Designed & Erected by John Haviland Archt. | E. Brown Jr. del. | N. Currier’s Lith. N.Y.
1837–38. ARTIST: Eliphalet M. Brown, Jr. LITHOGRAPHER: Nathaniel Currier. Lithograph. 8¾ x 11¾ in.

When the old county courthouse burned in 1835, architect John Haviland was commissioned to design and build a new courthouse for Essex County, combined with a jail and a city hall for the town of Newark. Haviland (1792–1852) was an English-born architect and a leading figure in American neo-classical architecture. Among his many important commissions were the original Franklin Institute, the Walnut Street Theatre, and the Eastern State Penitentiary, all in Philadelphia; the Hall of Justice (“The Tombs”) in New York; and the New Jersey State Prison in Trenton. The new courthouse, in Haviland’s favored Egyptian revival style, was completed by the end of 1837, at which time the architect probably had this view produced to show off his work.

The building remained in use as the county courthouse until 1907, when a new Essex County courthouse was erected. The jail continued to be used until about 1970. The structure survives today in Newark at the corner of Newark and New Streets, abandoned and hopelessly derelict. It was added to the National Register of Historic Places in 1991, although nothing has been done to preserve it.

The artist, Eliphalet M. Brown, Jr. (1816–1886), was a Massachusetts native who was working in New York by the late 1830s. He was both a lithographer as well as an artist, and some of his earliest work was done in association with Nathaniel Currier. Currier (1813–1888), also a native of Massachusetts, served his apprenticeship in Boston with the Pendleton lithography firm before setting up business on his own in New York in 1835. In 1857 he joined with James M. Ives in the famous partnership of Currier & Ives, which flourished into the early years of the twentieth century.

1867 or 1868. ARTIST: unidentified. Lithograph, with added hand coloring. 12 x 16⅜ in.

Couples and families stroll or sit at tables eating ice cream in a garden-like setting with sculpture, a fountain, and swings. Surrounding the garden are about a dozen small shed-like structures where, presumably, patrons could eat their ice cream out of the sun’s heat.

James A. Crump was born in England about 1820. In the tax lists of 1865 and 1866 he is recorded as selling soda water at 190 Broad Street, Newark. In the 1867–68 Newark directory, Crump is listed as “Ice cream garden & ladies’ dining rooms, 190 Broad.” In that same directory the ice cream garden at 190 Broad Street is also included under the name of Peter Tracy & Company. By the next year’s directory, 1868–69, Tracy is gone and the ice cream garden is under the sole management of James A. Crump. Crump’s business does not appear to have been a success, as the next year he is the superintendent of a rink, and by 1873 he is associated with the Sunday Call newspaper. By 1876 he is operating a boarding stable.

1887 or before. ARTIST: unidentified (signed lower left, C[illegible]). Oil on board. 7 x 9⅝ in.

Turkey Ridge was a sparsely settled area atop the Palisades on the New Jersey-New York border. In the second half of the nineteenth century it was home to an African-American community known as Skunk Hollow. Some of the land was later taken for the Palisades Interstate Parkway, and the remainder is included within the present Borough of Alpine, Bergen County.

On the back of the board the artist has painted “Turkey hill N J. | Top of palisades.” Glued to the back of the board is an oval white paper label on which is written, in pen and ink, “Ww Unger | Decr 31 1887.” Unger has not been identified. The artist’s signature is precisely under the edge of the frame’s rabbet and it has worn off and is now illegible. The first letter is a “C” or possibly a “G.”

O. H. Bailey & Co. | Lith. & Pub. Boston.
1896. ARTIST: Oakley Hoopes Bailey. LITHOGRAPHER AND PUBLISHER: O. H. Bailey & Co. Toned lithograph. 21¾ x 28⅛ in.

The second published birdseye view of Hackensack, Bergen County. Street names are indicated. Above and below the view are thirty-five vignettes of private homes, schools, churches, and commercial structures. In the bottom margin are eight columns listing churches, public buildings, and businesses, some of which are keyed by letter or number to the view. Oakley Hoopes Bailey (1843–1947) was a native of Ohio and a resident of Cambridge, Massachusetts. He traveled around the country, producing in all some 375 views of cities and towns before his death at age 104.

D. Lienau del. A. Delessard, Lith. | D. Lienau & R. C. Bacot } Archts. | Print by Nagel & Weingærtner.
1850–53. ARTIST: Detlef Lienau. LITHOGRAPHER: A. Delessard. Toned lithograph. 19 x 15⅞ in.

Grace Church Van Vorst, Jersey City, was founded in 1847 and takes its name both from the township in which it was then located and from the Van Vorst family, who donated the land on which the church was built. Construction of the church began in 1850 and the building was consecrated in 1853. The architect was Detlef Lienau. This lithograph, with its distinctly European flavor, may possibly have been produced from a drawing of the proposed structure made by Lienau before the church was built. Robert Cochran Bacot, who is also named on the lithograph as architect, was a sometime architect and fulltime Jersey City civil engineer and surveyor. Enlarged in 1864 and with a tower added in 1912, the church is in daily use today. It is the oldest surviving Episcopal church in Jersey City.

Detlef Lienau (1818–1887) was born in Denmark in an area that later became a part of Germany. In 1848 he came to the United States. Having trained as an architect at L’Ecole des Beaux-Arts in Paris, he is generally credited with having introduced the French style to American building construction, notably the mansard roof. His first commission in Jersey City was a house for his brother, Michael, completed in 1849. Lienau himself lived in Jersey City and was married in the church he designed. He died in New York. Robert Cochran Bacot (1818–1901) was born in Charleston and came to Jersey City about 1838. For the next fifty years he was the dominant figure in the civil engineering of the rapidly growing Jersey City.

A manuscript presentation inscription is in the lower margin: “For the Rev. Dr. Hale with the affectionate regards of D.H.Mc.” The recipient may have been George Hale, D.D., longtime pastor of the Presbyterian church in Pennington. The writer has not been identified.

Geo. H. Walker & Co. Lith. Boston. | P. C. Keeley architect. | Rev. P. Hennessy, pastor.
1870s. ARTIST: unidentified. LITHOGRAPHER: George H. Walker & Co. Toned lithograph. 18½ x 22¾ in.

The cornerstone of St. Patrick’s Roman Catholic Church was laid in November 1870 and the church was completed and dedicated nearly seven years later, in August 1877. The architect was Patrick Charles Keely (1816–1896), who designed nearly 600 Catholic churches in the second half of the nineteenth century. The Reverend Patrick Hennessy (1834–1896) was the priest throughout the period of construction and for almost twenty years after. The church is in use today and stands at the intersection of Ocean and Bramhall Avenues and Grand Street. It is the largest church in Jersey City. It is difficult to determine whether this lithograph was done from an architect’s rendering prior to construction or from life after the building was completed.

Lith, of D. W. Kellogg & Co. Hartford, Ct.
1833 or soon thereafter. ARTIST: unidentified. LITHOGRAPHER: D. W. Kellogg. Lithograph, with added hand coloring. 9⅜ x 11¼ in.

View of the circular pleasure railway at the Elysian Fields estate of Colonel John Stevens in Hoboken. In 1784 Stevens (1749–1838), the steamboat and transportation pioneer and inventor, purchased the island then called “Hoebuck.” He erected a grand villa for his family’s use, then began to develop the property in conjunction with the ferry that he established connecting his property with New York. In order to attract more ferry patrons, Stevens in the 1820s and 1830s developed the “Elysian Fields” as a rural retreat for New Yorkers, complete with a hotel, refreshments, a “river walk,” and amusements such as a primitive form of ferris wheel and a circular railway. Stevens’ sons would later found the Stevens Institute of Technology on a part of the property.

Daniel Wright Kellogg (1807–1872) appears to be the first member of the Kellogg family to enter the lithography business, in Hartford about 1833. By mid-century the Kelloggs were probably the only lithographers who came close to rivaling the Currier firm in the quality and quantity of their work.

Comprising 1103 Building Lots. | Located at West Orange, Essex Co. N.J. | For full information apply at office Watson Whittlesey, Bank Building, 252 Main St., Orange, N. J. | or | Office on property, cor. High and Chestnut Streets | Watching Heights, West Orange, | New Jersey.
1898. ARTIST: unidentified. PUBLISHER: Watson Whittlesey. Photogravure. 18½ x 24⅛ in.

Birdseye view showing property subdivided into numbered building lots, with streets laid out, a streetcar line, a chapel, and other buildings erected. In the background are the towns of West Orange and Llewellyn Park, with Montclair in the left foreground. At the top and bottom of the image are nine vignette images of prominent local public and industrial buildings, Thomas A. Edison’s home, and scenic views. At the top left and right corners are promotional advertisements.

Watson Whittlesey (1863–1914) was a real estate developer and community builder. Born in Rochester, New York, he learned the contracting business in Providence, Rhode Island, then removed to New York and soon after to Newark. He moved to the Oranges in the mid-1890s, where he developed Hyde Park in East Orange. He purchased the Ira Harrison farm in West Orange and in 1898 began his Watchung Heights development. Unlike most real estate developers and land speculators, Whittlesey lived in the development with his family and went to considerable lengths to develop a sense of community. Whittlesey’s final development was Livingston Manor in Highland Park, Middlesex County.

Drawn from Nature & on Stone by E. Whitefield. | Print by Nagle & Weingärtner N. Y. | Published by Isaac Prindle, Brooklyn N. Y.
1853. ARTIST AND LITHOGRAPHER: Edwin Whitefield. PRINTER: Nagle & Weingärtner. PUBLISHER: Isaac Prindle. Toned lithograph. 19⅜ x 32⅞ in.

View of early industrial Paterson from the Manchester (now Totowa) side of the Passaic River. Large factories line the east bank of the river. One factory, that of Todd, Mackay & Co., has been masked from the sepia wash and stands out prominently. This is the second view of Paterson, following an earlier view published in 1834. The artist, Edwin Whitefield (1816–1892), came to the United States from England about 1837. In 1845 he issued his first city view, and by the end of his long career he had produced some sixty views of towns and cities in twelve states and territories. Whitefield was both an artist and a lithographer, as he states in this view: “Drawn from Nature & on Stone by E. Whitefield.”

Drawn by H. H. Bailey. | Breuker & Kessler, Lith. Philada.
1875. ARTIST: Howard Heston Bailey. LITHOGRAPHER: Breuker & Kessler. Toned lithograph. 24⅛ x 31⅞ in.

The third birdseye view of Paterson, with street names indicated. At the bottom of the view are four vignettes of residences and commercial establishments. In the bottom margin are eight columns listing churches, public buildings, and manufacturers, some of which are keyed by letter or number to the view. Howard Heston Bailey (1836–1878), in the eight years from 1870 until his death, was involved in the production of over seventy birdseye views in fourteen states. He was the brother of Oakley Hoopes Bailey, one of America’s most prolific producers of birdseye views.

Samuel Sloan, Architect. | Copyright, 1875, by Samuel Sloan. | Thos. Hunter, Lith. 716 Filbert St. Phila.
1875. ARTIST: Samuel Sloan. LITHOGRAPHER: Thomas Hunter. Lithograph, with added hand coloring. 15½ x 26⅜ in.

Birdseye view of the institution, depicting a joined series of buildings emanating in either direction from the main building. Built on the then-progressive Kirkbride Plan and opened in 1876, the massive state asylum near Morristown, in present-day Morris Plains, was designed to relieve the crowding at the state’s other asylum in Trenton. The architect was Samuel Sloan (1815–1884). Many changes were made to the buildings over the years, largely to accommodate the ever-increasing number of patients. In 1924 the name of the facility was changed to Greystone Park. Gradually the buildings fell into disrepair, and between 1997 and 2008 several were demolished. A new psychiatric hospital opened on the site in 2008, taking the remaining patients from the older buildings. Today a local preservation group is working to prevent the demolition of the remaining central building.

Between 1836 and 1848. ARTIST: William E. Tucker (signed lower left, “Drawn on the spot by Wm. E. Tucker, Philada.”). Pen and ink, and watercolor, on paper. 8 x 13½ in.

Scene in Alloway, Salem County, with the Josiah M. Reeve and William F. Reeve houses at the center of the image, a complex of frame structures at the left, a man and a boy walking in the street, and the gable end of a gambrel-roof house in the right foreground on the near side of the street.

The village of Alloway was originally known as Thompson’s Bridge and later as Allowaystown. In the early-to-mid nineteenth century, brothers William F., Josiah M., and Emmor Reeve conducted a successful shipbuilding operation along Alloways Creek, and each brother erected a grand house backing up to the creek. William Reeve’s frame house was built in 1830, and Josiah Reeve built his brick house next door in 1836. Emmor Reeve’s house, on the opposite side of his brother William’s house, was not built until 1848 and is not pictured, thus Tucker’s drawing can be dated between 1836 and 1848. The three houses still stand, side-by-side along North Greenwich Street. Why Tucker called the town “Oakland” is difficult to explain. The Reeve properties stood in the midst of extensive stands of white oak, which the brothers used in both their milling and shipbuilding operations, and they called the former “Oakland Mills.” Tucker may have been referring to the combined Reeve properties rather than the town itself. The gambrel-roof house at the near right appears to be a classic Salem County patterned-brick structure, now gone. The complex of frame buildings at the far left are also no longer standing.

