight the size of the dome. Moving clockwise, illustrations include the building's courtyard, a statue of John Fulton Reynolds, a Pennsylvania native and Union general killed at Gettysburg, at the building's entrance, a view of city hall and the Pennsylvania Railroad from West Philadelphia, and a view of the building looking down Broad St. The verso includes a description of the building, praise for its design and ambitions, but also a critique of the plans for the central tower, which the Harper's writers saw as gaudy. A Structure for the Ages When constructed, Philadelphia's City Hall was the tallest habitable building and the tallest secular structure in the world, included the world's tallest clocktower, and was the largest public building in the U.S. It remains the largest free-standing masonry building in the world and the largest municipal building in the U.S. today. The thirty-seven-foot-tall statue of William Penn that crowns the building's tower is still the largest statue atop a building in the world. Needless to say, such grand ambitions were not easily realized, and it took tens of millions of dollars and thirty years to fully construct and furnish the building and its hundreds of rooms. Publication History and Census This sheet was drawn by Frederic B. Schell and appeared in Harper's Weekly on July 5, 1884. It is not known to be independently cataloged among the holdings of any institution, while Harper's Weekly is generally available at major research institutions. Hand-colored Harper's prints are scarce to the market.

Very good. Stationery. Closed tear at bottom of sheet, far from printed view. Size 6 x 8 Inches. This is a c. 1880 Charles Magnus view of the elevated train station at Bowery and Canal Street in New York City. The focus is on the New York Elevated Railroad, the first public rapid transit system in the United States and an object of considerable popular interest. The view looks across the elevated railroad toward the Thalia Theatre and the Atlantic Garden beer hall. Trains can be seen traveling in both directions and fashionable New Yorkers waiting on the platform in the foreground. Horse-drawn carriages and more well-dressed New Yorkers can be seen on the street below the railroad. The Thalia Theatre The Thalia Theatre began as the Bowery Theatre, a playhouse on the Bowery in Manhattan's Lower East Side. It was founded in the mid-1820s as an alternative venue for high-class European drama, then only available at the Park Theatre. Opened on October 22, 1826, as the New York Theatre, the first few seasons featured opera, high drama, and ballet. On the evening of May 26, 1828, the New York Theatre burned down. The theatre was rebuilt and on August 20, 1828, opened as the Bowery Theatre. By 1830, the Bowery's audience had become more working class, which pushed its bookings from high-brow drama and theatre to acts that appealed to their working-class patrons, including melodramas, minstrel shows, and animal acts. Hybrid acts, such as melodramas about dogs saving their human owners, proved unprecedented successes. The theatre burned down two more times in the ensuing decades and changed owners a few times. After the fire in 1845, it was rebuilt with 4,000 seats and a 126 square foot stage, making it one of the largest theatres in the world. As the neighborhood became a home for new immigrants during the second half of the 19th century, the theater adjusted its programing. This began with Irish immigrants in the mid-19th century, followed by Germans (it was a group of three Germans who converted the Bowery Theatre into the Thalia Theatre in 1879), and Yiddish theatre was the predominant attraction by 1891. The Yiddish theatre was followed by Italian vaudeville, which was succeeded by Chinese vaudeville. The theatre burned down for the last time on June 5, 1929, when it was known as 'Fay's Bowery Theatre'. Publication History and Census This view was published by Charles Magnus c. 1880 as part of his '36 Views of New York and Environs' series. The present example is published as a decoration on a piece of stationery. We have been unable to locate any other cataloged examples of this view in any form and given that the present example is published on stationery, it is likely the only surviving example.

