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"ACROSS THE CONTINENT:
WESTWARD THE COURSE THE EMPIRE TAKES IT WAY"
1868 CURRIER & IVES
BY ARTIST FANNY PALMER
IMAGE DEPICTS RURAL AMERICANA
DURING THE RAILROAD EXPANSION
OF THE TRANS CONTINENTAL RAILWAY
"THE THROUGH LINE FORM NEW YORK TO SAN FRANCISCO"
LUMBERJACKS
LOG HOMES
OLD PUBLIC SCHOOL HOUSE
A GAGGLE OF EXCITED CHILDREN AND TOWNS PEOPLE GATHER TO MEET THE INBOUND LOCOMOTIVE
AS THE ENGINE STEAMS
MEASURE ABOUT 16" BY 12" IN WOOD FRAME
UNDER GLASS
FRAMED AT VAN DOREN'S OF WATERLOO IOWA
WESTWARD THE COURSE THE EMPIRE TAKES IT WAY"
1868 CURRIER & IVES
BY ARTIST FANNY PALMER
IMAGE DEPICTS RURAL AMERICANA
DURING THE RAILROAD EXPANSION
OF THE TRANS CONTINENTAL RAILWAY
"THE THROUGH LINE FORM NEW YORK TO SAN FRANCISCO"
LUMBERJACKS
LOG HOMES
OLD PUBLIC SCHOOL HOUSE
A GAGGLE OF EXCITED CHILDREN AND TOWNS PEOPLE GATHER TO MEET THE INBOUND LOCOMOTIVE
AS THE ENGINE STEAMS
MEASURE ABOUT 16" BY 12" IN WOOD FRAME
UNDER GLASS
FRAMED AT VAN DOREN'S OF WATERLOO IOWA
----------------------------------------------
FYI
Currier and Ives was a successful American printmaking firm headed by Nathaniel Currier (1813–1888) and James Merritt Ives (1824–1895). Based in New York City from 1834–1907, the prolific firm produced prints from paintings by fine artists as black and white lithographs that were hand colored. Lithographic prints could be reproduced quickly and purchased inexpensively, and the firm called itself "the Grand Central Depot for Cheap and Popular Prints" and advertised its lithographs as "colored engravings for the people."
Currier's early history
Nathaniel Currier (1813–88) was born in Roxbury, Massachusetts on March 27, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble and spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel's father unexpectedly died leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a lifelong career when he apprenticed in the Boston lithography shop of William and John Pendleton. In 1833 at twenty years of age, he moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. Currier's early lithographs were issued under the name of Stodart & Currier, a result of the partnership he created in 1834 with a local New York printmaker named Stodart. The two men specialized in "job" printing and made a variety of print products, including music manuscripts. Dissatisfied with the poor economic return of their business venture, Currier ended the partnership in 1835 and set up shop alone, working as "N. Currier, Lithographer" until 1856. In 1835, he created a lithograph that illustrated a fire sweeping through New York City's business district. The print of the Merchant's Exchange sold thousands of copies in four days. Realizing that there was a market for current news, Currier turned out several more disaster prints and other inexpensive lithographs that illustrated local and national events, such as "Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of May 15, 1835, burying 50 persons, 40 of whom Escaped with their Lives." He quickly gained a reputation as an accomplished lithographer.
In 1840, he produced "Awful Conflagration of the Steam Boat Lexington", which was so successful that he was given a weekly insert in the New York Sun. In this year, Currier's firm began to shift its focus from job printing to independent print publishing.