William E. Tucker (1801–1857) was a native and lifelong resident of Philadelphia. He learned engraving from Francis Kearny, and was active as an engraver from the early 1820s. His subjects included portraits, landscapes, and banknotes.

Ed. H. Saunders Survr &c. | Camden N. J. | May 1848. | T Sinclairs Lith S. E. Cor 3d & Walnut | St Philada.
1848. ARTIST: Edward H. Saunders. LITHOGRAPHER: Thomas Sinclair. Lithograph. 18¾ x 23¾ in.

Plan of the proposed development at Red Bank, Gloucester County, with streets and lots laid out. The streets are named and the lots numbered. One block near the center is reserved for a hotel and lot, and one at the right for a ferry house and lot. The land along the Delaware River is laid out into piers.

In early 1848 a group of investors began to develop a town at Red Bank, with the goal of making it a fashionable resort for Philadelphians. Eventually a hotel was built, with a large public square leading to the river, and the Red Bank Ferry Company began operating ferries back and forth to Philadelphia. A new turnpike road was completed to Woodbury, and the Schuylkill Navigation Company planned a large coalport in the area. See Town Plan | of | Red Bank, | Five Miles from | Philadelphia.

About 1850. ARTIST AND LITHOGRAPHER: unidentified. PUBLISHER: Samuel Tatem. Lithograph. 10⅞ x 19½ in.

In the lower half of the image is a plan of the proposed development, with streets and lots laid out. The streets are named, the blocks lettered, and the lots numbered. In the upper half is a conceptual drawing of that part of the proposed development along the Delaware River, showing tree-shaded wharves, a steamboat landing, a neat fence, and wide streets with mature trees and well-dressed ladies and gentlemen strolling. In the background steamboats and sailing vessels ply the Delaware.

A second proposal to continue the development of Red Bank that began in early 1848 (see Bird’s Eye View of | Paterson, N. J. | 1875.). On the verso of the plan is an unexecuted printed deed form conveying a numbered lot from Samuel Tatem and his wife, Mary P. Tatem, of Salem, to the purchaser. The recital names Robert B. Ward as the grantor to Samuel Tatem. The affidavit is dated 1850.

Both the hotel and the ferry continued to operate through much of the nineteenth century. In 1886 the Sanitarium Association of Philadelphia purchased the hotel and began bringing underprivileged children from the city for a day in the country. In 1901 a carousel was installed, followed by a large slide. Eventually the name “Soupy Island” was given to the operation, and it continues today—with the help of nearby Campbell’s Soup—as an oasis for inner-city children from Philadelphia and Camden.

Des. Lith. & Publ. by Otto Koehler. Riverton. N.J.
1890. ARTIST, LITHOGRAPHER, AND PUBLISHER: Otto Koehler. Toned lithograph. 18⅞ x 24 in.

Birdseye view of Riverton. In the foreground a wharf extends into the Delaware River and a paddle-wheel steamboat passes by. The extensive nursery of Henry A. Dreer and the grounds of the Riverton Ball Club are identified, as is the adjoining town of Palmyra at the upper right corner.

Otto Koehler (1830–1912) was born in Prussia and came to the United States in 1855 or shortly before, settling in Philadelphia. The city directories list his occupation either as “artist” or “lithographer.” About 1870 he moved to Riverside, Burlington County, and soon thereafter to nearby Riverton. He owned two houses in Riverton and rented one to a fellow German artist, Conrad Becker, an engraver. In the 1890 Riverton directory Koehler is listed as an artist, and he advertised locally that he copied photographs in colors. He lived in Riverton until his death.

George S. Harris & Son, Lithographers, Philad’a.
After 1870. ARTIST: unidentified. LITHOGRAPHER: George S. Harris & Son. Toned lithograph. 18 x 23 in.

The main school building of the South Jersey Institute, Bridgeton. Handsomely dressed ladies and gentlemen stand on the porches and stroll along the walks while young ladies play croquet on the lawn and well-behaved young boys carrying their schoolbooks enjoy the afternoon.

The South Jersey Institute was a co-educational school under the auspices of the West New Jersey Baptist Association. The building was completed in 1870 and classes began under the direction of the principal, Henry K. Trask. The school operated until 1907, when it closed. The building was torn down in 1923. See also South Jersey Institute, Bridgeton, N. J.

View from the Seminary. | J. H. Sawyer, Del. | Duval & Hunter, Lith. Phila.
1870. ARTIST: J. H. Sawyer. LITHOGRAPHER: Duval & Hunter. Lithograph. 20¾ x 33¼ in.

Panoramic view of Vineland. Two trains approach the center of town from opposite directions. Farms are seen in the foreground, while the roofs of houses, factories, and churches in the town center are visible in the background. Smokestacks and steeples pierce the horizon.

An attractive, if optimistic, view of the new town of Vineland. In 1861 Charles K. Landis purchased 16,000 acres of Cumberland County wilderness on which to erect a model town. Through aggressive advertising and constant promotion, Landis’s Vineland by 1869 could boast more than 10,000 residents. The seminary referred to in the title was never completed. In 1868 the Methodists constructed a seminary building just outside of the town, but sufficient support for the institution could not be obtained, and the plan was soon abandoned.

The artist, J. H. Sawyer, has not been identified.

Copyright Secured | O. H. Bailey & Co. Lith & Pub. Boston. | 1885
1885. ARTIST: Oakley Hoopes Bailey. LITHOGRAPHER AND PUBLISHER: O. H. Bailey & Co. Lithograph. 22½ x 31½ in.

The second published birdseye view of Vineland, with streets identified. Surrounding the view are 21 vignette views of private homes, schools, churches, and commercial structures. Oakley Hoopes Bailey (1843–1947) was a native of Ohio and a resident of Cambridge, Massachusetts. He traveled around the country, producing in all some 375 views of cities and towns before his death at age 104.

Entered according to Act of Congress A. D. 1866 by Charles Magnus in the Clerks Office of the Southern District of New York. | Published by Chas. Magnus 12 Frankfort St. N.Y.
1866. ARTIST: unidentified. PUBLISHER: Charles Magnus. Lithograph, with added hand coloring. 5⅝ x 7⅞ in.; leaf 10⅝ x 8⅜ in.

A pictorial letter sheet, with a birdseye view of Egg Harbor City, Atlantic County, at the top and space for writing a letter below. Pictorial letter sheets were popular in American from the mid-1850s through the early 1880s, and the leading producer, by a considerable margin, was New York’s Charles Magnus. Born Julian Carl Magnus in Elberfeld, Germany, Magnus emigrated with his family to New York in 1848. In the 1850s he produced letter sheets incorporating town views and images of newsworthy events. During the Civil War he turned his attention to patriotic envelopes and pictorial song sheets, producing more than a thousand during the course of the war. After the war he expanded his work to include prints, maps, games, rewards of merit, and advertising.

After 1870. ARTIST: unidentified. Engraving. 3⅝ x 5⅛ in.; leaf, 9 x 8 in.

A pictorial letter sheet, with an image of the South Jersey Institute, Bridgeton, at the top and space for writing a letter below. See also South Jersey Institute, | (For the Education of Both Sexes.) | Bridgeton, N. J.

Published by Charles Magnus
Late 1850s? ARTIST: unidentified. PUBLISHER: Charles Magnus. Lithograph, with added hand coloring. 4½ x 9¼ in.; leaf, 12½ x 9⅜ in.

Four vignette scenes of Newark, each surrounded by a floral border: “Broad Street,” “Morris Canal R. R. Works,” “Market St. R. R. Depot,” and “Court House.” The first scene, at the center of the sheet and larger than the others, depicts the bustle of Broad Street—then the commercial center of Newark—with delivery wagons and carriages in the street and pedestrians on the sidewalks in front of the shops. At the left of the sheet, a canal boat ascends an inclined plane of the Morris Canal. Below this a smaller vignette depicts the depot of the New Jersey Railroad and Transportation Company on Market Street. At the right of the sheet is a view of the Egyptian revival Essex County courthouse (see also City Hall, and County Court House. Newark N.J.). All four illustrations appear to be copied from larger, more detailed illustrations that appeared in the April 14, 1855, issue of Ballou's Pictorial Drawing-Room Companion.

A pictorial letter sheet, with an image at the top and space for writing a letter below and on the conjugate second leaf.

1892. ARTIST: Peter Caledon Cameron. Watercolor on paper. 10¼ x 18⅛ in.

Several people are fishing, including at least one woman, and numerous well-dressed men and women are walking on the pier. In the distance are two large sailing ships and several smaller boats.

A fishing pier was erected at the south end of Asbury Park, at First Avenue, by the town’s founder, James A. Bradley, at a cost of $10,000. It was built to assist the newly formed Asbury Park fishing club. The pier was fitted with a retractable staircase for yachting parties. Over the years the pier was improved, and structures were added at the far end. The watercolor is inscribed on the verso, in pencil: “Asbury Park N.J. | Fishing Pier - 1892.” It is unsigned, but by Cameron. It was acquired from a Philadelphia dealer about 1980 who was selling a collection of Camerons, this being the only one of a New Jersey scene. It is very much in Cameron’s style.

Peter Caledon Cameron was born in Scotland in 1852 and came to the United States in 1884, settling in Philadelphia. He appears to have had some training as a biologist as well as an artist. In 1902 he exhibited a painting of the Absecon meadows at the Pennsylvania Academy. While his best-known paintings may be his large and dramatic winter views of Niagara Falls, his favorite locales seem to have been the rural areas of southwestern Pennsylvania and the New Jersey shore. His name last appears in the federal census in 1920, as a Philadelphia resident.

1875. ARTIST: [–] Bishop (signed lower left, “BISHOP | 1875”). Oil on canvas-covered board. 9 x 15¾ in.

View of the Sea Grove House and the cottage of Alexander Whilldin, looking east from the ocean, with sailboats in the foreground, bathers on the beach, and the lighthouse in the distance.

This is one of two oil paintings that are among the earliest known works depicting present-day Cape May Point. Each was painted in the summer of 1875, just months after Alexander Whilldin, John Wanamaker, and others formed the Sea Grove Association to develop the barren wilderness known as Stites Beach into a Christian resort. Whilldin’s wife was a Stites, and her family had owned the land since the eighteenth century. Construction of the Sea Grove House, the resort’s first hotel, began in March 1875 and was completed in early June, in time for Sea Grove’s official opening. The structure was 160 feet long, with public function rooms on the first floor and a hundred bedrooms on the three floors above. The hotel could boast of gaslight in every room.

Sea Grove’s founder, Alexander Whilldin (1808–1893), built his cottage, “Land’s End,” adjacent to the Sea Grove House. It was three stories high with a veranda enclosing the first two stories. Both the Sea Grove House (renamed the Carlton Hotel and later Villa Maria-by-the-Sea) and the Whilldin cottage were destroyed in the storm of 1936. The lighthouse in the distance—the third on the site—had been there since 1859 and stands today.

The artist, Bishop, has not been identified. However the Smithsonian American art inventory records an 1879 oil on canvas of a lighthouse, thought to be the Cape May light, by a Thomas Bishop of Pennsylvania, active 1858–1883.

1875. ARTIST: [–] Bishop (signed lower left, “BISHOP | 1875”). Oil on canvas-covered board. 8½ x 15¼ in.

View of Lake Lily looking south, with a rowboat and a small sailboat on the lake and the lighthouse in the distance.

This is the second of two Bishop oil paintings that are among the earliest known works depicting present-day Cape May Point. See also Sea Grove, New Jersey. Lake Lily, a fresh-water lake adjacent to the Atlantic Ocean, has a colorful and largely apocryphal local history that includes Indians, Captain Kidd’s buried treasure, and British warships. During the first six months of 1875, as the developers readied the area for its official opening in June, Lake Lily was cleared of underbrush and prepared for its role as one of the focal points of Whilldin’s new resort, then known as Sea Grove.

During the Great Storm, Oct. 23rd, 1878. | W. H. Rease Phila. | Anna Worrill || Ester || Anna B. Russell
1878. ARTIST, LITHOGRAPHER, AND PUBLISHER: William H. Rease. Lithograph. 10¾ x 18 in.

View of the Cohansey lighthouse surrounded and almost engulfed by angry waves. Some wreckage of the ship Ester floats in the foreground, while the Anna Worrill and the Anna B. Russell flounder near the lighthouse.

The Cohansey lighthouse was built in 1838 at the mouth of the Cohansey River, where it meets the Delaware Bay, in Greenwich Township, Cumberland County. The structure was severely damaged in the October 1878 storm depicted here, and it was replaced by a new lighthouse in 1883. This lighthouse was in use until 1913; it was destroyed by fire in 1933.

William H. Rease was an artist as well as a lithographer. In the mid-nineteenth century he was Philadelphia’s foremost trade card artist. In later life he appears to have had his own press. The present lithograph is one of a pair of views of the Cohansey light that Rease possibly drew, lithographed, and published. The other view depicts the lighthouse on a calm day, before the storm.

