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Zustand: New. pp. 444.

Very good. Some minor discoloration. Size 20 x 35 Inches. This is a c. 1858 Joseph Foxcroft Cole view of New Bedford, Massachusetts, the whaling capital of the United States in the leadup to the American Civil War (1861 - 1865). A Closer Look Taking a low-oblique perspective, the view looks on New Bedford from Fairhaven, just across the Acushnet River. In the foreground timber is being loaded on a low dock - likely destined for the town's robust shipbuilding industry. Crow Island appears in the middle of the river. The river itself is full of ships and boats of all kind, evidence of the town busy whaling and shipping enterprises. Beyond, dominating the midground, New Bedford sprawls across the view. The steeples of several historic churches are noted, as are the industrial buildings along the dock, some of which still stand. 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 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 others. Publication History and Census This view was drawn by Joseph Foxcroft Cole and printed in Boston in 1858 by Prang and Meyer. Rare. In OCLC, it is cataloged only by the Boston Athenaeum. We also see an example at Yale and at least two instances of it appearing on the private market. References: Reps, John, Views and Viewmakers of Urban America (University of Missouri, Columbia, 1984), #1554. Deak, Gloria Gilda, Picturing America: 1497-1899, #745. OCLC 191311120. Pierce, S., Boston lithography, 1825-1880, p. 133.