Very good. Small wormhole to upper centerfold away from printed image. Else excellent. Size 11.5 x 14.5 Inches. This lively and remarkably accurate woodcut bird's eye view of Besançon, France, is the earliest acquirable printed image of that city. First Image of Besançon Although it first appeared in a 1572 Latin edition of Sebastian Münster's Cosmographia , the woodcut was executed far earlier. It bears the monogram of formschneider Hans Rudolf Manuel Deutsch (1525 - 1571). Many of Deutsch's woodcuts were first included in the 1550 editions of Münster's work, and the present image is consistent stylistically. And yet, this panorama made its debut long after Deutsch's other works, a year after his death, and long after Münster's death by plague in 1552. An additional formschneider's mark appears as well, that of the so-called 'monogrammist C-S' whose work appeared in Münster's work at the same time as did that of Deutsch. A Distinctive City Oriented to the south-southeast, the view presents the French city nestled within an oxbow of the Doubs river, between the hills of Brégille and Chaudanne. In addition to the natural protection of the river, the city was protected with a medieval wall; its southern extent can be seen cresting the hills in the background; the sides of the city are walled within the oxbow, while the northern precinct of the city and its wall extend beyond the river. The gates in the wall are named - as indeed is the Roman triumphal arch in the middle of the city, the Porte Noire (here named in Latin, Porta Negra). The city's churches are depicted and named as well, including the old Eglise Sainte-Madeleine, not the current structure (built in the 18th century) but an earlier church. The view is surmounted by the two coats of arms. To the left are the arms of the city of Besançon, granted in 1535 by Emperor Charles V, showing the imperial eagle between two columns the Roman arch that can still be seen in the city - and which is pictured in the view itself. To the right are the arms of the Duchy of Burgundy, to which Besançon belonged. Puzzling out the Source The extreme accuracy of this view dictates that Münster's source was well-familiar with the place, and we know that was among the cities that he was interested in including in Cosmographia . According to McClean in his The Cosmographia of Sebastian Munster , Besançon was among the cities that Münster was working on as early as 1550. But as late as 1552, Münster could only provide a cursory description of the city curtailed with the complaint, 'I have nothing else to write here about this city, since nothing has been sent to my frequent solicitation.' So it would have been as early as 1552 that this present woodcut and its attendant description was being produced, but very likely no earlier. It may well have been in response to Münster's published complaint that this view was (finally) provided him. But who provided the drawing that informed this superb view? We have few clues. The 1575 Braun and Hogenberg view of Besançon, which was copied from Münster's, we have seen attributed to the Burgundian humanist and geographer Jean Matal, (1517 - 1597) who certainly could have produced this view - but we have been unable to form any more concrete connection. Adding to the Cosmographia From its first printings in 1544, Münster's Cosmographia was notable for maps and views depicting their subjects for the first time in print. In subsequent editions, Münster labored to build the work by ordering improved city views and additional decorative woodcuts. 1550 saw the addition of many maps and views to the body of the work. Münster's spur to do so was the 1548 publication of Johannes Stumpf's magnificently illustrated history of Switzerland, whose woodcut maps and views outstripped those in Cosmographia both in quality and number. Münster knew he had to improve, and commissioned many of the woodcuts that would make his work the most popular. As is evi.

Very good condition. Reinforced at bottom and top of centerfold, not effecting printed image. Size 13.5 x 16.5 Inches. This is an attractive 1724 bird's-eye view of Gloucester in the United Kingdom, by Johannes Kip. The northwest-oriented view is centered on the city's unmistakeable cathedral. Westgate Street, Southgate Street and the London Road can all be clearly seen, as well as the gates after which these streets were clearly named. Ships can be seen sailing the River Severn in the foreground. Though not named, St. Mary de Lode Church is identifiable as well. Not only these, but also the great manors of the city are shown, revealing their grounds and formal gardens in detail. Kip made a specialty of documenting England's noble estates, so the detail available here is unsurprising. Publication History and Census This view was first drawn and engraved for inclusion in Sir Robert Atkyns's 1712 The Ancient and Present State of Glostershire, for which Kip produced seventy three plates. It was also included in the 1724 Nouveau theatre de la Grande Bretagne published in London by Joseph Smith, from which this example came. The Nouveau Theatre is well represented in institutional collections, but the separate map appears in only five listings in OCLC. References: OCLC 163234524.