Late 1890s. ARTIST: M. W. Baldwin (signed on verso in pencil “Ocean Grove | M W Baldwin”). Watercolor on paper. 6¼ x 14¼ in.

View of the beach and ocean from the Ocean Grove boardwalk, looking south. In the foreground three individuals at a bench watch the activity on the beach while strollers approach on the boardwalk. A tip of a pavilion or open structure is visible at the right, and Lillagore’s Pavilion is in the distance.

Ocean Grove was founded in 1869 as a Methodist camp meeting, and it remains today a tiny island of tranquility between Asbury Park on the north and Bradley Beach on the south. All of the land is still owned by the Ocean Grove Camp Meeting Association. The Smithsonian American art inventory records an 1896 watercolor by M. W. Baldwin of a house in Madison, New Jersey, but no other information on Baldwin has been found.

(Capt. Stark) on the Coast of New Jersey in the Terrible Gale of Feby. 15th. 1846, 3 O’Clock A.M. with 51 Persons on Board. | By this melancholy disaster 38 persons were drowned or frozen to death. — Among the lost were Capt. Stark, wife, and two children, – the Mate, Pilot, and all the | cabin passengers, 5 in number.
1846. ARTIST: unidentified. LITHOGRAPHER AND PUBLISHER: Nathaniel Currier. Lithograph, with added hand coloring. 9 x 12½ in.

The John Minturn, her masts broken, is battered by heavy seas as passengers wave their arms on deck or fall overboard amid debris from the ship. A single full lifeboat is in the foreground.

The John Minturn was a packet ship bound for New York from New Orleans. On February 14, 1846, during a violent northeast storm, with heavy surf and freezing rain, the vessel ran aground off Squan Beach, near present-day Mantoloking. Despite the efforts of the crew and local residents, over thirty individuals perished, including the captain, Dudley Stark, and his wife and children. The event was the impetus for New Jersey congressman William A. Newell’s introduction of a bill to create a life saving service. The Newell Act passed in 1848, and Congress appropriated $10,000 to establish the first unmanned life saving stations along the New Jersey coast. Out of this effort would eventually grow the United States Life Saving Service and, later, the United States Coast Guard.

The place where the Packet Ship John Minturn was wrecked. July 1846.
1846. ARTIST: George Robert Bonfield (signed lower right, “G. R. Bonfield”). Oil on canvas. 24 x 36 in.

Squan Beach in July, 1846, looking south. Five months after the wreck, large pieces of debris from the John Minturn still lie on the beach. Three men have a rope tied to a large piece of mast and are dragging it back from the water. In the right foreground, at the bottom of the dunes, is an open boat shed with several men and a large rowboat in front. A few small shacks and a tent are along the top of the dunes, and an American flag flies from a pole. In the distance is a flimsy pier, probably built to provide access to the wreck, which had washed up near the shore. Several sailing ships are in the distance.

George Robert Bonfield, Philadelphia maritime painter, was born in Portsmouth, England, in 1805 (not 1802, as stated in early reference works). In 1816 he came with his family to Philadelphia, where he learned the stonecutting trade. He was often sent to Bordentown to work on the estate of Joseph Bonaparte, where he was able to study and copy works of art owned by the exiled king. At age fifteen one of his seascapes was exhibited at the Pennsylvania Academy of the Fine Arts, and as his career advanced he was a regular exhibitor there and at the Artists’ Fund Society, the National Academy, and elsewhere. Over the years, Bonfield lived for brief periods of time in Bordentown, Burlington, and particularly Beverly, and many of his river scenes were painted in these Delaware River towns. Never traveling far from Philadelphia, Bonfield died in that city in 1898.

as she drifted past Smith’s Island, at 20 minutes to 9 o’clock, on the night of | March 15th 1856. — Over 60 lives lost! | Published and for sale by R. Magee, Stationer, North West corner of 2nd. & Chesnut Sts. Phila.
1856. ARTIST: unidentified. PUBLISHER: Richard Magee. Lithograph, with added hand coloring. 9⅛ x 12¾ in.

The ferry boat “New Jersey” is engulfed in flames. Passengers jump into the river, which is strewn with bodies and people clinging to pieces of debris or chunks of ice. Two rescuers in rowboats are in the foreground. In the right background a building labeled “Baths” is visible.

On March 15, 1856, the steam ferry New Jersey caught fire in the Delaware River opposite Camden, and more than sixty people were killed. The boat was owned by the Camden and Philadelphia Steamboat Ferry Company, a company controlled by the joint Delaware and Raritan Canal and Camden and Amboy Railroad and Transportation companies. The companies denied responsibility for the disaster, further fueling popular hostility toward the joint companies and their transportation monopoly. In the 1856 Philadelphia city directory Richard Magee is listed as a bookseller at the corner of Second and Chestnut Streets. See Terrible Conflagration and Destruction of the Steam-Boat “New-Jersey,” and Terrible Conflagration and Destruction of the Steamboat “New-Jersey,” for variations of this disaster view.

On the River Delaware, opposite Philadelphia, on the Night of Saturday, March 15th, 1856, between 8 and 9 o’clock, by which Dreadful Calamity Sixty-One Lives were lost. Names of all on Board. | [three columns of names, headed “The Dead,” “The Missing,” and “The Saved”] | Published by A. Pharazin [sic] 103, South Street. | Entered According to Act of Congress in the District Court for Eastern District of Pa. by A. Pharazyn.
1856. ARTIST: unidentified. PUBLISHER: Alfred Pharazyn. Lithograph, with added hand coloring. 9⅛ x 12¾ in.

The ferry boat “New Jersey” is engulfed in flames. Passengers jump into the river, which is strewn with bodies and people clinging to pieces of debris or chunks of ice. Rescuers throw lines from a dock in the right foreground. In the right background a building labeled “Baths” is visible. See also View of the Dreadful Burning of the Steam Boat “New Jersey” and Terrible Conflagration and Destruction of the Steamboat “New-Jersey.”

In the 1856 Philadelphia city directory Alfred Pharazyn is listed as a “colourist” at 103 South Street. His name appears as the publisher or copublisher of a handful of lithographs between 1856 and 1870.

On the Delaware River, above Smith’s Island, on the Night of March 15th, between 8 and 9 o’clock, in which | dreadful calamity over 50 Lives are supposed to have been lost. | Published and for sale by J. L. Magee, 48 Passyunk Road and A. Pharazyn, 103 South Street
1856. ARTIST: unidentified. PUBLISHER: J. L. Magee and Alfred Pharazyn. Lithograph, with added hand coloring. 10 x 13¼ in.

The ferry boat “New Jersey” is engulfed in flames. Passengers jump into the river, which is strewn with bodies and people clinging to pieces of debris or chunks of ice. A rescuer in a rowboat passes a baby to a woman on a dock in the right foreground. In the left background a building labeled “Baths” is visible. See also View of the Dreadful Burning of the Steam Boat “New Jersey” and Terrible Conflagration and Destruction of the Steam-Boat “New-Jersey.”

In the 1856 Philadelphia city directory J. L. Magee is listed as a lithographer at 261 South Sixth Street and Alfred Pharazyn as a “colourist” at 103 South Street.

Entered according to Act of Congress, in the year 1844, by N. Currier, in the Clerks office of the District Court of the Southern District of New-York. | Lith: & Pub: by N. Currier, 2 Spruce St. N.Y.
1844. ARTIST: Napoleon Sarony (signed in the stone lower right, “N. Sarony”). LITHOGRAPHER AND PUBLISHER: Nathaniel Currier. Lithograph, with added hand coloring. 9½ x 13 in.

Starboard view of the ship under full sail. The U.S.S. Princeton was built at the Philadelphia Navy Yard in 1842. The designer of the ship and main supervisor of construction was the Swedish inventor John Ericsson, who later designed the U.S.S. Monitor. The construction was partly supervised by Captain Robert Field Stockton, who had secured the political support for the construction of the vessel. The ship was launched in September 1843, with Stockton in command. Three months later she received her two big guns, named the “Oregon” and the “Peacemaker.” The former was designed by Ericsson, the latter from designs and under the direction of Stockton.

During a test firing in 1844, the Peacemaker exploded, killing the secretary of state, the secretary of the navy, and several other dignitaries (see Awful Explosion of the “Peace-Maker” on board the U.S. Steam Frigate, Princeton). The ship was refitted and later served in the Mediterranean until 1849, when its timbers were found to be rotten and it was broken up. The ship’s bell hangs outside Princeton’s borough hall. Napoleon Sarony was born in Quebec and came to New York about 1836, where he was employed by Henry R. Robinson and later Nathaniel Currier. He left Currier in 1846 to start his own firm. In 1867 he left his firm to travel and work in Europe, returning briefly to New York before going abroad again, this time to Birmingham, England, where he opened a photography studio. He eventually returned to New York, where he was a successful photographer for several years before his death. He was one of the leading celebrity photographers of his day.

on Wednesday, 28th. Feby. 1844. By which melancholly accident - the Secy. of State Mr. Upshur; the Secy. of the Navy Mr. Gilmer; Com: Kennon; Mr. Gardner of N.Y. & Mr. Maxcy were, instantly killed; — Capt: | Stockton & 12 of the Ships Company wounded. | Entered according to act of Congress, in the year 1844, by N. Currier in the Clercks [sic] office of the District Court of the Southn. dist. of New-York. | Lith: & Pub: by N Currier, 2 Spruce St N.Y. [immediately below the image is a key to some of the individuals pictured:] Mr Wilkins. Mr. Perrine. Leiutt. [sic] Hunt. Mr. Maxcy. Mr. Upshur. Com: Kennon. Mr. Gilmer. Capt: Stockton. Sailors. Sen: Phelps. Sen: Benton & lady.
1844. ARTIST: unidentified. LITHOGRAPHER AND PUBLISHER: Nathaniel Currier. Lithograph, with added hand coloring. 8⅞ x 12¾ in.

The U.S.S. Princeton (see U. S. Steam Frigate, Princeton) was sent to Washington in late January 1844, where the Washingtonians displayed great interest in the ship and her guns. On February 28, 1844, the ship departed Alexandria, Virginia, on a pleasure and demonstration cruise down the Potomac with President John Tyler, his cabinet, former first lady Dolley Madison, and approximately four hundred guests on board. During a test firing the Peacemaker burst, sending shrapnel into the crowd. Instantly killed were Secretary of State Abel Upshur, Secretary of the Navy Thomas Gilmer, and several other government officials and dignitaries, including Colonel David Gardiner of New York, the father of Julia Gardiner who was President Tyler’s fiancée. A court of inquiry investigating the cause of the explosion exonerated Stockton, due largely to his political influence.

1877. ARTIST: Joseph Stirling Thomas. Oil on canvas (signed lower left, “J Stirling Thomas. | 1877”). 15⅛ x 21⅛ in.

An unidentified Cape May locale. The painting appears to have been done from the beach, as many houses are blocked by sheds and other outbuildings. On the back of the original canvas, now relined, was lettered “At Cape May, Summer ‘77. Jos. Stirling Thomas.” Little could be learned about Thomas. He was a Philadelphia resident in 1875 when he exhibited four paintings in the Cincinnati Industrial Exposition. In the exhibition catalogue Thomas’s name appears both as “J. Stirling Thomas” and as “Jos. Stirling Thomas.” A painting of an old stone house by J. Stirling Thomas is owned by the Historical Society of Pennsylvania.

1884. ARTIST: Gertrude Newbold (signed lower left, “G. Newbold”). Oil on panel. 12 x 18 in.

The Delaware River looking north from a hill in Bordentown. Two small sailboats are on the river, and driftwood clings to the shore. Several steeples and smokestacks on the New Jersey shoreline are visible in the distance. Immediately across the river in Pennsylvania are several houses or outbuildings. On the back of the panel the artist has written: “Delaware River from Hilltop in 1884 | Painted by Gertrude Newbold.” On a label formerly pasted to the paper backing the frame, the artist has written: “‘The Delaware River’, looking towards | Trenton from Bordentown | Hill Top — B.F.C. Summer house — | In the Spring of 1884 | Sketch by Gertrude Newbold.”

Nineteen-year-old Gertrude Newbold was a pupil at the Bordentown Female College when she painted this view from a summer house or gazebo adjacent to the school’s main complex of buildings, located on a rise overlooking the Delaware. The school was founded in 1851 and ceased operation about 1900. Gertrude Newbold (b. 1865) was a native of Springfield, Burlington County, New Jersey.

1850. ARTIST: William Rank (signed in border at bottom right, “by Wm Rank”). Pen and ink, and watercolor, on paper. 7 x 10½ in.

The club house and kitchen building of the Tammany Fishing Company on the Delaware River. The Tammany Pea Shore Fishing Company was a Philadelphia social club organized about 1809. In 1813 they took title to a parcel of land in a cove of the Delaware River opposite Petty’s Island, in present-day Pennsauken Township, Camden County. They either erected or adapted for their use a clubhouse and a kitchen building, as naively depicted in this drawing. The oversize fish-shaped weathervane is prominently displayed. The amateur artist has signed his work within a border at the bottom: “Pea Shore, Fish House, New Jersey drawn from recollection and part skeches [sic] by Wm Rank Octr 24, 1850.” The name “Pea Shore” derives from the marked success early area farmers had in growing peas along the shoreline ringing the cove.

