Currier and Ives: Wikis

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"A Brush for the Lead", lithograph by Currier and Ives, 1867.

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." [1]

Contents

Currier's early history

Nathaniel T. Currier (1813-88) was born in Roxbury, MA in 1813. As a youth he had been apprenticed to the Boston lithographic firm of William S. & 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.[2] 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 the 15th of May 1835, burying 50 persons, 40 of whom Escaped with their Lives."[3] He quickly gained a reputation as an accomplished lithographer.[4]

Awful Conflagration of the Steam Boat LEXINGTON in Long Island Sound on Monday Eveg, Jany 13th,(1840)

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.[5]

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.[6] Ives also helped Currier interview potential artists and craftsman. 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.[7][8]

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.[9] Artists produced two to three new images every week for 64 years (1834-1895),[10] 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 J.F. Butterworth, George Inness, Thomas Nast, C.H. Moore, and Eastman Johnson.[10] The stars of the firm were Arthur F. 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.[11] All lithographs were produced on special stones 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-coloured by a dozen or more women, often immigrants from Germany with an art background, who worked in assembly-line fashion, one colour to a worker, and who were paid $6 for every 100 colored prints. The favored colours were clear and simple, and the drawing was bold and direct.[3][12]

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.[13]

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.[14] From 1866 on, the firm occupied three floors in a building at 33 Spruce Street in Philadelphia:

  • Hand-operated printing presses occupied the third floor.
  • Artists, stone grinders, and lithographers worked on the fourth floor.
  • Colourists 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.[10][15]

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.[16] 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 & 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."[17]

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.[18] Because of improvements in offset printing and photoengraving, the public demand for lithographs had gradually diminished.

The lithographs

"Central Park Winter", 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.

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 1860’s. 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.[19]

"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"".[19]

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.

Bibliography

"The American Fireman", lithograph by Currier and Ives, 1858.
  • LeBeau, Bryan F. Currier and Ives: America Imagined. Washington, DC: Smithsonian Institution Press, 2001.
  • Reilly, Bernard. Currier and Ives: A Catalogue Raisonné. Detroit: Gale Research, 1984.

References

  1. ^ The Henry Ford Collections http://www.hfmgv.org/exhibits/collections/Collections/library/special/prints/currier.asp
  2. ^ Bob Brooke, The Enduring Appeal of Currier and Ives Prints http://www.howmuchisitworth.com/currier-and-ives.html
  3. ^ a b c Brooke http://www.howmuchisitworth.com/currier-and-ives.html
  4. ^ Currier and Ives: An American Panorama http://www.tfaoi.com/aa/6aa/6aa162.htm
  5. ^ Biography http://www.answers.com/topic/currier-and-ives
  6. ^ http://www.answers.com/topic/currier-and-ives
  7. ^ The Old Print Shop http://www.oldprintshop.com/artists/currier-ives-j_m_ives.htm
  8. ^ Encyclopedia Britannica Online http://www.britannica.com/EBchecked/topic/1345799/Currier-Ives
  9. ^ Ohio University News and Information http://www.ohio.edu/news/99-00/328.html
  10. ^ a b c http://www.tfaoi.com/aa/4aa/4aa436.htm
  11. ^ Biography http://www.answers.com/topic/currier-and-ives
  12. ^ The Long Island Museum of American History and Carriages http://www.tfaoi.com/aa/2aa/2aa36.htm
  13. ^ Currier and Ives: Popular Masters of 19th Century Lithography http://www.nytimes.com/1998/06/07/nyregion/currier-ives-popular-masters-of-19th-century-lithography.html
  14. ^ The Long Island Museum of American History and Carriages http://www.tfaoi.com/aa/2aa/2aa36.htm
  15. ^ Encyclopedia Brittanica http://www.britannica.com/EBchecked/topic/1345799/Currier-Ives
  16. ^ Long Island Museum http://www.tfaoi.com/aa/2aa/2aa36.htm
  17. ^ http://www.tfaoi.com/aa/6aa/6aa162.htm
  18. ^ "Currier & Ives." The Columbia Encyclopedia, Sixth Edition. 2008. Retrieved August 03, 2009 from Encyclopedia.com: http://www.encyclopedia.com/doc/1E1-CurrierN.html
  19. ^ a b Currier and Ives Lithographic Value Guides http://www.currierprints.com/Reproductions.htm

External links

Gallery of images

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