Very good. Light dampstaining to upper right corner. Size 28.5 x 39 Inches. This is a 1976 Tom Dodds 'City Character Print' view map of New Orleans, Louisiana. A Closer Look Oriented toward the north with Lake Pontchartrain along the top border, city landmarks, including monuments, stadiums, and university buildings, appear alongside businesses, schools, and other locations. The famed French Quarter is to the right, with the Liberty Monument, the Joan of Arc statue, and the Mardi Gras parade identifying this raucous part of the city. The New Orleans Superdome appears almost at the center and is home to the NFL's New Orleans Saints and the NBA's New Orleans Jazz (now the Utah Jazz). Many of the largest buildings are the city's hotels (drawn larger than scale). Riverboats, shipping vessels, and an aircraft carrier ply the waters of the mighty Mississippi River. The Armstrong International Airport (KMSY) appears along the left border with a Concorde landing on its runway. (Yes, the Concorde did land in New Orleans. The event depicted here is the March 24, 1976, state visit of French President Valery Giscard d'Estain. Later, in 1981, British Airways began operating limited Concorde flights to New Orleans as part of a promotional service aimed at boosting tourism and business ties between the United Kingdom and the United States.) Along the bottom border, a New Orleans jazz band occupies the left corner while the Battle of New Orleans between Andrew Jackson and the Americans and the British red coats rages in the lower right corner. City Character Prints City Character Prints were a series of comical city views issued between 1972 and 1983. The views combine cartographic perspective with exaggerated illustrations of important landmarks, historical sites, and 'typical' people engaged in 'typical' activities. The views were produced by different artists, with, as far as we can tell, every artist having produced only one. Some are unattributed. Cities covered include New Orleans, St. Louis, Birmingham, New York, Syracuse, Philadelphia, Dallas, Buffalo, Chicago, Austin, Washington D.C., Miami, and Phoenix, among others. Most bear the Canadian imprint of Archar Inc., Ontario. Many were later licensed as puzzles. We even note a map of Singapore, dating to 1990, that uses the term 'City Character Print', and while mimicking the style and produced by a Canadian artist, it may or may not be related. The style inspired a whole genre of copycat works of perseverant popularity. Publication History and Census This map was illustrated by Tom Dodds and published by Archar, Inc. in 1976 as part of their City Design Print series. We note a single cataloged example in OCLC, which is part of the collection at the Library of Congress. References: OCLC 5480070.

1st Edition. Good. Wear along original fold lines. Verso repairs to fold separations. Slight loss at 2 fold intersections. Size 27 x 17.5 Inches. This is a spectacular 1933 edition of the Edward V. Spofford / Samuel Freedman bird's-eye 'Supervue' map of New York City published to promote the Hotel Edison. Despite being issued at the height of the Great Depression, this view highlights New York City's resilience, prosperity, and multicultural dynamism. A Closer Look The view looks northwards on Manhattan from a presumptive point high above Governor's Island. Coverage stretches as far as Van Cortlandt Park, thus including much of the Bronx and parts of adjacent Queens, Brooklyn, and New Jersey. Red overprinting highlights the Hotel Edison, the Hotel Westbury, and 5 different routes out of the city. Important buildings appear in profile. Among them are bridges, the Empire State Building, the Chrysler Building, Grand Central Station, the Metropolitan Museum of Art, and more. Neighborhoods are labeled, including Greenwich Village, Little Italy, Chelsea, the Financial District, and the Theatre District. This last area, the Theater District, is further detailed via an inset in the lower left, in which specific theaters are named. Along the Hudson, passenger piers are labeled according to the carrier that operated them: White Star, Red Star, Cunard, Hudson River Night Line, etc. An index appears to the right and below the view. The verso offers an array of city-focused facts and trivia, as well as pointers regarding sightseeing highlights. The Hotel Edison The Hotel Edison opened at 228 West 47th Street in New York City in 1931 and is still operational today. It was the first Art Deco hotel in the Theater District, and when it opened, it could accommodate 1,000 guests on 26 floors. The Hotel Edison has become a part of New York City's pop culture and operated a Broadway theater out of its ballroom on two separate occasions. Parts of the hotel have been featured in the TV shows 'Seinfeld' and 'Sex and the City', and the movies The Godfather and Birdman . Publication History and Census The view is the work of Edward V. Spofford, printed and published by Samuel Freedman. The present example is the 1933 edition. It is distinguishable from the first edition because it lacks Spofford's signature in the lower right. Freedman maintained the copyright throughout the view's print run. The present example was published in 1933, as can be seen on the verso. Multiple editions followed until about 1940, most on glossy paper and reasonably common. 11 examples of the Supervue are cataloged in OCLC, none of which appear to be the same as the present edition. References: OCLC 45873111.