Members of the fishing company used the pier and shore area for bathing, pleasure boating, and recreational fishing. The club held banquets and sponsored regattas. Soon the area became known as Fish House Cove. Club activity declined toward the end of the century, and by the early twentieth century the club had faded away. The buildings were eventually demolished, and today all that remains of the Tammany Pea Shore Fishing Company is a disintegrating sea wall.

The artist, William Rank, has not been identified

Drawn from Nature by Thos. M. Scott. | P. S. Duvals Steam Lith. Press, Philada.
About 1852. ARTIST: Thomas M. Scott. LITHOGRAPHER AND PUBLISHER: P. S. Duval. Lithograph, with added hand coloring. 19 x 25⅜ in.

The club house and kitchen building of the Tammany Pea Shore Fishing Company on the Delaware River. An American flag and a weathervane in the shape of a fish fly from the club house roof. In the left foreground a man fishes at the end of a long narrow pier while two couples stand nearby. At the right seven people approach in a rowboat, while several others walk about the buildings or along the shore. Two fishermen and a beached rowboat are at the far right. See also Tammany Hall.

The lithograph is dated from an 1852 entry in the minutes of another Philadelphia social club, the Schuylkill Fishing Company, acknowledging the gift from the Tammany Fishing Company of a “framed view of their Fish House,” which they resolved to place in a conspicuous location in their own club house.

Harry T. Peters, the early authority on American lithography, considered Duval’s view of the Tammany Fish House one of the finest American fishing lithographs, and Nicholas B. Wainwright, author of the standard work on Philadelphia lithography, hailed it as “Duval’s masterpiece.”

Early 1840s? ARTIST: unidentified. Oil on canvas. 17⅜ x 26⅝ in.

A view of the clubhouse, fish house, and surrounding property of the Prospect Hill Association, as taken from the Delaware River. One man in a rowboat and two men in a small sailboat sit just off the shore.

The Prospect Hill Association was one of several social clubs established by Philadelphians along the New Jersey side of the lower Delaware River. Most were formed around sporting activities such as fishing and gunning. The earliest, the Gloucester Fox Hunting Club, was started in 1766 and went out of existence in 1818. The Tammany Pea Shore Fishing Company was organized about 1809 and a few years later acquired a site along the Delaware opposite Petty’s Island. Others followed, including the Prospect Hill Association, which in 1839 leased land along the Delaware on a high bluff just north of the mouth of Timber Creek, in present-day Gloucester City, Camden County. The club thrived throughout most of the nineteenth century, finally closing its doors in 1897. The property changed hands a few times until 1916, when it was acquired by the Pennsylvania Shipbuilding Company, which demolished all the existing buildings to make way for the new shipyard.

Until recently the only known image of the Prospect Hill fishing club had been an undated watercolor by Philadelphia artist David J. Kennedy in the Historical Society of Pennsylvania. In 2010 this oil painting, described only as “Boats on a river” and attributed to the school of Thomas Birch, came up at a Philadelphia auction. It was identified by South Jersey historian Paul Schopp as the Prospect Hill club, and it eventually became the impetus for an article by Schopp on the history of the club.

1879. ARTIST: J. D. Lowery[?] (signed on back of artists’ board, “Long Beach Club House | Aug. 1879 | J. D. Lowery[?]”). Oil on canvas-covered board. 10 x 14 in.

A view of the Club House as seen from Barnegat Bay. An outbuilding is at the left and an American flag atop a pole flies from a sand dune at the right. A dock is in front of the club house, and piles of firewood lie on the sand.

The Club House was built about 1845 by James James, known locally as “Double Jimmy.” It was located about three miles south of the Barnegat lighthouse, on the bay. Originally a public house open to paying customers, it was eventually acquired by a group of New York sportsmen and became a private club, as its name implied. In the early 1920s part of the building was moved to present-day Harvey Cedars, where it stands today at 81st Street and Long Beach Boulevard.

Alas, the artist’s signature has not been entirely deciphered.

1888? ARTIST: William Rickarby Miller (signed lower right, “WM”). Watercolor on paper, mounted to a second paper. 6¾ x 9¼ in.

Two shooting points on Barnegat Bay, seen in the distance from the porch of the Chadwick House, Chadwick Beach, New Jersey. The title is written in pencil at the bottom of the sheet of paper to which the watercolor is mounted.

The Chadwick House was one of the most popular nineteenth-century sportsman’s retreats on Barnegat Bay, attracting hunters from New York, Pennsylvania, New Jersey, and elsewhere. Located on Chadwick Beach just south of present-day Mantoloking, it was operated for much of the second half of the century by William P. Chadwick. The hotel provided boats, decoys, tackle, and guides. The register survives, and it records the visits of many distinguished guests. On July 25, 1878, Ulysses S. Grant, George B. McClellan, and Samuel Tilden were there, purportedly “all drunk as owls.” The painting is tentatively dated August 1888 on the basis of another New Jersey watercolor by Miller from the same sketch book and offered along with this one. The other watercolor, “Gordon's Shop Aug 21/88,” is in Princeton University Library’s graphic arts collection.

William Rickarby Miller was born in Staindrop, Durham, England in 1818. He studied first with his father, then moved to London, and by 1845 he was in New York. His first work was for the illustrated weeklies. He painted in oils and watercolors and in his later years was a prolific painter of rural landscapes, particularly in New York where he lived for almost fifty years. He died in Bronx, New York, in 1893.

About 1854. ARTIST: Robert Shoemaker Dana. Watercolor on paper. 7⅞ x 9⅞ in.

One of the earliest-known views of Atlantic City, depicting the start of Absecon Island’s development with the Absecon lighthouse under construction in the distance. Just north of the inlet is the barren Brigantine beach. On the back of the painting the artist has written: “Atlantic City sketched by R. S. Dana soon after the Rail Road was built. R S Dana is in a straw hat. Samuel Sharp a tinsmith of Shippen St. near 9th St. Philad is the other person in the round topped hat. They are fishing and lunching on crackers and round clams. Dana is handing a knife to Sharp to open another clam. The sketch [is as?] taken from the boat. The pile driver to the right was m[aking] a wharf for shipment of freight from A[tlantic City].”

Robert Shoemaker Dana was born in Circleville, Ohio, and grew up in Wilkes-Barre and elsewhere in Pennsylvania. He graduated from Jefferson Medical College in 1857, served as a surgeon in the Civil War, and after the war practiced medicine for many years in Morrisville, Pennsylvania.

Morristown, N. J., September, 1893. | Painted by W. S. Vanderbilt Allen. | Printed by The Heliotype Printing Co. | Copyright 1893, by W. S. Vanderbilt Allen.
1893. ARTIST: William Sullivant Vanderbilt Allen. PRINTER: Heliotype Printing Co. PUBLISHER: Sporting Incidents. Heliotype. 16 x 19¾ in.

The Essex County Hunt was organized in 1872, with its clubhouse and kennels at St. Cloud, in the Orange Mountains. In 1887, with the introduction of polo, the club was reorganized as the Essex County Country Club. In 1891 Charles Pfizer, Jr., purchased the pack, the paraphernalia, and the hunting rights to most of the land. He was shortly thereafter named Master of the Hunt, and he moved the hounds to Walton Collage, near Morristown, where the hunt was located at the time this scene was painted.

William Sullivant Vanderbilt Allen (1860–1931) was a great grandson of Commodore Cornelius Vanderbilt. After studying art in Paris he opened a studio in New York, which he maintained until the mid-1890s. This view is one of sixteen sporting scenes, largely the work of Allen, issued in 1893 in a portfolio titled Sporting Incidents. Allen was committed to a sanatarium in 1896.

1876. ARTIST: Thomas Worth. LITHOGRAPHER AND PUBLISHER: Currier & Ives. Lithograph, with added hand coloring. 9¼ x 12 in.

A boy smoking a huge cigar, with toes poking through holes in his shoes, rides a donkey while dogs run alongside and behind him. A fox pokes its head out from a log as the dogs rush past.

This and the companion print, A New Jersey Fox Hunt. ‘Taking Breath, are the only comic Currier & Ives prints relating to New Jersey. The identical image, in reverse, was issued as a trade card by Currier & Ives in 1880 with the title A Smoking Run.

Thomas Worth was a comic and genre artist who sold his first comic sketch to Nathaniel Currier in 1855. He would soon become one of the most popular artists whose work was lithographed by Currier & Ives. Though best known for his comics, he also did many racing scenes.

1876. ARTIST: Thomas Worth. LITHOGRAPHER AND PUBLISHER: Currier & Ives. Lithograph, with added hand coloring. 10¼ x 12⅛ in.

A companion and sequel to A New Jersey Fox Hunt. ‘A Smoking Run.’ The boy stops to relight his huge cigar while the donkey snorts with exhaustion and the haggard-looking dogs lie panting on the ground. The well-rested fox looks on calmly a short distance away. The identical image, in reverse, was issued as a trade card by Currier & Ives in 1880 with the title Taking Breath.

After 1876. ARTIST: Thomas Worth. LITHOGRAPHER: Currier & Ives. PUBLISHER: S. Lipschitz, Lithograph, with added hand coloring. 10¼ x 12½ in.

A reprint of the Currier & Ives lithograph (see A New Jersey Fox Hunt. | “Taking Breath.”) by the Hamburg and London art publisher S. Lipschitz, probably done in the late 1870s or the 1880s. It is unclear whether the Lipschitz copy was authorized or whether it was a piracy. Lipschitz probably also reproduced the companion print, A Smoking Run, as late nineteenth-century copies of both prints have been seen with the imprint of S. Lipschitz & Son, London.

1880. ARTIST: Thomas Worth. LITHOGRAPHER AND PUBLISHER: Currier & Ives. Colored lithograph on card stock. 3 x 4¾ in.

A trade card, with an unprinted verso. This and a companion card, Taking Breath, are reversed images of small folio comic prints issued by Currier & Ives in 1876 with titles prefaced by “A New Jersey Fox Hunt.” The signature of the artist, Thomas Worth, has been removed from the image in the trade card.

1880. ARTIST: Thomas Worth. LITHOGRAPHER AND PUBLISHER: Currier & Ives. Colored lithograph on card stock. 3 x 4¾ in.

A trade card, with an unprinted verso. The companion card to A Smoking Run.

As they appeared at Morristown, N.J. July 4th. 1867 for a Purse of $3,500. | Time: 2-20½. 2-20¼. 2-20. | Entered according to act of Congress AD 1869 by Geo. Kelly, in the Clerks Office of the District Court of the Eastn. District of Penna.
1869. ARTIST: unidentified. PUBLISHER: George Kelly. Lithograph, with added hand coloring. 19¼ x 24¾ in.

Dexter and Ethan Allen were two of the most famous trotting horses of the day. Dexter, a son of Hambletonian, was foaled in 1858 and bred by Jonathan Hawkins of Orange County, New York. He later became the property of George B. Alley. Ethan Allen, foaled in 1849 and bred by Joel W. Holcomb of Ticonderoga, New York, had a long succession of owners. The two horses met in a much heralded match at the Fashion course on Long Island in June 1867, and Ethan Allen won each of the three heats. A few weeks later the Morris County Agricultural Society put up a substantial purse, and the two horses met again on the society’s course at Morristown. Dexter was driven by the noted Budd Doble. Ethan Allen and a running mate, Charlotte F., were hitched together as a team and driven by Dan Mace. Once again, Ethan Allen won all three heats.

At Saratoga N.Y. July 16th. 1872 | Saratoga Cup for all ages; two and a quarter miles. | Harry Bassett by Lexington....1 Longfellow by Leamington....2 | Time 3:59 || At Long Branch N.J. July 2nd. 1872. | Monmouth Cup value $1,500; – Two miles and a half. | Longfellow by Leamington 5 yrs....1 Harry Bassett by Lexington 4 yrs....2 | Time 4:34 | Published by Currier & Ives | Entered according to act of Congress in the year 1874 by Currier & Ives in the Office of the Librarian of Congress at Washington. | 115 Nassau St. New York
1874. ARTIST: John Cameron (signed in the stone, “J. Cameron Del”). LITHOGRAPHER AND PUBLISHER: Currier & Ives. Lithograph, with added hand coloring. 9¾ x 13¾in.

Harry Bassett and Longfellow were two of the fastest thoroughbreds in America in the 1870s. Here they are shown at a neck-and-neck gallop, the far horse ridden by a black jockey. Harry Bassett, foaled in 1868, was owned and trained by Colonel David McDaniel of the Stony Brook Stud Farm in Princeton. Longfellow was foaled in 1867 and owned and trained by John Harper of Midway, Kentucky. Each had won most of its previous races. At the Monmouth Cup in Long Branch in early July, 1872, Longfellow broke Harry Bassett’s 14-win streak. Two weeks later, at Saratoga, Harry Bassett beat Longfellow in what the New York Times described as “the fiercest struggle ever seen in this country.”

