The Finish, a hand-painted depiction of a horse race by Louis Maurer, published by Currier and Ives, c.1852A Brush for the Lead, an 1867 lithograph by Currier and Ives
Currier and Ives was a New York City-based printmaking business operating from 1835 to 1907. Founded by Nathaniel Currier, the company designed and sold inexpensive hand-painted lithographic works based on news events, views of popular culture and Americana. Advertising itself as "the Grand Central Depot for Cheap and Popular Prints,"[1] the corporate name was changed in 1857 to "Currier and Ives" with the addition of James Merritt Ives.
A perennial bestselling series was the Darktown Comics lithographs.
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. Tragedy struck when Nathaniel was eight years old, when his father unexpectedly died, leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family: six-year-old sister Elizabeth and two-year-old brother Charles, as well as their mother.[citation needed]
Nathaniel worked a series of odd jobs to support the family and, at fifteen, he started what became a lifelong career when he apprenticed in the Boston lithography shop of William and John Pendleton.[2] In 1833 at age twenty, he moved to Philadelphia to do contract work for M.E.D. Brown, a noted engraver and printer.[3] Currier's early lithographs were issued under the name of Stodart & Currier, a result of the partnership that 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. Currier became dissatisfied with the poor economic return of their business venture and ended the partnership in 1835. He set up shop alone, working as "N. Currier, Lithographer" until 1856.[citation needed]
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. Currier realized that there was a market for current news, so he 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".[3] He quickly gained a reputation as an accomplished lithographer.[4] 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 that year, Currier's firm began to shift its focus from job printing to independent print publishing.[5]
Partnership with Ives
American Homestead Spring, a portrait by Currier and Ives now housed in the Brooklyn MuseumAwful Conflagration of the Steam Boat LEXINGTON in Long Island Sound on Monday Eve, an 1840 portraitView on the Harlem River, N. Y., an 1852 portrait by Currier and Ives
The name Currier and Ives first appeared in 1857, when Currier invited the company's bookkeeper and accountant James Merritt Ives (1824–95) to become his partner. Ives was born on March 5, 1824, in New York City, and he married Caroline Clark in 1852. She was the sister-in-law of Nathaniel's brother Charles Currier, and it was Charles who recommended 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.[5] Ives also helped Currier interview potential artists and craftsmen. He had a flair for gauging popular interests and aided in selecting the images that 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.[6][7]
The firm
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.[8] Artists produced two to three new images every week for 64 years (1834–1895),[9] producing more than a million prints by hand-colored lithography. For the original drawings, Currier and Ives employed or used the work of many celebrated artists of the day, including James E. Buttersworth, George Inness, Thomas Nast, Eastman Johnson, and others.[9] 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 Frances Flora Bond 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.[5]
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. They worked in assembly-line fashion, one color to a worker, and were paid $6 for every 100 colored prints. The favored colors were clear and simple, and the drawing was bold and direct.[3][10]
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 such as John Cameron, Fanny Palmer, and others became known for their work and signed important pieces. Artists such as A. F. Tait became famous when their paintings were reproduced as lithographs.[11]
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.[10] From 1866 on,[12] 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 five to twenty cents each, and large works sold for $1 to $3 apiece. 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.[9][7]
The 19th-century Victorian public was receptive to the firm's products, with its interest in current events and sentimental taste. Currier and Ives prints were among the most popular wall hangings of the day.[10] 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."[3]
Currier and 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."[4]
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.[13] The public demand for lithographs had gradually diminished because of improvements in offset printing and photoengraving.[citation needed]
The lithographs
The American Fireman, an 1858 lithograph by Louis Maurer for Currier and IvesCentral-Park Winter. The skating pond, a lithograph by Currier and Ives, 1862
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. Currier and Ives also produced many prints that were inherently racist in nature, particularly in a series of prints called the Darktown Comics. They depicted African Americans in very demeaning ways, making a very clear mockery of them to their white counterparts. These types of images were popular in the 19th century and in high demand. Many of these images are still readily available to view and purchase.[14]
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 and 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.[15]
In 1907, the firm was liquidated and most of the lithographic stones had the image removed and were sold by the pound, with some stones' final home being 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".[15]
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.[citation needed] In 2019 a print of Across the Continent by Fanny Palmer sold at auction for over US$60,000.[21]
Currier and Ives, because they were targeting a middle-class American customer, inadvertently created a "pictorial record" of values in the United States in the 19th century, which included contemporary racism.[22][23]:13 According to Albert Baragwanath, of the approximately 500 "comic prints" produced by Currier and Ives, "more than half of these were the so-called Darktown Comics whose humor lay in gross burlesque."[23]:104
The Darktown Comics series was perennially among the bestselling of Currier and Ives' over 7000 lithographs, with at least one selling 73,000 copies via pushcarts and in shops and country stores.[24][25][26][27] According to J. Michael Martinez, every one of the series was a bestseller.[28]:197
The Life of a Fireman, lithograph by Louis Maurer for Currier and Ives
Friendship love and truth
Across the Continent: Westward the Course of Empire Takes its Way by Fanny Palmer (1868)
Related Research Articles
Lithography is a planographic method of printing originally based on the immiscibility of oil and water. The printing is from a stone or a metal plate with a smooth surface. It was invented in 1796 by the German author and actor Alois Senefelder and was initially used mostly for musical scores and maps. Lithography can be used to print text or images onto paper or other suitable material. A lithograph is something printed by lithography, but this term is only used for fine art prints and some other, mostly older, types of printed matter, not for those made by modern commercial lithography.