Very good. Light edge wear. Size 28 x 38.25 Inches. This is a 1981 Archar Inc. 'City Character Print' pictorial map of Salt Lake City, Utah, playfully promoting the city's history, identity, and businesses. A Closer Look Downtown Salt Lake City appears just left of center. The Mormon Temple is immediately identifiable, although overshadowed by an office building just behind it. The Salt Palace, home of the NBA's Utah Jazz, is just to the right and a little below the Temple. The State Capitol appears to the left, a little above the Temple, and the Great Salt Lake occupies part of the left border. Colleges are identified, including the University of Utah, Weber State College, and the Utah Technical College, all of which emphasize the quality of their bookstores. Local restaurants and shops appear, as do Salt Lake City residents who inform on the city's history and customs. Brigham Young's farm appears in the background, not far from Park City, which promotes the area's legendary ski slopes. A portrait of Brigham Young talking with followers appears front and center. City Character Prints City Character Prints were a series of comical city views issued between 1972 and 1983. The views combine cartographic perspective with exaggerated illustrations of important landmarks, historical sites, and 'typical' people engaged in 'typical' activities. The views were produced by different artists, with, as far as we can tell, every artist having produced only one. Some are unattributed. Cities covered include New Orleans, St. Louis, Birmingham, New York, Syracuse, Philadelphia, Dallas, Buffalo, Chicago, Austin, Washington D.C., Miami, and Phoenix, among others. Most bear the Canadian imprint of Archar Inc., Ontario. Many were later licensed as puzzles. We even note a map of Singapore, dating to 1990, that uses the term 'City Character Print', and while mimicking the style and produced by a Canadian artist, it may or may not be related. The style inspired a whole genre of copycat works of perseverant popularity. Publication History and Census This map was produced and published by Archar Inc. in 1981. We note a single cataloged example, located at Brigham Young University. References: OCLC 367530615.

Very good. Lightly toned, else an attractive example with a bold strike and generous margins. Size 11.25 x 6.75 Inches. Sebastian Münster's woodcut view of Tunis, Tunisia, is the earliest acquirable printed image of that city based on contemporaneous information, resulting from Charles V's 1535 siege of the Tunisian port. First Acquirable Image of Modern Tunis Although it first appeared in a 1574 Latin edition of Sebastian Münster's Cosmographia , the woodcut was executed far earlier. It bears the monogram of formschneider Hans Rudolf Manuel Deutsch (1525 - 1571). Deutsch's woodcuts were first included in the 1550 editions of Münster's work, and the present image is consistent stylistically. And yet, this image made its debut long after Deutsch's other works, a year after his death, and long after Münster's death by plague in 1552. An additional formschneider's mark appears as well, 'HBV', whose work appeared in Münster's work at the same time as did that of Deutsch. A View From A Siege Oriented to the south, the view presents the port of Tunis, its harbor protected by the fortress of Goleta; the city's defenses, hospital, arsenal, and walls are shown as are the harem and gardens south of the city. The city's hot baths, east of the bay, are marked. The ruins of ancient Carthage are labeled to the west of the bay, and the ancient Roman aqueduct can be seen bordering. Puzzling out the Source All of these details are drawn from an unacquirable source: Agostino de Musi's c. 1535 engraving, depicting Charles V's siege of the city. The presence of the harem and gardens in this woodcut precludes its being sourced from Vavasore or Zonta, whose 1535 depictions of the siege lacked these details. Forlani's 1566 copy of Agostino includes them, but also cannot have informed this woodcut, which would have been executed not much later than 1552 or 1553. Deutch's woodcut eliminates the martial elements of the original, focusing exclusively on the city and its features. Adding to the Cosmographia From its first printings in 1544, Münster's Cosmographia was notable for maps and views depicting their subjects for the first time in print. In subsequent editions, Münster labored to build the work by ordering improved city views and additional decorative woodcuts. 1550 saw the addition of many maps and views to the body of the work. Münster's spur to do so was the 1548 publication of Johannes Stumpf's magnificently illustrated history of Switzerland, whose woodcut maps and views outstripped those in Cosmographia both in quality and number. Münster knew he had to improve, and commissioned many of the woodcuts that would make his work the most popular. As is evidenced by the present work, he was still laboring at this when the plague took him. Publication History and Census This woodcut was executed by the Swiss artist Hans Rudolf Manuel Deutsch, who produced many of Munster's woodcuts, including his famous panoply of monsters. It would have been drawn and cut prior to Deutsch's 1571 death and may have been executed as early as those Deutsch produced for Münster for inclusion in the 1550 edition of Cosmographia . We do not see it in print until the 1574 Latin edition of the book, and may even have appeared in 1572. After the death of his Münster's widow, the bulk of the material Münster had received too late for inclusion in his 1552 editions was finally incorporated in the work. The present example conforms typographically to the 1614 German-text edition of Cosmographey . Three separate examples are listed in OCLC, but the work appears on the market from time to time. References: OCLC 163168601.