The artist, John Cameron (1830–1876), was born in Great Britain but spent most of his life in New York. He is probably best known as a prolific artist for Currier & Ives, specializing in trotting prints and comics, though he also did independent work. He was a hunchback and, according to Currier & Ives authority Harry Peters, “addicted to drink.”

As they appeared on the Beacon Course, N. J., August 1st, 1839, in the great performance by “Dutchman” of trotting with Hiram’s weight 154 lbs. on his | back 3 miles in 7 minutes and 32½ seconds, a feat which up to the present date (Oct. 1871) though essayed by many of our | best “modern trotters” has never been equalled. | Published by Currier & Ives | Entered according to act of Congress in the year 1871 by Currier & Ives in the office of the Librarian of Congress at Washington | 152 Nassau St. New York.
1871. ARTIST: John Cameron (signed in the stone lower right, “J. Cameron”). LITHOGRAPHER AND PUBLISHER: Currier & Ives. Lithograph, with added hand coloring. 9¼ x 12⅜ in.

Dutchman was one of the most famous trotting horses of the 1830s. In perhaps his most memorable feat, on the Beacon Course with trainer Hiram Woodruff in the saddle, Dutchman ran three miles in seven minutes and thirty-five and a half seconds. This record stood for a remarkable thirty-three years, when it was broken by Huntress at Prospect Park in September 1872, a year after this lithograph was made.

The Beacon Course was located atop the New Jersey Palisades in present-day Jersey City Heights. It was laid out by Cyrus Browning, its proprietor, about 1837, and over the next eight years it hosted many important races. The course was discontinued about 1845, after Browning’s death, when it was turned into an ice-skating park. Hiram Washington Woodruff (1817–1867) was a native of Flemington, New Jersey. A distinguished horse trainer, he was long considered the authority on the trotting horse in America.

In 1932 a jury of twelve Currier & Ives experts and collectors selected a group that they considered to be the “Best 50” large folio Currier & Ives prints. The following year the “Best 50” small folio prints were also selected. “‘Dutchman’ and Hiram Woodruff” was number 40 on the small folio “Best 50” list. In 1988, in a rather more democratic process, the American Historical Print Collectors Society selected a “Top 100” list of all Currier & Ives prints. Perhaps reflective of the change in collecting taste over fifty-plus years, “‘Dutchman’ and Hiram Woodruff” was not on the new list.

Late 1840s? ARTIST: unidentified. Pen and ink, watercolor, and gum arabic highlights. 3⅞ x 5⅛ in.

A primitive painting, unsigned and undated, depicting the Long Branch area before it became a fashionable watering hole.

Late 1840s? ARTIST: unidentified. Pen and ink, watercolor, and gum arabic highlights. 3⅞ x 5⅝ in.

A primitive painting, unsigned and undated, of the Whitall house at Red Bank, Gloucester County, as seen from the Delaware River. At the left a sailing ship lies at anchor near the shore. Two attached shed-like structures stand at the bottom of the river bank. James and Ann Whitall built this brick house on the bank of the Delaware in 1748. In April 1777 the American army seized the property and built Fort Mercer in the nearby orchard. The house was at the center of the fighting during the Battle of Red Bank. The structure stands today in Battlefield Park, and is open to the public.

Late 1840s? ARTIST: unidentified. Pen and ink, watercolor, and gum arabic highlights. 3¾ x 6 in.

A primitive painting, unsigned and undated, of Lambertville looking east from the Delaware River. In the center foreground is a large three-story structure, possibly an inn, surrounded by nearly a dozen houses. The Sourland Mountains rise in the background. The covered bridge at Lambertville was opened for traffic in 1814, destroyed by a flood in 1841, rebuilt, and destroyed again by the 1903 flood, when it was replaced by an iron bridge. Similar, but slightly more detailed, views of Lambertville appear in Barber and Howe’s Historical Collections of the State of New Jersey (1844, revised 1868).

The height of the Fall between Eighty and Ninety feet; the River about Eighty Yards broad. || Vue de l’Cataracte du Passaick, ou seconde Riviere, dans la province du Nouveau Jersey, | La Hauteur de cette Chŭte est de 80 à 90 pieds, et la Largeur de la Riviere d’environ 40 Toises. | Sketch’d on the Spot by his Excellency Governor Pownal. Painted and Engraved by Paul Sandby. | London: Published according to Act of Parliament, 20 May 1761, by Thos. Jefferys the Corner of St. Martins Lane.
1761. ARTIST: Thomas Pownall. ENGRAVER: Paul Sandby. PUBLISHER: Thomas Jefferys. Etching and engraving on paper. 14 x 20 in.

The first impression of the first published image of the falls of the Passaic River, and one of the earliest published views of New Jersey. The artist, Thomas Pownall (1722–1805), served as lieutenant-governor of New Jersey and governor of Massachusetts and spent several years in America between 1753 and 1759. His sketch of the Passaic Falls was given to London artist Paul Sandby, who made a finished painting from it and then an engraving. This engraving, along with five others from Pownall’s sketches, was published by Thomas Jefferys in London in 1761 as Six Remarkable Views in the Provinces of New-York, New-Jersey, and Pennsylvania, in North America.

Seven years later, in 1768, a second impression of the engraving was made for inclusion in a portfolio of 28 views entitled Scenographia Americana. In this second impression, the 1761 Jefferys imprint was removed from the plate and replaced with an undated line naming the five publishers of the new work: John Bowles, Robert Sayer, Thos. Jefferys, Carington Bowles, and Henry Parker. Other than the addition of a small “c.2.” just below the lower right-hand corner of the image, no other changes were made to the plate for the second impression.

Published by M. Carey & Son Philadelphia. | Painted by J. Shaw. | Engraved by J. Hill.
1820. ARTIST: Joshua Shaw. ENGRAVER: John Hill. PUBLISHER: Mathew Carey & Son. Aquatint, and engraving, with added hand coloring. 12 x 15⅛ in.

View of the Passaic Falls at Paterson, with the Passaic River extending into the background. Two spectators stand at the top of the cliff on the near side, and a building is shown on the opposite side. A small boat is in the river, and two individuals talk near the river bank.

Joshua Shaw (1776–1860) was a British landscape painter who came to the United States in 1817, settling in Philadelphia. He conceived the idea of publishing a portfolio of American views, and he traveled up and down the eastern seaboard, making sketches and taking subscriptions. The views were engraved by John Hill (1770–1850), another Englishman settled in Philadelphia. The work, Picturesque Views of American Scenery, was originally published by Moses Thomas in 1819. It was not a commercial success, and the next year it was taken over by Mathew Carey. The portfolio contains two New Jersey views, both of them depicting the Passaic River.

Aspectus amnis Passaic. || Imp lith de H. Gaugain || Ansicht des Passaic. | Lithographié par Bichebois figes par Vor Adam | Dessiné d’après nature par J. Milbert | 12 Livraison | Amérique Septentrionale — État de New-Gersey. | Pl 2
1828–29. ARTIST: Jacques-Gérard Milbert. LITHOGRAPHERS: Louis Bichebois and Victor Adam. PUBLISHER: Henri Gaugain. Lithograph, with added hand coloring. 9¼ x 11¾ in.

The Passaic River near the falls at Paterson. Jacques-Gérard Milbert (1766–1840) was a French naturalist and artist who came to the United States in 1815 as a correspondent of the Museum of Natural History in Paris. He remained for seven years, sending back to France almost 8000 specimens of American flora and fauna. He also brought home many sketches, from which 54 lithographs were produced for a grand publication, Itinéraire Pittoresque du Fleuve Hudson et des Parties Latérales de l’Amérique du Nord, published by Henri Gaugain in Paris between 1828 and 1829. The portfolio accompanying the text volumes was issued in 13 parts, or “livraisons,” of four plates each. The plates are also consecutively numbered. While most of the views are of the Hudson River and the towns along its course, there are five views of New Jersey—two of Schooley’s Mountain (see Vallée de Schooley. || No. 49. || Schooley’s Springs and Chûte près des bains de Schooley’s || No. 48. || Falls near Schooley’s Springs) and three of the Passaic Falls. Several different French artists were involved in creating the lithographs from Milbert’s drawings.

From Nature and on Stone by R. J. Rayner.
1850–1865? ARTIST AND LITHOGRAPHER: Robert J. Rayner. Toned lithograph. 11⅛ x 13⅛ in.

View of the covered bridge across the Passaic River near the Beattie Dam in present-day Little Falls, Passaic County. A couple in the left foreground enjoys the view. The bridge was built by Robert Beattie about 1850 near the site of the Beattie Dam across the Passaic at Little Falls. Robert Beattie’s carpet mills were the main industry in the town during the second half of the nineteenth century. The covered bridge was replaced by a steel bridge in the mid-1890s.

Robert J. Rayner was a portrait and landscape painter, engraver, and lithographer. Born in England about 1818, he worked in New York from about 1844 to 1856, then moved to Newark, where his name appears in the directories as an artist between 1858 and 1862. In the 1880 census he is listed as an artist living in Boston.

Schooleia Vallis. || Imp. Lithog. de Henry Gaugain. || Thal von Schooley. | Lithographié par Deroy | Dessiné d’après nature par J. Milbert. | 13e. Livraison. | Amérique Septentrionale — État du New-Jersey. | Pl. 1e.
1828–29. ARTIST: Jacques-Gérard Milbert. LITHOGRAPHER: Isidore Laurent Deroy. PUBLISHER: Henri Gaugain. Lithograph, with added hand coloring. 9⅜ x 11¾ in.

View of the road to Schooley’s Mountain. The mineral spring at Schooley’s Mountain in Washington Township, Morris County, with its supposed curative powers, was a popular destination throughout the nineteenth century. Jacques-Gérard Milbert (1766–1840) was a French naturalist and artist who came to the United States in 1815 as a correspondent of the Museum of Natural History in Paris. See Vue de la rivière Passaic || N: 46. || View on the Passaic river and Chûte près des bains de Schooley’s || No. 48. || Falls near Schooley’s Springs.

Propè Schooley’s Balnea torrens. || Imprimerie lithog. de Henry Gaugain. || Wasserfall bey der Schooley’s badern. | Lithographié par Dupressoir figes. par Vor Adam | Dessiné d’après nature par J. Milbert | 12 Livraison | Amérique Septentrionale — État du New-Gersey. | Pl 4
1828–29. ARTIST: Jacques-Gérard Milbert. LITHOGRAPHER: Joseph François Dupressoir and Victor Adam. PUBLISHER: Henri Gaugain. Lithograph, with added hand coloring. 9¼ x 11⅝ in.

A second Milbert view of the mineral spring at Schooley’s Mountain. See also Vue de la rivière Passaic || N: 46. || View on the Passaic river and Vallée de Schooley. || No. 49. || Schooley’s Springs.

Publish’d Octr. 1. 1783, by John Harris, Sweetings Alley, Cornhill, London.
1783. ARTIST: unidentified. PUBLISHER: John Harris. Aquatint, and engraving, with added hand coloring. Plate, 10 x 13⅞ in.

View of the Raritan River at an undetermined location. The scenery on both sides of the river appears natural and undeveloped. In the foreground three men pull a rowboat toward the shore. Neatly lettered in ink in a period hand to the right of the title: “New Jersey. N. America lat 40°. lon 74°.” In the lower left corner, just inside the plate mark, in ink in a period hand: “19/9–12.” John Harris was a longtime map- and printseller in Sweetings Alley, London, operating there from at least 1771 to 1812.

About 1890? ARTIST: unidentified (undeciphered signature at lower right). Oil on canvas. 20 x 24 in.

View of the Delaware River with the Delaware Water Gap in the distance. Painted from the New Jersey side. In the foreground a man sits in a rowboat along the shore, while farther upstream at the extreme left another rowboat comes into view. The signature is unclear but appears to be “B. Mu----.” The date is conjectural. The back of the canvas is stamped in large letters “CLIFTON | MILLS | CCC,” possibly indicating that the canvas originally served as a feed bag.

T. Birch pinx. | Strickland sc.
Between 1813 and about 1819. ARTIST: Thomas Birch. ENGRAVER: William Strickland. Aquatint, and engraving. Plate, 15⅜ x 21 in.

View of Columbia, New Jersey, and the Columbia glass works, seen from the Pennsylvania side of the river. In the foreground a Durham boat is being polled to shore. Upstream is another Durham boat and, in the distance, the Delaware Water Gap. In 1812 Francis Mayerhoff came from New York to Columbia, Knowlton Township, Sussex (now Warren) County to start a glassmaking operation. He laid out a town and brought in a group of German workmen. Mayerhoff operated the business until 1825, when it failed and was sold by the sheriff for unpaid debts. The business continued under different ownership until 1833, when it was reorganized and incorporated as yet another glassmaking venture.

Thomas Birch (1779–1851) was born in England and came to America in 1794 to assist his father, artist William Birch, in preparing a large series of views of Philadelphia. The young Birch’s first important painting, a view of Philadelphia from the Treaty Elm in Kensington, was engraved and published in 1804. He soon turned to ship portraits and marine landscapes, and he is generally recognized as the foremost early American maritime artist.