The partnership with Ives
The name Currier & Ives first appeared in 1857, when Currier invited James Merritt Ives (1824–95), the company's bookkeeper and accountant, to become his partner. James Merritt Ives, who was born on March 5, 1824 in New York City, married Caroline Clark in 1852. She was the sister-in-law of Nathaniel's brother, Charles Currier, and it was Charles who recommended James Ives to his brother. Nathaniel Currier soon noticed Ives's dedication to his business and his artistic knowledge and insight into what the public wanted. The younger man quickly became the general manager of the firm, handling the financial side of the business by modernizing the bookkeeping, reorganizing inventory, and streamlining the print process. Ives also helped Currier interview potential artists and craftsmen. The younger man had a flair for gauging popular interests and aided in selecting the images the firm would publish and expanding the firm's range to include political satire, and sentimental scenes such as sleigh rides in the country and steamboat races. In 1857, Currier made Ives a full partner.
The firm Currier and Ives described itself as "Publishers of Cheap and Popular Prints". At least 7,500 lithographs were published in the firm's 72 years of operation. Artists produced two to three new images every week for 64 years (1834–1895), producing more than a million prints by hand-colored lithography. For the original drawings, Currier & Ives employed or used the work of many celebrated artists of the day including James E. Buttersworth, Charles R. Parsons, George Inness, Thomas Nast, C.H. Moore, and Eastman Johnson. The stars of the firm were Arthur Fitzwilliam Tait, who specialized in sporting scenes; Louis Maurer, who executed genre scenes; George H. Durrie, who supplied winter scenes; and Fanny Palmer, who liked to do picturesque panoramas of the American landscape, and who was the first woman in the United States to make her living as a full-time artist. All lithographs were produced on lithographic limestone printing plates on which the drawing was done by hand. A stone often took over a week to prepare for printing. Each print was pulled by hand. Prints were hand-colored by a dozen or more women, often immigrants from Germany with an art background, who worked in assembly-line fashion, one color to a worker, and who were paid $6 for every 100 colored prints. The favored colors were clear and simple, and the drawing was bold and direct.
The earliest lithographs were printed in black and then colored by hand. As new techniques were developed, publishers began to produce full-color lithographs that gradually developed softer, more painterly effects. Skilled artist lithographers like John Cameron, Fanny Palmer and others represented in the show became known for their work and signed important pieces. Artists like A. F. Tait became famous when their paintings were reproduced as lithographs.
Currier and Ives was the most prolific and successful company of lithographers in the U.S. Its lithographs represented every phase of American life, and included the themes of hunting, fishing, whaling, city life, rural scenes, historical scenes, clipper ships, yachts, steamships, the Mississippi River, Hudson River scenes, railroads, politics, comedy, gold mining, winter scenes, commentary on life, portraits, and still lifes. From 1866 on, the firm occupied three floors in a building at 33 Spruce Street in New York:
Hand-operated printing presses occupied the third floor.
Artists, stone grinders, and lithographers worked on the fourth floor.
Colorists worked on the fifth floor.
Small works sold for from five to twenty cents each and large works sold for $1 to $3 a piece. The Currier and Ives firm branched out from its central shop in New York City to sell prints via pushcart vendors, peddlers and book stores. The firm sold retail as well as wholesale, establishing outlets in cities across the country and in London. It also sold work through the mail (prepaid orders only), and internationally through a London office and agents in Europe.
The 19th-century Victorian public, with its interest in current events and sentimental taste, was receptive to the firm's products. Currier and Ives prints were among the most popular wall hangings of the day. In 1872, the Currier and Ives catalog proudly proclaimed: "... our Prints have become a staple article... in great demand in every part of the country... In fact without exception, all that we have published have met with a quick and ready sale."
Currier & Ives prints were among the household decorations considered appropriate for a proper home by Catharine Esther Beecher and Harriet Beecher Stowe, authors of American Woman's Home (1869): "The great value of pictures for the home would be, after all, in their sentiment. They should express the sincere ideas and tastes of the household and not the tyrannical dicta of some art critic or neighbor."
Currier died in 1888. Ives remained active in the firm until his death in 1895. Both Currier's and Ives's sons followed their fathers in the business, which was eventually liquidated in 1907. Because of improvements in offset printing and photoengraving, the public demand for lithographs had gradually diminished.