Good. Closed margin tears professionally repaired on verso. Area in the smoke to left of center reinstated. Size 18.5 x 25 Inches. This is a c. 1893 Kurz and Allison chromolithograph view of the 1893 Great International Naval Review in New York City celebrating the 400th anniversary of Christopher Columbus's arrival in the New World in 1492. Naval vessels from many countries took part in the review, including ships from Argentina, Brazil, England, France, Germany, Italy, the Netherlands, Russia, Spain, and, of course, the United States. The view illustrates the vessels at anchor in the Hudson River, with replicas of Columbus's ships, the Nina, Pinta, and Santa Maria, at center. Flags, banners, and other decorations adorn the ship's rigging and masts and smoke billows from their guns. The 1893 Great Naval Review Preceding Chicago's Columbian Exposition, ships from nine foreign nations and the United States assembled at Hampton Roads, Virginia, to commemorate Christopher Columbus's arrival in the New World. After a week of festivities in and around Hampton Roads while waiting for the international fleet to assemble, the entire group sailed for New York City on Monday, April 24th, in two columns: one for American vessels and one for ships from foreign nations. After arriving in New York, the vessels anchored in their two-column formation in the Hudson River, along with three replicas of Columbus's ships provided by Spain. The columns stretched from 96th Street to 34th Street and onlookers lined Manhattan's piers and the luckiest (and wealthiest) chartered boats to steam amongst the assembled fleet. President Grover Cleveland, aboard the dispatch boat Dolphin reviewed the assembly that afternoon. One New York writer described the scene: The Hudson shone and sparkled with gala bunting and flashing lights. Guns boomed and roared, whistles shrieked, bands sent martial strains echoing among the iron-walled fortresses, men huzzaed, and women added their glove taps to the triumphant acclaim. Apparently, in a bid to add to the ceremony, demolition workers blasting cliffs among the New York Palisades joined in, providing a series of dynamite blasts that brought down a cliff and added a cloud of dust and debris to the cacophony. Chromolithography Chromolithography, sometimes called oleography, is a color lithographic technique developed in the mid-19th century. The process involved using multiple lithographic stones, one for each color, to yield a rich composite effect. Oftentimes, the process would start with a black basecoat upon which subsequent colors were layered. Some chromolithographs used 30 or more separate lithographic stones to achieve the desired product. Chromolithograph color could also be effectively blended for even more dramatic results. The process became extremely popular in the late 19th and early 20th centuries when it emerged as the dominant method of color printing. The vivid color chromolithography produced made it exceptionally effective for advertising and propaganda imagery. Publication History and Census This view was created and published by Kurz and Allison c. 1893. We note a single cataloged example in OCLC which is part of the collection at the Boston Athenaeum. A second example is part of the Jay T. Last Collection at the Huntington Library, Art Museum, and Botanical Garden. References: Huntington Library priJLC_MIL_001288. OCLC 191909200.

Very good. Light wear along original folds. Closed margin tear professionally repaired on verso. Size 11.25 x 21.25 Inches. A rare and impressive view of Mexico City from John Ogilby's 1671 America . This is one of the first representations of Mexico City as a Spanish colonial center. A Closer Look The view is oriented towards the east, overlooking Mexico City from Chapultepec Hill, with the eponymous forest (Bosque de Chapultepec) in the foreground. It is a significant deviation from earlier maps and views that typically presented Mexico as Tenochtitlan, as it was under the Aztecs or at least very early in the colonial period. However, here the colonial grid laid out by the Spanish is clearly evident. Towards the top-left is the city's cathedral, royal palace, and main square (Zócalo). Churches, convents, and monasteries belonging to various religious orders are numbered, corresponding to the index below the view. A large aqueduct runs from the foreground to the background at the left. The remnant of Lake Texcoco appears in the background - partially drained to control flood and disease. In the foreground are intersecting groups, including perhaps African-descended city residents and animals laden with goods. Publication History and Census This view was prepared for John Ogilby's 1671 book America being the latest, and most accurate description of the New World . It is based on the view of Mexico City that appeared in Arnoldus Montanus' De Nieuwe en Onbekende Werlde , engraved by Jacob van Meurs, which was also translated into German by Olfert Dapper as Die Unbekante Neue Welt . Although the works in which it appeared were published in Dutch (Montanus), English (Ogilby), or German (Dapper), the text at the bottom of the view is in Spanish in all cases, making them indistinguishable. The view, as attributed to Ogilby, is independently cataloged among the holdings of the Newberry Library, the University of Texas at Arlington, the British Library, and the National Library of Scotland, while the Bayerische Staatsbibliothek independently catalogs it attributed to Montanus. Attributed to Dapper, it is cataloged with the Bayerische Staatsbibliothek, the Staatliche Bibliothek Regensburg, the Universita?t Erlangen-Nu?rnberg, and the Bibliothèque nationale de France. This view remained the standard view of Mexico City for several decades and was also incorporated into contemporary composite atlases. References: OCLC 70665937, 945632665, 164561024, 495028103.