William Strickland (1788–1854) was born in Navesink, New Jersey. In his early years he was an engraver, illustrator, and painter before studying with Benjamin Latrobe and turning to architecture, first in Philadelphia from about 1819 through the mid-1830s, and later in Nashville, Tennessee.

near Morris Town || Morris County, N.J. | S. Vail & Son, Proprietors, | Manufacture Screws, Presses, Wrought & Cast-Iron Work, Mill Machiny &c. | Engraved by D. G. Johnson. 67 Liberty St. N.Y. | from a sketch taken from a hill in the vicinity
1833–1834. ARTIST: unidentified. ENGRAVER: David G. Johnson. Engraving on laid paper watermarked L & Co. 7¾ x 6⅞ in.

View of the Speedwell iron works in the early 1830s, depicting the manufacturing buildings, the telegraph factory, the Vail homestead, and various workmen’s residences.

In 1807 Morristown blacksmith Stephen Vail purchased a part interest in an iron slitting mill at Speedwell, near Morristown. From that beginning, Vail developed Speedwell into a large-scale foundry and machine shop with an extensive trade. In the early 1830s Vail’s younger son, George, was taken as a partner, and the firm became S. Vail & Son, as reflected in the engraving. For the next forty years the company prospered. In 1873 the New Jersey works closed, and much of the machinery was taken elsewhere. In 1908 a fire destroyed several of the remaining buildings. In 1967 Speedwell Village was established as an historic site, and surviving buildings were restored and others brought to the site.

David G. Johnson was an engraver and portrait painter who appears in the New York directories from 1831 through 1835 and again in 1843 and 1845. He was at 67 Liberty Street in 1833 and 1834.

With Bogardus’ Patent Horse Power | Manufactured by George Vail & Co. Speedwell Iron Works Morris Town, N. Jersey. | Ackerman Lithr. 379, Broadway N.Y.
1851–1855. ARTIST: Edward Valois (signed in stone lower left, “Valois”). LITHOGRAPHER: [–] Ackerman. Lithograph. 6⅛ x 14⅝ in.

View of the elaborate “portable” saw manufactured at the Speedwell iron works near Morristown (see Speedwell Iron Works). The image shows the saw being operated by one man, two horses, and a series of gears and pulleys. A second man moves logs into position, and a pile of freshly sawn boards is at the right. The crosspiece at the top of the saw’s iron frame is lettered “Geo. Vail & Co.”

Edward Valois was a lithographic artist who worked in New York from the 1840s into the 1860s.

1849. ARTIST: John Mackie Falconer (signed on back of board, “J M Falconer pinxt July 23–27 1849”). Oil on board. 11¾ x 15½ in.

Two figures stand next to a dilapidated grist mill. The painting is possibly a preliminary study for a later painting by John Mackie Falconer. In 1852 Falconer exhibited at the National Academy “Old Grist Mill, West Milford, Passaic [County] N. J.” The rustic mill seems to have been a popular subject for artists. An 1850 oil painting of the mill by David Johnson is owned by the Brooklyn Museum. In 1851 Falconer executed a watercolor of the mill, from a different angle, that is now owned by the Museum of Fine Arts, Boston.

John Mackie Falconer was born in Edinburgh in 1820 and came to the United States about 1836, settling in New York. He studied at the National Academy of Design and elsewhere in New York. In 1847 he became a member of the New-York Art Union and the New York Sketch Union, and beginning in 1848 he exhibited regularly at the National Academy, where he was elected to honorary membership in 1856. He was both an etcher and a painter, and a number of his works depict older buildings and ruins. He died in Brooklyn in 1903.

P. S. Duval & Co’s lith. Phila.
1856. ARTIST: unidentified. LITHOGRAPHER: P. S. Duval & Co. PUBLISHER: J. H. Colton & Co. Lithograph. 16¼ x 24¾ in.

A panoramic view of the Washington Mills complex along the Delaware River in Gloucester, Camden County. In the foreground a paddle-wheel steamer, a large sailing vessel, and several smaller boats are on the river, while in the background are dozens of large and small industrial buildings.

The first of the large manufacturing operations in Gloucester were the Washington Mills of the Washington Manufacturing Company, established about 1845 by David S. Brown and others to produce cotton fabrics. These mills were followed by the calico mills of the Gloucester Manufacturing Company, erected in 1850 and enlarged in 1855.

In 1856 J. H. Colton and Company issued a Philadelphia commercial edition of its Atlas of America, on the cover of which was stamped “Colton’s Atlas with Business Cards of the Prominent Houses in Philadelphia. Commercial Edition.” Between the maps were these “business cards,” mostly full-page in size but occasionally, like David Brown’s advertisement, double-page.

1860s. ARTIST: unidentified. Engraving on wove paper. 5½ x 8¼ in.

A slightly idealized view of R. D. Wood & Sons’ manufacturing works on the Maurice River in Millville, Cumberland County. Shown are the iron foundry buildings at the left rear and the cotton mill in the center of the image. A train passes in front of the cotton mill and several ships ply the river in the foreground, all to indicate the bustle of commerce. The two upper cornerpieces of the ornate engraved border contain the company’s name in stylized initials, “R. D. W. & S,” for Richard D. Wood & Sons. The engraving was probably made between 1860, when the Millville & Glassboro Railroad built a spur to the works, and 1872, when the company changed its name to the Millville Manufacturing Company. The sheet may have been used as a label. The cotton mill burned in 1976, but the foundry building stands today, though considerably reduced in size.

1880. ARTIST: William C. Bauer (signed lower right, “W. C. Bauer. 80.” [the initials WCB intertwined as a monogram]). Oil on canvas. 17¼ x 34¾ in.

A view of the Scotch Plains property of Edmond A. Seeley. At the right is the Seeley residence, with elaborate landscaping including a fountain and gazebo. At the center left is a mill pond, beyond which is a partly visible complex of mill buildings, including the tall chimney of the steam-powered mill. In the distance is a notch or gorge through the Watchung Mountains.

Edmond A. Seeley came to Scotch Plains from Troy, New York, in 1870 to take over a mill, known locally as the Fall Mill, that had been run by succeeding generations of the Willcox family. Seeley erected additional buildings for the manufacture of pasteboard and binder’s board, over 700 tons of which were eventually produced a year. The mills, located on Green Brook, were originally water-powered but were later converted by Seeley to steam power. Seeley built his imposing residence in 1876. After Seeley’s death in 1891, the mills continued in operation until 1924, when the property was conveyed to the Union County Park Commission. The mills were eventually destroyed by floods and the residence by fire, and all that remains today is Seeley’s Pond, within the Watchung Reservation. W. Woodford Clayton’s History of Union and Middlesex Counties, New Jersey (1882) contains woodcut illustrations of both the Seeley residence and the paper manufactory.

An inscription on the back of the canvas reads: “Scotch Plains, N. J. | W. C. Bauer, artist. | Presented by E. A. Seeley to C. B. Hewitt. Christmas 1880.” Charles Bloomfield Hewitt (1844–1901) was head of the New York firm of C. B. Hewitt & Brothers, manufacturers of paper and binder’s board. William C. Bauer (1862–1904) was a resident of Elizabeth. He is listed in the Elizabeth directories as an artist beginning in the early 1880s.

1898. ARTIST: Robert W. Hanington (signed lower left, “Hanington .98”). Watercolor on wove paper. 6 x 11 in.

View of the decaying Yoder saw mill on the north branch of the Toms River. The Yoder mill, originally owned by William T. Giberson, stood on the west side of Main Street in present-day South Toms River.

According to local history, artist Robert W. Hanington came to Toms River with his mother in 1882 and maintained a studio on Allen Street. He seems to have remained in Toms River until 1927. His name does not appear in any New Jersey federal census returns, and he may have maintained a permanent residence elsewhere.

1875. ARTIST: Charles C. B. Styles (signed on back of canvas, “by Charles C[--t--] Bareford Styles”). Oil on canvas. 20½ x 33¾ in.

A view of the Stiles/Styles farm, Lumberton Township, Burlington County, in 1860. The Stiles farm stood on the northwest corner of the present-day New Jersey Route 38 and Smithville Road. Isaac and Maria (Bareford) Stiles were married in 1850. Their fourth child, Charles, was born January 1861 and died in 1929. On the back of the canvas are two inscriptions. One, in black ink or paint, reads “Styles Farm 1860.” The other, very faint and partly indistinct, reads “Styles Farm | 1860 | by | Charles C--t-- Bareford Styles | when he was 14 yrs. old.” Based upon this second inscription, the painting would appear to have been done in 1875. One or both inscriptions may have been written at a later date. Some members of the family spell the surname “Stiles,” others “Styles,” although from the extant records the former is the more prevalent spelling in Burlington County. The house apparently stood until the early 2000s, but a modern storage facility occupies the site today.

Founded 1703 Enlarged 1834. | J. R. Smith pinxit. | Published by John Collins Phila.
1836–1838. ARTIST: John Rubens Smith. LITHOGRAPHER AND PUBLISHER: John Collins. Lithograph, with added hand coloring. 12½ x 18 in.

This would appear to be the first published view of St. Mary’s Episcopal Church, Burlington, established in 1703. In 1834 the church was enlarged, and in 1835 Philadelphia artist John Rubens Smith executed a watercolor view of the church. That watercolor hangs today in the church’s parish office. Sometime between 1836 and 1838 Burlington artist John Collins copied the Smith painting onto stone and produced this lithograph. The train at the right is one of the earliest depictions of a Camden and Amboy Railroad engine and tender.

John Rubens Smith (1775–1849) operated a drawing academy in Philadelphia in the 1830s.

On Stone by John Collins. | T. Sinclair’s lith. Philada.
1854–1855. ARTIST: John Collins. LITHOGRAPHER AND PUBLISHER: Thomas Sinclair. Lithograph, with added hand coloring. 8⅜ x 10⅛ in.

The “new” St. Mary’s Church. In 1846 the cornerstone was laid for a new church, designed by noted architect Richard Upjohn. Construction went on for nearly nine years, and in 1854 the building was completed. This view was probably taken in the fall of 1854.

President of Burlington College. | Engraved by Thomas B. Welch, from the full-length portrait by James R. Lambdin. | Presented to Burlington College by John S. Littell. Esq.
1855. ARTIST: James Reid Lambdin. ENGRAVER: Thomas B. Welch. Engraving. 25⅜ x 15¾ in.

The Lambdin portrait of Bishop Doane, the first president of Burlington College, was completed and presented to the college by John S. Littell in 1853. This engraving from the portrait was advertised for sale in religious periodicals in November 1855.

George Washington Doane (1799–1859) was born in Trenton, the son of Jonathan Doane, who built the original State House in 1792. The younger Doane graduated from Union College in 1818, read law briefly, then became one of the first students in Bishop Hobart’s General Theological Seminary. Ordained a priest in 1823, Doane, over the next several years, was an assistant at Trinity Church, New York, taught at Washington (now Trinity) College, Hartford, and edited several theological periodicals. From 1828 through 1832 he was assistant minister and subsequently rector of Trinity Church, Boston. In the latter year he was consecrated the second Episcopal bishop of New Jersey as well as rector of St. Mary’s Church, Burlington.

Doane had almost inexhaustible energy. He was a remarkably prolific writer, took an active role in the affairs of the American Episcopal Church, and lived in the grand English manner. He founded St. Mary’s Hall for women in 1837 and Burlington College for men in 1846. However his efforts to support his schools forced him into bankruptcy in 1849, and for the next several years, amid a flood of pamphlets, he successfully defended himself against concerted efforts to bring him to trial before the House of Bishops. Near the end of his life he was dealt an even heavier blow when his son, George Hobart Doane, renounced his Episcopal ordination and became a Roman Catholic.

James Reid Lambdin (1807–1889) was born in Pittsburgh, studied in Philadelphia under Edward Miles and Thomas Sully, worked briefly in Louisville, Kentucky, and in 1837 moved to Philadelphia, where he lived the rest of his life. He was a portrait and miniature painter and an officer of the Pennsylvania Academy. Many of his sitters were national figures, including Presidents Lincoln and Grant. Thomas B. Welch (1814–1874), engraver and portrait painter, was born in Charleston but spent most of his life in Philadelphia. John Stockton Littell (1806–1875) was a Burlington native, an author, and for many years was associated with the Littell family publishing business in Philadelphia.

1850–1860? ARTIST: unidentified. Pen and ink, wash, and watercolor on paper. 13¼ x 19½ in.

View of St. Mary’s Hall on Green Bank along the Delaware River in Burlington, copied from an engraving by Francis Kearny after a painting by William Mason. At the bottom center, painted on the verso of the glass in verre églomisé style, is the name “E. L. VAN DERVEER.”