The lithographs
The prints depicted a variety of images of American life, including winter scenes; horse-racing images; portraits of people; and pictures of ships, sporting events, patriotic and historical events, including ferocious battles of the American Civil War, the building of cities and railroads, and Lincoln's assassination.
The original lithographs shared similar characteristics in inking and paper, and adhered to folio sizes. Sizes of the images were standard (trade cards, very small folios, small folios, medium folios, large folios), and their measurement did not include the title or borders. These sizes are one of the guides for collectors today in determining if the print is an original or not. "Currier used a cotton based, medium to heavy weight paper depending on the folio size for his prints until the late 1860s. From about 1870, Currier & Ives used paper mixed with a small amount of wood pulp." In addition, Currier's inking process resembled a mixture of elongated splotches and dashes of ink with a few spots, a characteristic that modern reproductions would not possess.
In 1907 when the firm was liquidated most of the lithographic stones had the image removed and were sold by the pound with some stones final home as land fill in Central Park. Those few stones that managed to survive intact were of large folio Clipper Ships, small folio Dark Town Comics, a medium folio "Abraham Lincoln" and a small folio "Washington As A Mason".
Currier and Ives Civil War lithographs
Known railroad related lithographs of Currier and Ives
Currier and Ives: Perspectives on America, American Public Television, Video
High Water in the Mississippi, 1868
Currier and Ives Darktown Comic Series, Albion College
Today, original Currier and Ives prints are much sought by collectors, and modern reproductions of them are popular decorations. Especially popular are the winter scenes, which are commonly used for American Christmas cards.
In popular culture
Currier and Ives Suite (1935) is an orchestral composition by Bernard Herrmann.
The 1948 holiday song "Sleigh Ride" includes the line, "It'll nearly be like a picture print by Currier and Ives".
The Haunted Mansion Holiday at Disneyland Park makes reference to Currier and Ives. When guests enter the ballroom scene the ghost host says, "All at once, happy haunts did materialize, like a nightmarish painting by Currier & Ives."
In The West Wing's fifth season episode "Abu El Banat," First Lady Abbey Bartlet says "We've never been Currier and Ives" to President Jed Bartlet while they are discussing their unconventional marriage and family life.
In the 2007 horror film 1408, Mike Enslin, when describing the haunted hotel room, refers to the painting of the schooner lost at sea as being "done in the predictably dull fashion of Currier and Ives.
---------------
The First Transcontinental Railroad (known originally as the "Pacific Railroad" and later as the "Overland Route") was a 1,912-mile (3,077 km) continuous railroad line constructed between 1863 and 1869 that connected the existing eastern U.S. rail network at Council Bluffs, Iowa with the Pacific coast at the Oakland Long Wharf on San Francisco Bay. The rail line was built by three private companies over public lands provided by extensive US land grants. Construction was financed by both state and US government subsidy bonds as well as by company issued mortgage bonds. The Western Pacific Railroad Company built 132 mi (212 km) of track from the road's western terminus at Alameda/Oakland to Sacramento, California. The Central Pacific Railroad Company of California (CPRR) constructed 690 mi (1,110 km) eastward from Sacramento to Promontory Summit, Utah Territory. The Union Pacific built 1,085 mi (1,746 km) from the road's eastern terminus at the Missouri River settlements of Council Bluffs and Omaha, Nebraska westward to Promontory Summit.
The railroad opened for through traffic between Sacramento and Omaha on May 10, 1869, when CPRR President Leland Stanford ceremonially tapped the gold "Last Spike" (later often referred to as the "Golden Spike") with a silver hammer at Promontory Summit. In the following six months, the last leg from Sacramento to San Francisco Bay was completed. The resulting coast-to-coast railroad connection revolutionized the settlement and economy of the American West. It brought the western states and territories into alignment with the northern Union states and made transporting passengers and goods coast-to-coast considerably quicker, safer and less expensive.