Very good. Slight edge wear and mat burn. Size 16 x 22.5 Inches. This is the rare 1868 Hervey Smyth view of Quebec City, published in 1768. It is one of the earliest obtainable views of Quebec City, offering a look at the city shortly after the French and Indian War (1754 - 1763). The view was published for the Scenographia Americana , one of the most influential and monumental pre-Revolutionary graphic works on North America. A Closer Look The view looks on Quebec from Point Peres Pointe de Peres), southeast of the city, across the Saint Lawrence River. The Citadelle de Québec appears at the high point on the left, emphasizing the city's defensibility. The Basse-Ville or 'Lower Town' sprawls at the base of the cliffs, facing a busy waterfront. Watercraft ply the waters of the Saint Lawrence. Quebec at this time was one of the largest and most important cities in North America and the center of regional British power. Despite the transition from French to British rule at the end of the French and Indian War (1754 - 1763), the city managed to harmoniously balance French and British influences. The city served as a military fortress and as a collection point for Canadian furs and lumber, which were then shipped to markets elsewhere in the Americas and Europe. Scenographia Americana The view is part of a series of 28 images of American subjects known collectively as Scenographia Americana, a joint project involving many of London's top printers, engravers, and publishers. The individual drawings, including cities, seascapes, and natural scenes, were generally drawn on the spot, by military artists and surveyors, most serving in the French and Indian War (1754 - 1763) - like Pownall. The full Scenographia Americana is an object of legendary rarity, with only a single example (Christies, 2022) appearing at auction in the last 30 years. The publication of the Scenographia marked a sea change in the European sensibilities and perspectives on America. While America's dense forests, rugged mountains, endless plains, and enormous rivers were understood from a strategic and commercial perspective, little weight was given to their stunning visual appeal. While many celebrate the Hudson River School of the 19th century as bringing America's natural beauty to the forefront of the art world, it was, in fact, recognized much earlier. Well-educated French and British officers, engineers, and nobility sent to fight the French and Indian War (1754 - 1763) were rightly sensitive to the beauty around them and recorded it with passion, both visually and in their written accounts. Scenographia consolidated these impressions into a series of compelling and evocative engraved images. Publication History and Census The view was issued jointly in 1868 by London's premier map and print publishers: John Bowles, Carington Bowles, Thomas Jefferys, Robert Sayer, and Henry Parker. It is a composite of several sketches compiled on the spot by Hervey Smyth, aide-de-camp to General James Wolfe. Rare outside of long-standing institutional holdings. Of the full Scenographia Americana , we are aware of only six surviving examples, four in the U.S., another in England, and a sixth in private hands. All views from the Scenographia are exceedingly rare to the market. References: Cresswell, Donald H., The American Revolution in Drawings and Prints, 357. George Washington Presidential Library, Mount Vernon Repository, Drawer: 122 : L : 4, Section: 4 (Maps). New York Public Library, The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection, EM4518 / NYPG95-F228. Yale Center for British Art, B2001.2.1536.

Very good. Light toning and foxing. Size 15.25 x 19.75 Inches. This is Louis Turgis vibrant c. 1885 view of New York City. The view captures the energy and development of the city in the late 19th century, including the recently-completed Brooklyn Bridge. A Closer Look This view looks to the northeast from New York Harbor so that the island of Manhattan is presented vertically. Portions of New Jersey, the Bronx, Queens, and especially Brooklyn are also detailed around the edges of the view. Major landmarks such as Castle Clinton, Trinity Church, City Hall, and the Brooklyn Bridge (completed in 1883) are readily recognizable. Church steeples dot the landscape, along with a handful of tall buildings such as the Equitable Life Building opposite Trinity Church and what appears to be the New York Tribune Building near City Hall. Both the Hudson and East River are teeming with ships of various sorts, including paddle steamers, while even more boats and ships are docked along any available bit of coastline. Large numbers of smokestacks puff away in the Lower East Side, in Brooklyn (Williamsburg and Greenpoint), and in Queens (Long Island City), and railroads are evident in New Jersey (Hoboken), reflecting the industrialization of these areas. In the distance are Central Park, the Park Avenue Main Line, and farms and forests, as well as the portion of the East River leading to Long Island Sound. Publication History and Census This view was printed c. 1885 by Louis Turgis, the younger, of the interesting Transatlantic printing and publishing firm founded by his father. The view is strongly influenced by the larger 1876 Currier and Ives view 'The City of New York' (an earlier edition previously sold by us as NewYorkCity-currierives-1870), though there are some minor but recognizable differences, such as the ships and boats in the East River. Although the view could have been produced as early as 1876, it likely dates from a later period given the features present and the use of both French and Spanish titles, something Turgis increasingly adopted towards 1890 to appeal to a wider market. The signature of 'Turgis, le jeune' also suggests a transition period later in Turgis' (the elder's) life, when his sons took on more of the firm's operation. The only known institutional holding of this work is at the Metropolitan Museum of Art. The view appears to have been one of a series with bilingual titles issued by Turgis ('Vue générale de la Havane / Vista general de la Habana,' 'Vue générale de Barcelone / Vista general de Barcelona,' 'Vue générale de Madrid / Vista general de Madrid'), all now quite rare. References: Metropolitan Museum of Art Object No. 54.90.1444.

Excellent. Marginal mend to right, not impacting image. Size 19.5 x 26 Inches. This is a c. 1885 John Bachmann chromolithograph bird's-eye view of New York City and its vicinity, including Brooklyn, Jersey City, and Hoboken. The work captures the city flourishing as a hub of commerce as it roared towards the absorption of its neighbors: Brooklyn and Queens. The harbor is busy with steamships and sailboats, and the railheads in Jersey City are depicted with trains steaming west - engines of the Industrial Revolution. A Closer Look The northeast-oriented view displays Manhattan at the center, with Central Park recognizable. In general, the city's distinctive architecture is accurately portrayed throughout, if exaggerated in height, a reference to the city's now famous verticality. Not only can Castle Garden and Battery Park be recognized, but also many of the city's churches and cathedrals, as well as municipal structures such as the City Hall Post Office (completed in 1880). The Manhattan Elevated Railroad, a precursor to the subway, can be discerned on both sides of the island. The very prominent and exaggerated depiction of the Brooklyn Bridge emphasizes the wonder with which the world viewed the new bridge but also suggests that it may have been engraved prior to the actual completion of the structure. The bridge was open from 1883, but this view may have been drawn as early as the late 1870s, with structures in progress (such as the Brooklyn Bridge and the City Hall Post Office) portrayed based on prospective sketches. Governor's Island and Brooklyn can be seen to the east, while Williamsburg, Astoria, and Roosevelt Island appear in the background. The Brooklyn Naval Yard is recognizable along the East River. In the left foreground, Jersey City and Hoboken show explosive new growth upon the heights to their west. The view includes the two reservoirs, numbers 1 and 3, respectively, the latter having been completed between 1871 and 1874. American Bird's-Eye City Views The Bird's-Eye view industry emerged in the United States in the middle part of the 19th century and coincided with the commercial development of lithographic printing. Before the rise of lithography, the ability to own and display artwork in the home was largely limited to the extremely wealthy, but the advent of lithographic printing made it possible for everyone to own visually striking artwork. A robust trade developed in portraits of political leaders, allegorical and religious images, and city views. City views were being produced in the United States as early as the 1830s, but the genre exploded after the American Civil War (1861 - 1865). Bridging the gap between maps and pictures, most 19th-century American bird's-eye views presented cities to the public from high points. Some were imagined, but others were drawn from hot-air balloons or nearby hills. The presentation, combining high elevation, commercial interest, and new printing technology, created a uniquely American art form, as described by historian Donald Karshan, Some print connoisseurs believe that it was only with the advent of the full-blown city-view lithograph that American printmaking reached its first plateau of originality, making a historical contribution to the graphic arts. They cite the differences between the European city-view prints and the expansive American version that reflects a new land and a new attitude toward the land. The vogue for bird's-eye city views lasted from about 1845 to 1920, during which period some 2,400 cities were thus portrayed, some many times. Chromolithography Chromolithography, sometimes called oleography, is a color lithographic technique developed in the mid-19th century. The process uses multiple lithographic stones, one for each color, to yield a rich composite effect. Generally, a chromolithograph begins with a black basecoat upon which subsequent colors are layered. Some chromolithographs used 30 or more separate lithographic stones to achieve the.