Chromolithography is a method for making multi-colour prints. This type of colour printing stemmed from the process of lithography, and includes all types of lithography that are printed in colour. When chromolithography is used to reproduce photographs, the term photochrome is frequently used. Lithography is a method of printing on flat surfaces using a flat printing plate instead of raised relief or recessed intaglio techniques.
James Merritt Ives was an American lithographer, bookkeeper, and businessman. He oversaw the business and financial side of the firm, Currier and Ives, which he co-managed with his business partner, Nathaniel Currier.
Nathaniel Currier was an American lithographer. He headed the company Currier & Ives with James Ives.
Photochrom, Fotochrom, Photochrome or the Aäc process is a process for producing colorized images from a single black-and-white photographic negative via the direct photographic transfer of the negative onto lithographic printing plates. The process is a photographic variant of chromolithography. Because no color information was preserved in the photographic process, the photographer would make detailed notes on the colors within the scene and use the notes to hand paint the negative before transferring the image through colored gels onto the printing plates.
Louis Maurer was a German-born American lithographer, and the father of the American painter Alfred Henry Maurer. He was the last surviving artist known to have been employed by Currier and Ives. Prior to his death, Maurer was extensively interviewed about the firm by collector and connoisseur Harry T. Peters for his book Currier & Ives, Printmakers to the American People.
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Louis Prang was an American printer, lithographer, publisher, and Georgist. He is sometimes known as the "father of the American Christmas card".
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Kurz and Allison were a major publisher of chromolithographs in the late 19th century. Based at 267-269 Wabash Avenue in Chicago, they built their reputation on large prints published in the mid-1880s depicting battles of the American Civil War. In all, a set of 36 battle scenes were published from designs by Louis Kurz (1835–1921), himself a veteran of the war. Kurz, a native of Salzburg, Austria, had emigrated to the United States in 1848.
George Henry Durrie was an American landscape artist noted especially for his rural winter snow scenes, which became very popular after they were reproduced as lithographic prints by Currier and Ives.
Darktown was an African-American neighborhood in Atlanta, Georgia. It stretched from Peachtree Street and Collins Street, past Butler Ave. to Jackson Street. It referred to the blocks above Auburn Avenue in what is now Downtown Atlanta and the Sweet Auburn neighborhood. Darktown was characterized in the 1930s as a "hell-hole of squalor, degradation, sickness, crime and misery".
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The Kellogg Brothers were a family of lithographers and printmakers in Hartford, Connecticut from about 1830 to the end of the 19th century. The brothers were Jarvis Griggs Kellogg (1805–1873), Daniel Wright Kellogg (1807–1874), Edmund Burke Kellogg (1809–1872), and Elijah Chapman Kellogg (1811–1881). They operated in a series of partnerships, between themselves and with others, the firms having a variety of names that involved "Kellogg". They issued decorative prints that became popular for domestic use in American homes; they were second to the New York firm of Currier & Ives in their commercial success.
Mabel Dwight (1875–1955) was an American artist whose lithographs showed scenes of ordinary life with humor and tolerance. Carl Zigrosser, who had studied it carefully, wrote that "Her work is imbued with pity and compassion, a sense of irony, and the understanding that comes of deep experience." Between the late 1920s and the early 1940s, she achieved both popularity and critical success. In 1936, Prints magazine named her one of the best living printmakers, and a critic at the time said she was one of the foremost lithographers in the United States.
Frances Flora Bond Palmer, often referred to as Fanny Palmer, was an English artist who became successful in the United States as a lithographer for Currier and Ives.
Matthias Trentsensky, or Mathäus Trentsensky, son of Mathäus Trentsensky, was a Viennese publisher and engraver of Hungarian origin. He published colour plates of soldiers' uniforms, folk and theatre costumes, toy or paper theatres, and educational posters or wall charts of plants and animals.
Darktown Comics is a series of Currier and Ives prints first produced in the 1870s that depicted racist vignettes ostensibly portraying a Black American town. It was a perennial bestseller for the New York-based firm, with some prints selling 73,000 copies via pushcarts and country stores, and all of them becoming bestsellers. The series represented one-third of Currier and Ives' production by 1884.
Henry R. Robinson, also known as H. R. Robinson was an American lithographer and publisher active in New York City between 1831 and 1850.
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