In 1829 Quaker schoolmaster Samuel R. Gummere erected a new building for his Burlington school on the Green Bank, the name given to an area of the town along the Delaware River. In 1837 the Episcopal Bishop of New Jersey, the indomitable George Washington Doane, acquired the building for use as a school for young women, which he named St. Mary’s Hall. In March 1837 Doane issued a printed circular announcing his new school, An Appeal to Parents for Female Education on Christian Principles; with a Prospectus of St. Mary’s Hall, Green Bank, Burlington, New Jersey. The circular contained a frontispiece view of the school engraved by Francis Kearny from a painting by William Mason. This engraving continued to be used in school catalogues and publications for the next ten years, until it was replaced by a new lithographed view of the enlarged school done by Burlington artist John Collins for his 1847 portfolio Views of the City of Burlington, New Jersey. The building remained in use as the school’s primary edifice until it was destroyed by fire in 1974.

This painting is an exact copy of the Kearny-after-Mason view. As such it is difficult to date, even approximately, but judging from the style of lettering used in the name at the bottom of the glass, it would appear to have been done in the 1850s or 1860s, and possibly earlier. Sadly, the identity of E. L. Van Derveer has not been determined. Whether she or he is the artist, or possibly the recipient of the painting, remains a mystery. The name has not been found in any St. Mary’s Hall records through the late nineteenth century.

On stone by John Collins, | T. Sinclair’s lith, Phila.
After 1847. ARTIST: John Collins. LITHOGRAPHER AND PUBLISHER: Thomas Sinclair. Lithograph, with added hand coloring. 7¼ x 9⅞ in.

Another view of St. Mary’s Hall, and the chapel, on Green Bank along the Delaware River in Burlington.

1847. ARTIST: John Collins. LITHOGRAPHERS: John French and Thomas Sinclair. Cover title and 14 lithographed plates. 11⅝ x 9¼ in.

The earliest, and rarest, New Jersey viewbook, containing fourteen lithographed views of Burlington scenes. The present example may be a proof copy, as all but two of the plates are on India paper mounted to thicker paper. The views are: (1) City Hall. Built 1797; (2) Green Bank; (3) St Mary’s Church. Founded 1703 Enlarged 1834; (4) Presbyterian Church; (5) Riverside; (6) Cottage of the Rev. C. Van Rensselaer; (7) Eastern View of Burlington; (8) St Mary’s Hall; (9) Burlington Steam Mills and Water Works; (10) Mechanics Bank; (11) Residence of Susan V. Bradford; (12) Residence | of the Late George Dillwyn | of the Late Joseph Bloomfield Governor of New Jersey; (13) Burlington College; (14) Friends’ Meeting House.

John Collins (1814–1902) was a native of Burlington. A skilled artist, Collins opened a lithography business in Philadelphia in 1836 but sold it in 1838 to Thomas Sinclair, for whom he worked for the next several years. Collins is best known for producing two important books of town views, Views of the City of Burlington, New Jersey (1847) and The City and Scenery of Newport, Rhode Island (1857), both of which were lithographed by Sinclair from Collins’ drawings. He also published an instruction manual, The Art of Engraving on Metal, Wood and Stone (1858). Collins executed many small watercolor drawings of buildings and scenes in and around Burlington.

1889. ARTIST: John Collins (signed at bottom, “J. Collins 1889”). Pen and ink, and watercolor, on wove paper. 5⅜ x 6¼ in.

The building used by Isaac Collins as a printing office from 1771 to 1778. Below the image is a caption in the artist’s hand: “Old Building, High St above Pearl, Burlington, N.J. | Occupied by Isaac Collins from 1771 to 1778. He was Printer to | the King for the Province of New Jersey. He also printed the | Continental Currency for the American Congress and | published the New Jersey State Gazette in 1778. | The building was taken down in 1881. | Old door latch one ninth size.” The caption is bisected by a scale drawing of the wrought iron thumb latch from the front door. Part of the caption is written on a strip of paper pasted over an earlier caption, probably to correct an error.

Isaac Collins (1746–1817) was the second permanent printer in New Jersey and the state’s most important printer in the eighteenth century. After an apprenticeship in Wilmington and a brief partnership in Philadelphia, Collins set up a printing office in Burlington in 1770 and remained there until he moved his press to Trenton in early 1778. Despite his Quaker faith, Collins was a patriot during the Revolutionary War and, with the support of Governor William Livingston and the legislature, he started New Jersey’s first newspaper, the New-Jersey Gazette, in December 1777. He was the grandfather of the artist, John Collins.

Burlington, New Jersey. || Governor of New Jersey. | On Stone by John Collin’s [sic] | T. Sinclair’s lith, Phila
1855–1860. ARTIST: John Collins. LITHOGRAPHER AND PUBLISHER: Thomas Sinclair. Toned lithograph. 7 x 9⅛ in.

An earlier view of these two adjoining Burlington houses, taken from a slightly different perspective, was included in John Collins’s 1847 portfolio, Views of the City of Burlington, New Jersey. The house on the left was owned by Quaker minister George Dillwyn (1738–1820) until his death. It later became the property of Quaker minister Stephen Grellet (1773–1855), an uncle of John Collins. In the earlier view this house is identified as the residence of the late George Dillwyn, while in the present view it is called the residence of the late Stephen Grellet. The Bloomfield house, much altered after a fire in 1876, is still standing at the corner of High and Library Streets; the Dillwyn-Grellet house was moved further down High Street in 1902.

Revd. J. M. Lybrand, Pastor.
About 1846. ARTIST: unidentified. Toned lithograph. 10¾ x 13⅜ in.

St. Paul’s Episcopal Church in Camden was founded in 1830. In 1835 the church building was erected on Market Street between Fourth and Fifth Streets. Joseph M. Lybrand became rector in 1843 and died in 1855, soon after which the church was enlarged, so this view can be dated between 1843 and 1855. In 1846 the unhewn stone was “covered with rough casting, after the manner of the State House in Trenton, and squared in imitation of stone.” This lithograph was probably executed soon after the exterior facelift. The original church, much altered in appearance, still stands today.

Built by Clement L. Dennington of New York for the Churchmen’s Missionary Association for Seamen of the Port of Philadelphia. | C. L. Dennington, Archt. and Builder N. York. | Lith. and Printed in Colors by Wm. Endicott & Co. N. York. | Building Committe [sic] {Joseph E. Hover, Chairman. R. S. Trapier. William G. Allen. Henry F. Rodney.
1848. ARTIST: Clement L. Dennington [?]. LITHOGRAPHER: Wm. Endicott & Co. Lithograph. 20¼ x 15¾ in.

New York architect-builder Clement L. Dennington, working under the auspices of the Churchman’s Missionary Association for Seamen of the Episcopal Church, designed and built this floating church on the Delaware River in Bordentown in 1848. The hulls of two clipper ships, each weighing 80 tons, were lashed together. On top of this a platform 37 x 85 feet was constructed. The chapel, built of wood in the Gothic style, complete with pipe organ and a bell, was completed in seven months at a cost of $5,270. Its steeple rose 75 feet. Upon completion in Bordentown it was towed to the Dock Street wharf in Philadelphia, where it was moored. From late 1848 until 1851 it served the spiritual needs of Philadelphia-area mariners. In 1853 it was purchased by an Episcopal congregation in Camden and towed to that city, hauled ashore, and dragged on rollers to its new site. See St. John’s Church, Camden, N. J.

Built upon two Barges, at Bordentown, N.J. as ‘the Floating Church of the Redeemer, for Seamen of the Port of Philadelphia.’ Brought to its Moorings at Spruce St. Wharf, Decr. 29th. 1848. Removed to Camden in Feby. 1853, | Purchased for the Congregation of St John’s Church, and drawn overland to their Lot on Broadway; where being placed on a Substantial Foundation, it was re-opened on the XVIth Sunday after Trinity, Sept 11, 1853. | Jas. Queen delt. | P. S. Duval & Co. steam lith. press, Phil.
1853? ARTIST: James Queen. LITHOGRAPHER: J. S. Duval & Co. Lithograph, with added hand color. 11 x 13¼ in.

Constructed in Bordentown in 1848 as a floating church for Philadelphia-area mariners (see The Floating Church of the Redeemer), the structure was purchased in 1853 by the St. John’s Episcopal congregation of Camden and towed to that city, brought ashore, and dragged on rollers overland to the corner of Broadway and Royden Streets, where it was placed on a foundation. It served as the house of worship for the congregation until it was consumed by fire on Christmas morning in 1870.

James Queen (1820/21–1886), a native of Philadelphia, was apprenticed to the firm of Lehman & Duval in 1835, when not yet fifteen years old, “to learn the art, trade, and mystery of Lithographic Draughtsmanship.” He worked for the Duval firm as long as it remained in existence, mastering his trade so thoroughly that he became Duval’s principal draftsman, and, in Duval’s opinion, one of the best lithographic artists in the country (Wainwright, p. 38).

Aussicht auf den Delaware | bei Bordentown. || Vue du Delaware | près de Bordentown. || View on the Delaware near Bordentown. | Coblenz bei J. Hölscher. London published by Ackermann & Co. 96 Strand, 1st. Jany 1839. Paris, Arthus Bertrand, éditeur. | Dessiné d’après nature par Ch. Bodmer. | Imp. de Bougeard. | Gravé par Ch. Vogel. | Vig: II.
1839. ARTIST: Karl Bodmer. ENGRAVER: Charles Vogel. PUBLISHER: Ackermann & Co. Aquatint, and engraving, and gum arabic highlights. Plate, 9¼ x 12¼ in.

View of the Bordentown landing on the Delaware River. This is vignette plate 2 from Prince Maximilian von Wied-Neuwied’s Travels in the Interior of North America. The view was drawn by the young Swiss artist Karl Bodmer (1809–1893), who accompanied Prince Maximilian on his travels through North America. In late July 1832 the travelers were in Bordentown, visiting the estate of Joseph Bonaparte. Bodmer painted two similar versions of the scene, the second and more finished of which was engraved in aquatint by Charles Vogel and became one of the vignette plates in Wied-Neuwied’s grand book, first published in Coblenz in 1839–41 and also in Paris, 1840–43, and London, 1843–44. Centered just below the plate mark is Bodmer’s small rectangular blindstamp, “C. Bodmer | Direct.” Most of Bodmer’s original paintings, including the two views of the Bordentown landing, are owned by the Joslyn Art Museum in Omaha.

1852. ARTIST: Lydia Alden (signed lower left, “Lydia Alden | No 2 – 1852”). Charcoal on prepared board coated with marble dust. 17½ x 27¼ in.

The steamship Empire sits at the landing on the Delaware River at Bordentown. The painting is a copy of the original Karl Bodmer watercolor view of the Bordentown landing as engraved in aquatint by Charles Vogel and printed in Prince Maximilian von Wied-Neuwied’s published account of his travels in North America between 1832 and 1834 (see View on the Delaware near Bordentown).

Marble dust painting was a popular medium in the mid-nineteenth century, particularly with young school girls in New England and the Middle Atlantic states. Charcoal was applied to a board that had been prepared with a coating of marble dust, and the image was produced by scratching away the charcoal with a sharp object. The technique is often, and inaccurately, referred to as “sandpaper painting.” The subjects were commonly landscapes, often from accessible published views such as those of Milbert or Bartlett or, as here, Bodmer.

The artist, Lydia Alden, has not been identified. The name is relatively common in the nineteenth century, and as a copyist working from a published source, she could have lived anywhere.

Historical Sketch | In the year 1842 Albert Brisbane published a pamphlet embodying the leading doctrines of associated townships, and of carrying on all the material interests of life on joint account according to the method announced by Fourier. . . . | Drawn by T. W. Whitley.
Probably 1852. ARTIST: Thomas W. Whitley. Lithograph, with added hand coloring. 14¾ x 19½ in.

A panoramic view of the North American Phalanx and the surrounding countryside in present- day Colts Neck, Monmouth County. At the center of the image are the phalanx buildings, including the phalanstery and mill. On two large fieldstones are written the names of several individuals prominent in the communal society movement, including Fourier, Brisbane, Greely [sic], Channing, and others. A smaller fieldstone bears the name of the artist, T. W. Whitley.

The leading early nineteenth century proponent of communal societies was the French social reformer Charles Fourier. Fourier’s ideas were brought to America by Albert Brisbane, who publicized them in Horace Greeley’s newspaper in 1842. With Greeley’s support, a stock company was formed, and in 1843 a 673-acre tract of cultivated land was purchased in Monmouth County, about four miles from Red Bank. Later that year the first settlers arrived. Over the next few years additional buildings were erected, including the “phalanstery,” or main building of the community. By 1852, the date of this view, the community was at the peak of its prosperity and appeal. But, as with all utopian communities, divisive factors were at work. Several members split off to form the Raritan Bay Union in nearly Eagleswood, Perth Amboy, New Jersey. In 1854 the mill burned. By the winter of 1855–56 the experiment was over and the property was sold. The phalanstery building itself, in an advanced state of decay, survived until 1972, when the remains were destroyed by fire.

Thomas W. Whitley was an English-born landscape painter who settled in Paterson about 1835 and painted many views of the Passaic Falls. This copy of the lithograph was owned by the American critic Alexander Woollcott (1887–1943), who was born in the phalanstery. After the dissolution of the Phalanx community, the building came into possession of the Bucklin family—Woollcott’s maternal grandparents.