Very good. Size 10 x 19 Inches. A fine and highly desirable 1824 aquatint of New York City and harbor as seen from Brooklyn. The view is based on a drawing composed by the Swedish naval officer Baron Axel Leonhard Klinkowström on his 1818 - 1820 reconnaissance tour of the United States, undertaken to evaluate the practicality of the newly invented steamship for use by the Swedish Navy. A Closer Look The steeples of Trinity Church and St. Paul's Chapel are clearly visible, as are many of the docks and harbor buildings of what can only be South Street Seaport. Stokes notes that this 'view is interesting, particularly as showing the types of steam ferries and sail-boats in use at this period.' No description of this print, however, is more compelling than the author's own: The harbor is full of small sailing vessels, yachts, and schooners which come from all America's ports to this mid-point of all movement. Usually these ships are well-painted and are built in a light and handsome style. The steamboats, which come and go like stagecoaches, add great activity to this picture. Behind the city itself the great Hudson River empties into the harbor, which is large and reaches as far as New Jersey. This grand panorama is bounded by the New Jersey coast and the highlands on the other side of the Hudson. Publication History and Census This view was engraved from Klinkowström's sketch by Carl Fredrik Akrell and published in C. Muller's Bref om de Förenta Staterna . References: Rumsey 5757.015. Stokes, I. N. Phelps, The iconography of Manhattan Island, 1498-1909, 3:563 (1820-E-99). Deal, G., Picturing New York, 322. New York Public Library, Stephen A. Schwarzman Building, Print Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs, 118407. Sabin, J., Biblioteca Americana. A Dictionary of Books Relating to America, from its Discovery to the Present Time, (29 vols), 38053. Howes K201. Newberry Library Case G 833.459.

Very good. Expertly repaired tears: from left, extending about 1 inch into the image; from right, extending about 4 inches into image. Size 22.5 x 33 Inches. This is an 1848 Edgar W. Foreman and Eliphalet M. Brown, Jr. bird's-eye view of New York City. The view looks west over the East River from Williamsburg towards lower Manhattan, offering a unique look at the Brooklyn waterfront life before the Civil War. A Closer Look In the immediate foreground, Williamsburg's waterfront is illustrated in detail. The image reveals a busy town with ferry links to Manhattan. It, nonetheless, is much greener than today, with large parks, tree-lined avenues, and spacious private homes. Several waterfront businesses are noted, including 'Meyer and Poppenhusen's Manufactury of Whale Bone,' 'Engle's Naval Store Yard,' 'J. B. Wilson Builders', 'Trafford's Lime and Brick', and an ice store. We wonder if these businesses paid for placement or if they just happened to be present in the view. In the high foreground, ships of all types navigate the East River. Several are named, including the Hermann (U.S. Marines), the C. Vanderbilt (Launched in 1847 to provide service on the Hudson River line), the Bay State (A double sidewheel paddle steamer launched in 1847 providing the first service between New York and Fall River), and the Phantom (This last is likely the schooner of that name that won the America's Cup in 1870, suggesting that this may be a later edition of the view. That said, the name was common, and it may be an earlier schooner of the same name.) Manhattan, centered roughly on Houston Street, occupies the midground. Of note are several large shipyards, including at least 3 drydocked hulls under construction. Churches, whose elevation and steeples are exaggerated for effect, dot the city. Major north-south Avenues, including Broadway, are recognizable. At the far left, Brooklyn and the prominent covered drydocks of the Brooklyn Navy Yard are recognizable. On the far horizon, we recognize Staten Island, Governor's Island, the Verezanno Narrows, the Hudson River, and New Jersey, including Jersey City and Hoboken. American Bird's-Eye City Views The Bird's-Eye view industry emerged in the United States in the middle part of the 19th century and coincided with the commercial development of lithographic printing. Before the rise of lithography, the ability to own and display artwork in the home was largely limited to the extremely wealthy, but the advent of lithographic printing made it possible for everyone to own visually striking artwork. A robust trade developed in portraits of political leaders, allegorical and religious images, and city views. City views were being produced in the United States as early as the 1830s, but the genre exploded after the American Civil War (1861 - 1865). Bridging the gap between maps and pictures, most 19th-century American bird's-eye views presented cities to the public from high points. Some were imagined, but others were drawn from hot-air balloons or nearby hills. The presentation, combining high elevation, commercial interest, and new printing technology, created a uniquely American artform, as described by historian Donald Karshan, Some print connoisseurs believe that it was only with the advent of the full-blown city-view lithograph that American printmaking reached its first plateau of originality, making a historical contribution to the graphic arts. They cite the differences between the European city-view prints and the expansive American version that reflects a new land and a new attitude toward the land. The vogue for bird's-eye city views lasted from about 1845 to 1920, during which period some 2,400 cities were thus portrayed, some multiple times. Although views were produced in many urban centers, the nexus of view production in the United States was Milwaukee, Wisconsin. The major American viewmakers were Stoner, Wellge, Bailey, Fowler, Hill, Ruger, Koch, Burleigh, Norris, and Morse, among other.