Paddle steamers linked Sacramento to the cities and their harbor facilities in the San Francisco Bay until late 1869, when the CPRR completed and opened the Western Pacific portion (which the CPRR had acquired control of in 1867–68) to Alameda first and then to Oakland.
The first transcontinental rail passengers arrived at the Pacific Railroad's original western terminus at the Alameda Terminal on September 6, 1869, where they transferred to the steamer Alameda for transport across the Bay to San Francisco. The road's rail terminus was moved two months later to the Oakland Long Wharf, about a mile to the north, when its expansion was completed and opened for passengers on November 8, 1869. Service between San Francisco and Oakland Pier continued to be provided by ferry.
The CPRR eventually purchased 53 miles (85 km) of UPRR-built grade from Promontory Summit (MP 828) to Ogden, Utah Territory (MP 881), which became the interchange point between trains of the two roads. The transcontinental line was popularly known as the Overland Route after the principal passenger rail service that operated over the length of the line until 1962.
Currier's early history
Nathaniel Currier (1813–88) was born in Roxbury, Massachusetts on March 27, 1813, the second of four children. His parents, Nathaniel and Hannah Currier, were distant cousins who lived a humble and spartan life. When Nathaniel was eight years old, tragedy struck. Nathaniel's father unexpectedly died leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family. In addition to their mother, Nathaniel and Lorenzo had to care for six-year-old sister Elizabeth and two-year-old brother Charles. Nathaniel worked a series of odd jobs to support the family, and at fifteen, he started what would become a lifelong career when he apprenticed in the Boston lithography shop of William and John Pendleton. In 1833 at twenty years of age, he moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer. Currier's early lithographs were issued under the name of Stodart & Currier, a result of the partnership he created in 1834 with a local New York printmaker named Stodart. The two men specialized in "job" printing and made a variety of print products, including music manuscripts. Dissatisfied with the poor economic return of their business venture, Currier ended the partnership in 1835 and set up shop alone, working as "N. Currier, Lithographer" until 1856. In 1835, he created a lithograph that illustrated a fire sweeping through New York City's business district. The print of the Merchant's Exchange sold thousands of copies in four days. Realizing that there was a market for current news, Currier turned out several more disaster prints and other inexpensive lithographs that illustrated local and national events, such as "Ruins of the Planter's Hotel, New Orleans, which fell at two O’clock on the Morning of May 15, 1835, burying 50 persons, 40 of whom Escaped with their Lives." He quickly gained a reputation as an accomplished lithographer.
In 1840, he produced "Awful Conflagration of the Steam Boat Lexington", which was so successful that he was given a weekly insert in the New York Sun. In this year, Currier's firm began to shift its focus from job printing to independent print publishing.
The partnership with Ives
The name Currier & Ives first appeared in 1857, when Currier invited James Merritt Ives (1824–95), the company's bookkeeper and accountant, to become his partner. James Merritt Ives, who was born on March 5, 1824 in New York City, married Caroline Clark in 1852. She was the sister-in-law of Nathaniel's brother, Charles Currier, and it was Charles who recommended James Ives to his brother. Nathaniel Currier soon noticed Ives's dedication to his business and his artistic knowledge and insight into what the public wanted. The younger man quickly became the general manager of the firm, handling the financial side of the business by modernizing the bookkeeping, reorganizing inventory, and streamlining the print process. Ives also helped Currier interview potential artists and craftsmen. The younger man had a flair for gauging popular interests and aided in selecting the images the firm would publish and expanding the firm's range to include political satire, and sentimental scenes such as sleigh rides in the country and steamboat races. In 1857, Currier made Ives a full partner.
The firm Currier and Ives described itself as "Publishers of Cheap and Popular Prints". At least 7,500 lithographs were published in the firm's 72 years of operation. Artists produced two to three new images every week for 64 years (1834–1895), producing more than a million prints by hand-colored lithography. For the original drawings, Currier & Ives employed or used the work of many celebrated artists of the day including James E. Buttersworth, Charles R. Parsons, George Inness, Thomas Nast, C.H. Moore, and Eastman Johnson. The stars of the firm were Arthur Fitzwilliam Tait, who specialized in sporting scenes; Louis Maurer, who executed genre scenes; George H. Durrie, who supplied winter scenes; and Fanny Palmer, who liked to do picturesque panoramas of the American landscape, and who was the first woman in the United States to make her living as a full-time artist. All lithographs were produced on lithographic limestone printing plates on which the drawing was done by hand. A stone often took over a week to prepare for printing. Each print was pulled by hand. Prints were hand-colored by a dozen or more women, often immigrants from Germany with an art background, who worked in assembly-line fashion, one color to a worker, and who were paid $6 for every 100 colored prints. The favored colors were clear and simple, and the drawing was bold and direct.
The earliest lithographs were printed in black and then colored by hand. As new techniques were developed, publishers began to produce full-color lithographs that gradually developed softer, more painterly effects. Skilled artist lithographers like John Cameron, Fanny Palmer and others represented in the show became known for their work and signed important pieces. Artists like A. F. Tait became famous when their paintings were reproduced as lithographs.
Currier and Ives was the most prolific and successful company of lithographers in the U.S. Its lithographs represented every phase of American life, and included the themes of hunting, fishing, whaling, city life, rural scenes, historical scenes, clipper ships, yachts, steamships, the Mississippi River, Hudson River scenes, railroads, politics, comedy, gold mining, winter scenes, commentary on life, portraits, and still lifes. From 1866 on, the firm occupied three floors in a building at 33 Spruce Street in New York:
Hand-operated printing presses occupied the third floor.
Artists, stone grinders, and lithographers worked on the fourth floor.
Colorists worked on the fifth floor.
Small works sold for from five to twenty cents each and large works sold for $1 to $3 a piece. The Currier and Ives firm branched out from its central shop in New York City to sell prints via pushcart vendors, peddlers and book stores. The firm sold retail as well as wholesale, establishing outlets in cities across the country and in London. It also sold work through the mail (prepaid orders only), and internationally through a London office and agents in Europe.
The 19th-century Victorian public, with its interest in current events and sentimental taste, was receptive to the firm's products. Currier and Ives prints were among the most popular wall hangings of the day. In 1872, the Currier and Ives catalog proudly proclaimed: "... our Prints have become a staple article... in great demand in every part of the country... In fact without exception, all that we have published have met with a quick and ready sale."
Currier & Ives prints were among the household decorations considered appropriate for a proper home by Catharine Esther Beecher and Harriet Beecher Stowe, authors of American Woman's Home (1869): "The great value of pictures for the home would be, after all, in their sentiment. They should express the sincere ideas and tastes of the household and not the tyrannical dicta of some art critic or neighbor."
Currier died in 1888. Ives remained active in the firm until his death in 1895. Both Currier's and Ives's sons followed their fathers in the business, which was eventually liquidated in 1907. Because of improvements in offset printing and photoengraving, the public demand for lithographs had gradually diminished.
The lithographs
The prints depicted a variety of images of American life, including winter scenes; horse-racing images; portraits of people; and pictures of ships, sporting events, patriotic and historical events, including ferocious battles of the American Civil War, the building of cities and railroads, and Lincoln's assassination.
The original lithographs shared similar characteristics in inking and paper, and adhered to folio sizes. Sizes of the images were standard (trade cards, very small folios, small folios, medium folios, large folios), and their measurement did not include the title or borders. These sizes are one of the guides for collectors today in determining if the print is an original or not. "Currier used a cotton based, medium to heavy weight paper depending on the folio size for his prints until the late 1860s. From about 1870, Currier & Ives used paper mixed with a small amount of wood pulp." In addition, Currier's inking process resembled a mixture of elongated splotches and dashes of ink with a few spots, a characteristic that modern reproductions would not possess.
In 1907 when the firm was liquidated most of the lithographic stones had the image removed and were sold by the pound with some stones final home as land fill in Central Park. Those few stones that managed to survive intact were of large folio Clipper Ships, small folio Dark Town Comics, a medium folio "Abraham Lincoln" and a small folio "Washington As A Mason".
Currier and Ives Civil War lithographs
Known railroad related lithographs of Currier and Ives
Currier and Ives: Perspectives on America, American Public Television, Video
High Water in the Mississippi, 1868
Currier and Ives Darktown Comic Series, Albion College
Today, original Currier and Ives prints are much sought by collectors, and modern reproductions of them are popular decorations. Especially popular are the winter scenes, which are commonly used for American Christmas cards.
In popular culture
Currier and Ives Suite (1935) is an orchestral composition by Bernard Herrmann.
The 1948 holiday song "Sleigh Ride" includes the line, "It'll nearly be like a picture print by Currier and Ives".
The Haunted Mansion Holiday at Disneyland Park makes reference to Currier and Ives. When guests enter the ballroom scene the ghost host says, "All at once, happy haunts did materialize, like a nightmarish painting by Currier & Ives."
In The West Wing's fifth season episode "Abu El Banat," First Lady Abbey Bartlet says "We've never been Currier and Ives" to President Jed Bartlet while they are discussing their unconventional marriage and family life.
In the 2007 horror film 1408, Mike Enslin, when describing the haunted hotel room, refers to the painting of the schooner lost at sea as being "done in the predictably dull fashion of Currier and Ives.
---------------
The First Transcontinental Railroad (known originally as the "Pacific Railroad" and later as the "Overland Route") was a 1,912-mile (3,077 km) continuous railroad line constructed between 1863 and 1869 that connected the existing eastern U.S. rail network at Council Bluffs, Iowa with the Pacific coast at the Oakland Long Wharf on San Francisco Bay. The rail line was built by three private companies over public lands provided by extensive US land grants. Construction was financed by both state and US government subsidy bonds as well as by company issued mortgage bonds. The Western Pacific Railroad Company built 132 mi (212 km) of track from the road's western terminus at Alameda/Oakland to Sacramento, California. The Central Pacific Railroad Company of California (CPRR) constructed 690 mi (1,110 km) eastward from Sacramento to Promontory Summit, Utah Territory. The Union Pacific built 1,085 mi (1,746 km) from the road's eastern terminus at the Missouri River settlements of Council Bluffs and Omaha, Nebraska westward to Promontory Summit.
The railroad opened for through traffic between Sacramento and Omaha on May 10, 1869, when CPRR President Leland Stanford ceremonially tapped the gold "Last Spike" (later often referred to as the "Golden Spike") with a silver hammer at Promontory Summit. In the following six months, the last leg from Sacramento to San Francisco Bay was completed. The resulting coast-to-coast railroad connection revolutionized the settlement and economy of the American West. It brought the western states and territories into alignment with the northern Union states and made transporting passengers and goods coast-to-coast considerably quicker, safer and less expensive.
Paddle steamers linked Sacramento to the cities and their harbor facilities in the San Francisco Bay until late 1869, when the CPRR completed and opened the Western Pacific portion (which the CPRR had acquired control of in 1867–68) to Alameda first and then to Oakland.
The first transcontinental rail passengers arrived at the Pacific Railroad's original western terminus at the Alameda Terminal on September 6, 1869, where they transferred to the steamer Alameda for transport across the Bay to San Francisco. The road's rail terminus was moved two months later to the Oakland Long Wharf, about a mile to the north, when its expansion was completed and opened for passengers on November 8, 1869. Service between San Francisco and Oakland Pier continued to be provided by ferry.
The CPRR eventually purchased 53 miles (85 km) of UPRR-built grade from Promontory Summit (MP 828) to Ogden, Utah Territory (MP 881), which became the interchange point between trains of the two roads. The transcontinental line was popularly known as the Overland Route after the principal passenger rail service that operated over the length of the line until 1962.
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