This Officer during the American War distinguish’d himself as one of the most gallant Partizans in the British Service. . . . | Drawn & Engraved by Robt. Pollard. | London, Pubd. Feby. 19: 1785, by R. Pollard No. 15 Braynes Row Spa Fields.
1785. ARTIST, ENGRAVER, AND PUBLISHER: Robert Pollard. Aquatint, and engraving. 16¾ x 20¾ in. (trimmed inside of plate mark).

By dim candlelight in the Sussex County gaol in Newton, a bewildered British prisoner is removed from his chains by three soldiers while Moody gestures toward the gaoler who holds the cell door open. Born in Little Egg Harbor in 1744, James Moody settled in Sussex County about 1766. He was a contented farmer until the outbreak of the Revolutionary War, when he chose to remain loyal to the Crown. He joined a Loyalist regiment in 1777 and eventually became a lieutenant. His zeal for the cause seems to have been extraordinary. Much of what we know about his exploits, including the 1780 rescue of one of Burgoyne’s soldiers depicted in this print, comes from an account he had published in London after the war, Lieut. James Moody’s Narrative of his Exertions and Sufferings in the Cause of Government, since the Year 1766 (1782; second edition, 1783). After the war, Moody, like so many of his fellow Loyalists, settled in Canada, and ultimately Nova Scotia, where he died in 1809.

Robert Pollard (1755/6–1839) was a London engraver, publisher, and printseller.

Her husband falls—she sheds no ill timed tear; | But firm resolved—she fills his fatal post. || The foe press on—she checks their mad career; | Who can avenge like her a husband’s ghost! | Supplied at 37 Park Row, N.Y.
About 1860–1861? ARTIST: Jacob A. Dallas. PUBLISHER: J. D. Dayton [?]. Lithograph, with added hand coloring. 12¼ x 8⅞ in.

A resolute Molly rams a loading rod into a cannon with a backhand motion while a young soldier with a bandaged head looks on. Her husband lies dead at her feet, next to an overturned bucket of water. A battle rages in the background.

“Molly Pitcher,” who legend tells us carried water to the thirsty troops during the Battle of Monmouth and, when her husband was killed, took over his cannon, was a real person. Mary “Molly” Hays appears to have been present at the battle when her husband, John Hays, was killed in action. Whether she was indeed carrying water to the troops we may never know, and it is highly unlikely that she took over his cannon. However, in 1822 Mary McCauly—by then the widow of her second husband, John McCauly—was granted a pension of forty dollars a year by the Pennsylvania legislature “for her services during the revolutionary war.” She died in 1832, and the monument over her grave in the cemetery at Carlisle, Pennsylvania, refers to her as “Mollie McCauly, renowned in history as Mollie Pitcher, the heroine of Monmouth.”

In 1860 J. D. Dayton, proprietor of the American and European Engraving Warehouse at 37 Park Row in New York, advertised for sale “A scene from the Revolution! Molly Pitcher, the heroine of Monmouth, avenging her husband’s death. A splendid picture, engraved and colored in oil, from a masterly study, by Dallas . . . Price, two dollars.” Just how the present lithograph relates to the Dallas study, and to the picture Dayton was selling, has not been determined. The lithograph is crude and very poorly executed. It was “supplied” at 37 Park Row—Dayton’s address in 1860–61—but it may well have been a cheap copy sold by a later tenant of the same address. Dayton’s business appears only once in the New York directories, in 1861. See The Women of ‘76. | “Molly Pitcher” the Heroine of Monmouth and The Heroine of Monmouth.

Her husband falls—she sheds no ill timed tear; | But firm resolved—she fills his fatal post. || The foe press on she checks their mad career, | Who can avenge like her a husband’s ghost? | New York, Pubd. by Currier & Ives, 152 Nassau St | Entered according to Act of Congress in the year 1860, by J. D. Dayton, in the Clerk’s Office of the District Court of the United States for the Southern District of New York.
Not after 1872. ARTIST: Jacob A. Dallas [?]. LITHOGRAPHER AND PUBLISHER: Currier & Ives. Lithograph, with added hand coloring. 12⅝ x 8¾ in.

The still-resolute Molly is now being marketed by the Currier and Ives firm, who apparently acquired the rights to reproduce the Dallas study. See The Women of ‘76. | “Molly Pitcher” the Heroine of Monmouth and The Heroine of Monmouth.

Molly Pitcher,– The wife of a Gunner in the American Army, who when her husband | was killed, took his place at the gun, and served throughout the battle. (June 28th. 1778.) | Published by Currier & Ives | Copyright, 1876 by Currier & Ives, N.Y. | 125 Nassau St. New York
1876. ARTIST: unidentified. LITHOGRAPHER AND PUBLISHER: Currier & Ives. Lithograph, with added hand coloring. 9⅝ x 11⅝ in.

A later version of the resolute Molly, produced by Currier & Ives to capitalize on the popular interest in the Days of ‘76 stimulated by the Centennial exposition. See The Women of ‘76. | “Molly Pitcher” the Heroine of Monmouth and The Women of ‘76. | “Molly Pitcher” the Heroine of Monmouth.

On Monmouth Battle Field. | Erected 1706. | Published by William S. Potter Freehold, N.J. | C. Currier’s Lith. | Entered according to Act of Congress in the year 1859, by Wm. S. Potter, in the Clerks Office of the District Court of the State of New Jersey. | 33 Spruce St. New York.
1859. ARTIST: unidentified. LITHOGRAPHER: Charles Currier. PUBLISHER: William S. Potter. Toned lithograph. 13⅛ x 16¼ in.

In 1735, during the pastorate of William Tennent, Jr., the Presbyterian church now known as “Old Tennent” acquired a farm about a mile and a half from the church itself. The farmhouse, said to have been built about 1706, was to be the residence of the minister and his family, while the surrounding farm would contribute to the minister’s support. Forty-three years later the Battle of Monmouth was fought partly on this farm. For many years cannon balls were found about the property. In 1835 the church sold the farm, and after a brief period of occupancy the house sat empty, victimized by the weather and by souvenir hunters. In 1850 Benson J. Lossing, in his highly popular Pictorial Field-Book of the Revolution, complained: “The careless neglect which permits a mansion so hallowed by religion and patriotic events to fall into utter ruin, is actual desecration, and much to be reprehended and deplored.” The owner of the farm in 1859 was William Sutphin Potter. Potter retained the Currier firm to produce this lithograph, which he published and sold to tourists. The next year, in May 1860, he tore down the now-derelict house.

Published by Humphrey Phelps 336 Bowery & 157 Broadway N. York. Augst. 1st. 1833.
1833. ARTIST: unidentified. PUBLISHER: Humphrey Phelps. Etching, with added hand coloring. 14¾ x 12¼ in.

A crude image of Washington the popular hero, produced to capitalize on the celebrations connected with the centennial of Washington’s birth.

Evening Previous to the Battle of Trenton, Decr. 25th. 1776. | Lith & Pub by N Currier, 2 Spruce St N.Y.
Between 1838 and 1865. ARTIST: unidentified. LITHOGRAPHER AND PUBLISHER: Nathaniel Currier. Lithograph, with added hand coloring. 8¾ x 12½ in.

One of scores of nineteenth-century images of this iconic scene. Washington, on horseback, rests his right hand on his hip. At the right are three men on horseback, one of whom extends a sword in his right hand and the other two—one white and one black—converse, while a fourth man prepares to mount his horse. At the left a cannon is being brought to the shore as soldiers prepare to cross the river. In the distance are several Durham boats full of troops. The sky is dark and no clouds or moon are visible.

Evening Previous to the Battle of Trenton, Decr. 25th 1776. | Lith. & Pub. by N. Currier, | 33 Spruce St. N.Y.
Probably late 1850s. ARTIST: unidentified. LITHOGRAPHER AND PUBLISHER: Nathaniel Currier. Lithograph, with added hand coloring. 8¾ x 12½ in.

Washington, on horseback, rests his right hand on his hip. At the right are two men on horseback—one white and one black—while a third man prepares to mount his horse. At the left a cannon is being brought to the shore as soldiers prepare to cross the river. In the distance are several Durham boats full of troops. The sky is cloudy but a moon is partly visible.

Publ. & Print. by Th. Kelly, 17 Barclay St. N. Y.
About 1869–1870. ARTIST: Emanuel Gottlieb Leutze. PUBLISHER: Thomas Kelly. Lithograph, with added hand coloring. 18⅞ x 24⅜ in.

One of countless copies of Emanuel Leutze’s famous image, painted in 1851 and owned by the Metropolitan Museum of Art. Washington stands toward the front of a crowded boat attempting to cross the ice-choked river. Other boats are visible in the background, as is the New Jersey shore in the left distance. Within the image at the lower left are the initials “W. W.”—possibly the copyist.

On the Evening of Dec. 25th. 1776, previous to the battle of Trenton. | Published by Currier & Ives | Copyright, 1876, by Currier & Ives, N.Y. | 125 Nassau St. New York
1876. ARTIST: John Cameron. LITHOGRAPHER AND PUBLISHER: Currier & Ives. Lithograph, with added hand coloring. 10⅛ x 12¼ in.

Washington, on horseback on a snow-covered bank, gestures toward the Delaware River while a mounted soldier next to him carries a flag reading “Conquer or Die.” Several soldiers guide a cannon down the river bank, and in the distance flat-bottomed boats carry men and supplies across the river. One of scores of nineteenth-century images of this iconic scene. The artist, John Cameron (1830–1876), was born in Great Britain but spent most of his life in New York. He is probably best known as a prolific artist for Currier & Ives, specializing in trotting prints and comics, though he also did independent work. He was a hunchback and, according to Currier & Ives authority Harry Peters, “addicted to drink.”

At this inportant [sic] Crisis, the soul of Washington rose superior to danger, seizing a standard he advanced uncovered before the Column and reining his steed towards the enemy with his sword flashing in | the rays of the rising sun, he waved on the troops behind him to the charge.—Inspired by his example the Militia sprang forward and delivered an effective fire which stopped the progress of the enemy.— | Copied by Permission from Grahams Magazine. | Lith. & Pub. by N. Currier, | Entered according to Act of Congress in the year 1846 by N. Currier, in the Clerk’s office of the District Court of the Southern District of N.Y. | 2 Spruce St. N.Y.
1846. ARTIST: unidentified. LITHOGRAPHER AND PUBLISHER: Nathaniel Currier. Lithograph, with added hand coloring. 9¼ x 13 in.

Washington, on horseback with a flag in one hand and a sword in the other, leads a column of American troops at the right against a column of British troops at the left. In the foreground several wounded soldiers lie on the ground near a broken cannon and drum. See Washington at Princeton January 3d. 1777.

At this important Crisis, the soul of Washington rose superior to danger, seizing a standard he advanced uncovered before the Column and reining his steed towards the enemy with his sword flashing in the ray of the | rising sun, he waved on the troops behind him to the charge.—Inspired by his example the Militia sprang forward and delivered an effective fire which stopped the progress of the enemy.— | Copied by permission from Grahams Magazine. | Lith. & Pub. by N. Currier, | Entered according to Act of Congress in the year 1846 by N. Currier, in the Clerk’s office of the District Court of the Southern District of New York. | 33 Spruce St. N.Y.
1846 [i.e., after 1865]. ARTIST: “H B.” (signed in the stone). LITHOGRAPHER AND PUBLISHER: Nathaniel Currier [i.e., Currier & Ives]. Lithograph, with added hand coloring. 9 x 12¾ in.

Printed from an entirely different stone than Washington at Princeton January 3d. 1777. The work is far more skilled and detailed. There are minor differences throughout, both in the image and in the text. The original copyright notice and date are retained, but the address is changed to 33 Spruce Street, where the firm’s sales office moved sometime in the 1850s. This new stone is signed “H B.”

Entered according to Act of Congress in the year 1853 by Blanckmeister & Hohlfeld in the Clerks Office of the District Court of the Southern District of New York. | D. Mc. Lellan, Litho. 26 Spruce St. N. Y. | Blanckmeister & Hohlfeld, Publishers, | No. 338, Pearl Street, New York
1853. ARTIST: Henry Bruckner. LITHOGRAPHER: D. McLellan. PUBLISHER: Blanckmeister & Hohlfeld. Lithograph, with added hand coloring. 19 x 25 in.

Washington, on horseback with a flag in one hand and a sword in the other, leads a column of American troops at the left against a column of British troops at the right. In the foreground several wounded soldiers lie on the ground near a broken cannon and drum. A house is partly visible in the left background behind the American troops.

Some copies of this lithograph contain the line “Painted by Bruckner” immediately below the image at the left. Either the line was added to the stone after this impression was pulled, or the line was deleted from the stone before this impression was pulled. The two impressions appear to be otherwise identical. Henry Bruckner (Brückner, Brueckner) was a lithographic artist specializing in historical scenes.

Published by Mc. Ginness & Smith. | Painted by F. Childs. | Entered according to Act of Congress in the year 1860, by Mc. Ginness & Smith, in the Clerk’s Office of the District Court, of the United States, for the Southern District of New York. | Lith. of Robertson, Seibert & