currier nathaniel (29 Ergebnisse)

hardcover. Zustand: Good. cover shows minor wear, tear, rubbing. pages lightly tanned and foxed.

Zustand: Good. Good condition. No date stated. Booklet has 55 x postcard sized prints that can be removed for use or framing. (Art Prints, Postcards, Americana).

Paperback. Zustand: Very Good. 0843729775. Maplewood, 1976, with colour plates, clean & bright, feint foxing to endpaper, no markings, Professional booksellers since 1981.

Zustand: Gut. 50 Postkarten/Bilder Büchlein mit 55 Farbbildern mit Darstellung aus dem amerikanischen Leben um die Jahrhundertwende, Bilder haben Postkartengröße (ca. 15 x 10 cm) und sind alle im Querformat, Büchlein mit leichten altersbedingten Gebrauchsspuren, Buchdeckel leicht fleckig, Ecken und Kanten leicht bestoßen, Seiten- und Fußschnitt nachgedunkelt und leicht fleckig, Bilder selbst sehr gut, können einzeln herausgetrennt werden, alle Bilder mit Überschrift; Sprache: EN überV45 Sprache: Englisch Gewicht in Gramm: 208 brosch., ca. 15 x 10 cm, Querformat.

Zustand: Good. Contemporary color print. 36 x 48 cm (sheet). Very Good, print affixed to a backboard support.

Zustand: Good. Contemporary color print. 36 x 48 cm (sheet). Very Good.

Zustand: Good. Contemporary color print. 36 x 48 cm (sheet). Very Good.

Zustand: Good. Contemporary color print. 36 x 48 cm (sheet). Very Good.

Zustand: Good. Contemporary color print. 36 x 48 cm (sheet). Very Good.

Zustand: Good. Lithograph. 33 x 25 cm (sheet). Five sheets of musical score. Good, light foxing and staining throughout.

Zustand: Good. Lithograph. 34 x 25.5 cm (sheet). Cover page only, no musical score included. Good, light foxing and staining throughout.

Zustand: Good. Lithograph. cover with pp. 2-5 of sheet music for piano and voice. 34 x 25.5 cm (sheet). Very Good, toning along sheet edges.Provenance: From the collection of the late Frederick G. Ruffner, Jr., founder of Gale Research, Detroit.

Zustand: Good. Lithograph. 34 x 25.5 cm (sheet). Very Good, sheet toned, musical score on verso.Provenance: From the collection of the late Frederick G. Ruffner, Jr., founder of Gale Research, Detroit.

Zustand: Good. 98x64 cm. Color poster. Very Good.Item in plastic sleeve, new photos of item can be sent to customer upon request.

No Binding. Zustand: Very Good. Size: 30 x 21 1/8 Inches; Medium: Unembelished Giclee Print on Canvas. Paper Type: High Quality Artist Grade 350 Gsm, Acid-free, Archival Canvas in excellent condition. n the 19th century the British Royal Navy saw the Mediterranean as a vital sea route between Britain and India, under constant threat from the navies of France and Italy. The impressive force they concentrated there to protect these sea lanes made the British Mediterranean Fleet one of the most powerful in the world. On 22 June 1893, when the collision happened with another battleship the bulk of the fleet, were on their annual summer exercises off Tripoli in Lebanon. In that tragic accident Victoria quickly sank, killing 358 crew members including the commander of the British Fleet, Vice-Admiral Sir George Tryon, and only 357 were rescued. Victoria capsized just 13 minutes after the collision, rotating to starboard with a terrible crash as her boats and anything free fell to the side and as water entering through the funnels caused explosions when it reached the boilers. With her keel uppermost, she slipped into the water bow first, propellers still rotating and threatening anyone near them. Most of the crew managed to abandon ship, although those in the engine room never received orders to leave their posts and were drowned. The area around the wreck became a "widening circle of foaming bubbles, like a giant saucepan of boiling milk", which the rescue boats did not dare enter. Onlookers could only watch as the number of live men in the water steadily diminished. Lieutenant Lorin, one of the survivors, stated: "All sorts of floating articles came up with tremendous force, and the surface of the water was one seething mass. We were whirled round and round, and half choked with water, and dashed about amongst the wreckage until half senseless." Camperdown the battleship that collided with Victoria was also in a serious condition, with her ram nearly wrenched off. Hundreds of tons of water flooded into her bows and her foredeck went underwater. As with Victoria, the watertight doors had not been closed in time, allowing the ship to flood. After 90 minutes, divers managed to reach and close a bulkhead door so that the flooding could be contained. The ship returned to Tripoli at one quarter speed with seven compartments flooded. The news of the accident caused a sensation and appalled the British public at a time when the Royal Navy occupied a prime position in the national consciousness. Illustrations by leading artists of the terrible accident were published in British and European publications including this one. #35985.

Zustand: Good. Lithograph. cover with pp. 2-6 of sheet music for piano and voice. 34 x 25.5 cm (sheet). Very Good, light foxing throughout, toning along sheet edges.Provenance: From the collection of the late Frederick G. Ruffner, Jr., founder of Gale Research, Detroit.

Zustand: Good. Handcolored lithograph. 35.5 x 25 cm. (sheet). Very Good. Light toning in sheet margins.

Zustand: Good. Handcolored lithograph. 12.6 x 8.75 inches.inches. image size. 16 x 12 inches sheet size. Time stained. Ref: Currier & Ives : a catalogue raisonné / compiled by Gale Research. Detroit, MI : Gale Research, circa 1983, no. 7078Washington atop a horse facing viewer under banner of flags, floral garlands, held by eagle. Small upright girl lower center facing viewer.Currier & Ives produced more than 100 images of George Washington. As the first president of the United States, Washington was distinguished as the father of a new nation and was respected for his wisdom, honesty and leadership during the Revolution. The pageantry of this print, with its flowing flags and mighty eagle, reflects the European tradition of imperial imagery used in grand history paintings. The idea of Washington as defender and protector of the country is represented by the presence of women and children, who greet the new president as he travels to New York City for his inauguration.

Zustand: Good. Original hand-colored lithograph. 36 x 26 cm (sheet). Very Good, colors fresh, light toning in the margins, short tear at left sheet edge.

Zustand: Good. Handcolored lithograph. 38 x 25cm. sheet size. Time stained. Ref: Currier & Ives : a catalogue raisonné / compiled by Gale Research. Detroit, MI : Gale Research, circa 1983, no. 1819; RUD-024. :Similar to Conn. 1644, but with changes in composition. .Native American in native dress standing on river bank with rifle in proper left hand and looking directly at viewer.Edwin Forrest was a great American actor who worked in Philadelphia and in New York. He was often cast to play characters of African American or Native American decent and was considered to be highly convincing. E. Forrest as Metamora is a full-length theatrical portrait, commemorating Forrest's role as Metamora in the 1829 play, Metamora or The Last of the Wampanoags, by John Augustus Stone.Metamora, often referred to by his English name King Philip, was the leader of the Wampanoag tribe in the 17th century. He is best known for leading King Philip's War, a conflict between the Wampanoags and English colonists in New England. Metamora was also the subject of a popular 1829 play, "Metamora, or the the Last of the Wampanoags," which depicted him as a heroic and noble figureCurrier & Ives produced more than 100 images of George Washington. As the first president of the United States, Washington was distinguished as the father of a new nation and was respected for his wisdom, honesty and leadership during the Revolution. The pageantry of this print, with its flowing flags and mighty eagle, reflects the European tradition of imperial imagery used in grand history paintings. The idea of Washington as defender and protector of the country is represented by the presence of women and children, who greet the new president as he travels to New York City for his inauguration.From the collection of Frederick Ruffner, the founder of Gale Research, Detroit.

Two hand colored lithographs. 13-3/4x18-3/4 inches. Minor toning and minor marginal foxing Two hand colored lithographs. 13-3/4x18-3/4 inches.

Lithograph. Zustand: Near fine. Memorial to President William Henry Harrison by William K. Hewitt, published by Nathaniel Currier of New York circa 1841. (illustrator). Hand Colored Lithograph. Hand colored lithograph, in wood frame, white matte. Full piece measures 20" x 17". Paper backing, not examined outside frame. (Gale Research, 6594) Full text reads: "To the Memory of Wm. H. Harrison / Born February 9th 1773 / Inaugurated President of the United States March 4th, 1841 / Died April 4th 1841 / AE 68" President William Henry Harrison, the ninth President of the United States, died on April 4, 1841, just a month after assuming office. His death was caused by pneumonia, which he is believed to have contracted shortly after delivering his lengthy inaugural address in inclement weather. Harrison's demise at the age of 68 made him the first U.S. president to die in office, and his presidency the shortest in American history. His death precipitated a brief constitutional crisis concerning presidential succession, as it was the first time a sitting president had died. Vice President John Tyler eventually assumed the presidency, setting a precedent for succession.

Small folio print, 21 x 27, dry mounted. Toned, scattered light spotting, light staining, some lighter area in the margins, fingerprints on lower margin, color still bright. The "Grapeshot" captured headlines in 1855 when it was used to pursue the murderer Louis Baker. His good friend John Morrissey had a dispute with William "Bill the Butcher" Poole, a member of the New York City gang, "The Bowery Boys." (Daniel Day-Lewis' character in the movie "Gangs of New York" was based on Bill the Butcher.) Baker killed "Bill the Butcher" and fled on the brig "Isabelle Jewett." George Law offered the use of his new clipper ship "Grapeshot{ for the pursuit. The offer was accepted and Baker was captured. He was tried three times, each one ending in a hung jury. An attractive image, this would look really nice if properly framed and matted. Conningham 875. Sold as is.

Zustand: Good. Lithograph image area: 54.5 x 39cm. (21.5 x 15.25 inches); overall sheet size of 60.5 x 40.55 cm (23.9 x 17.75 inches). Contemporary hand coloring; professionally matted. . . .References: Currier & Ives : A Catalogue Raisonné / compiled by Gale Research. Detroit, MI : Gale Research, c. 1983, nos. 7320 and 7321; Conningham 1970, no. 6774 .Provenance:The Old Print Shop, NYC. .Fanny Palmer (1812-1876) was the first woman in the United States to work as a professional artist, and to make a living with her art. She produced more Currier and Ives' prints than any other artist, and she was the only female in a business that was dominated by men. Painting was not considered a suitable occupation for a woman, nor was lithography. Hers was a story common to Victorian wives who were expected to keep house and be supported by their husbands. She however pursued a career in England in printmaking and eventually in America, virtually supporting her family as her husband sank deeper into alcoholism and then supporting it in fact when he fell to his death on a hotel stairway in 1857.Woodcock hunting has a long and rich tradition in North America. The popular game bird is typically hunted with the assistance of hunting dogs like the cocker spaniels pictured in this Currier & Ives lithograph. Since the late 1800s, interest in hunting woodcocks has grown and an estimated 1.1 million woodcock are taken annually, making woodcock among the top ten species of migratory game birds harvested.

Zustand: Good. Lithograph image area: 54.5 x 39cm. (21.5 x 15.25 inches); overall sheet size of 62 x 44.1 cm (23.9 x18.75 inches).; some browning and spotting. Contemporary hand coloring; professionally matted. . . .References: Currier & Ives : A Catalogue Raisonné / compiled by Gale Research. Detroit, MI : Gale Research, c. 1983, no. 5114 ; Conningham 1970, no. 4717 .Provenance:The Old Print Shop, NYC. .Fanny Palmer (1812-1876) was the first woman in the United States to work as a professional artist, and to make a living with her art. She produced more Currier and Ives' prints than any other artist, and she was the only female in a business that was dominated by men. Painting was not considered a suitable occupation for a woman, nor was lithography. Hers was a story common to Victorian wives who were expected to keep house and be supported by their husbands. She however pursued a career in England in printmaking and eventually in America, virtually supporting her family as her husband sank deeper into alcoholism and then supporting it in fact when he fell to his death on a hotel stairway in 1857.Partridge hunting has always been an integral part of American life, whether for sport or necessity. Specially bred field dogs have been used for centuries to flush the partridge or "grouse" out of long grasses, brush and forest.

Zustand: Very Good. New York: Currier & Ives. Very Good. N.D. Vibrant hand-colored lithograph measuring approximately 10 1/16 x 13 5/8 in (255 x 347 mm). A very nice, clean & bright copy without markings. ; Folio; All shipments through USPS insured Priority Mail. .

Lithograph with hand-coloring and gum arabic on wove paper. Title printed in lower margin, "F.F. Palmer, Del." on lower left; "Currier & Ives, Litho. NY" on lower right. 21 x 29 ¾ sheet; 35 x 43 ½ framed This magnificent and superbly colored lithograph is based on a drawing by Frances F. Palmer (1812-1876), and depicts the steam paddlewheeler Princess at a landing along the Mississippi river, where men load firewood to feed the steamboat's engine. A campfire burns nearby, and a second steamers approaches from the distance. At the top left of the composition, a full moon glistens luminously in the midst of silver-lined clouds, illuminating an otherwise pitch black sky. The moonlit river, the billowing black smoke from the boat, and the intense labor of the wood loaders all contribute to the drama and tension of the scene. The stark juxtaposition of the peaceful nighttime scenery of the river with the roaring activity surrounding the steamer captures a vision of America's transition into an industrial superpower. The steamboat was quintessential to 19th-century industrial development around the Mississippi river, since its steam power allowed for the practical large-scale transport of passengers and freight both up and down-river, as well as navigation in shallow waters and upriver against strong currents. The publishing firm of Currier & Ives created the most popular and highly regarded lithographs of quintessentially American scenes ever produced. The quality, vast scope and engagingly populist style of their works have made their names synonymous with an idealistic vision of 19th-century American promise and optimism. Nathaniel Currier began his lithographic career as an apprentice in 1828. By the mid-1830's he had established his own firm on Spruce Street in New York City. In 1857 James Ives became a partner in the flourishing business, which went on to produce over 7,000 lithographs by 1907. Frances F. Palmer was an England-born lithographer and draughtswoman who became one of the most impressive graphic artists of the 19th century. She learned to draw at a Leicester girls' school run by the artist Mary Linwood (1756-1845). In the 1830s, she married Edmund Seymour Palmer, with whom she started a lithography business in 1841. In 1843, she immigrated to the United States with her family, and opened a lithography company in New York. Although she gained an excellent reputation for lithography, the business lost money and closed in the 1850s. However, Currier & Ives recognized her talents and hired her in 1849. Palmer was particularly skilled at background tinting and rendering atmospheric landscapes, and soon became one of the company's core artists. She had a prodigious output, completing several hundred lithographs, more than any of the other regular artists employed by Currier & Ives. Catalogued by Xueli Wang, Columbia University, BA; Courtauld Institute of Art, MA. You are warmly invited to visit our gallery at 1016 Madison Avenue in New York City to view this work whenever it might be convenient.

STUNNING BIRD'S EYE VIEW OF NEW YORK WITH NUMEROUS LANDMARKS KEYED BELOW THE IMAGE Hand-colored lithograph. 27 x 37 inches sheet, 31 ½ x 42 inches framed. Legend with numbered landmarks and title printed on lower margin. This breathtaking bird's-eye view of New York is drawn from a work by the accomplished cityscape artists Charles R. Parsons and Lyman W. Atwater. It looks from northeast, with Jersey City at the very fore, Manhattan island at the center, and Brooklyn in the distance, and shows the glorious ribbon of water surrounding Manhattan island teeming with sailboats and steam vessels--a sign of the flourishing commerce that defined Postbellum New York. This composition encompasses numerous famous landmarks that remain thriving centers of New York life today, including Union Square, Madison Square, NYU, Harlem River, Astoria, Prospect Park, Redhook Point, Gowanus Bay, and the Navy Yard. Of these, the most prominently featured are Battery Park, the Hudson and the East River, and the Brooklyn Bridge, which was represented here as only a projection, since construction for the actual bridge was not completed until six years after this view's publication. The land of New York was discovered in 1524, and colonized by the Dutch in 1624, when it was named New Amsterdam and became a trading port of the Dutch West India Company. In 1664 this Dutch colony was surrendered to British forces and was renamed New York after James Duke of York (1633-1701), who had been granted the land by his brother King Charles II. Within fifteen years of this present view, New York would become one of the most important cities in the new nation. Today it is a vibrant and diverse beacon of culture, finance, and education for the world. The publishing firm of Currier & Ives created the most popular and highly regarded lithographs of quintessentially American scenes ever produced. The quality, vast scope and engagingly populist style of their works have made their names synonymous with an idealistic vision of 19th-century American promise and optimism. Nathaniel Currier began his lithographic career as an apprentice in 1828. By the mid-1830's he had established his own firm on Spruce Street in New York City. In 1857 James Ives became a partner in the flourishing business, which went on to produce over 7,000 lithographs by 1907. Our goal is highly competitive prices and the best quality of pull, paper patine, and condition. Catalogued by Xueli Wang, Columbia University, BA; Courtauld Institute of Art, MA. You are warmly invited to visit our gallery at 1016 Madison Avenue in New York City to view this work whenever it might be convenient.

No Binding. Zustand: Please contact seller. Hand colored lithograph; Framed:25 1/2 x 21 inches. Size: 17 3/4 x 13 1/2 inches. Print.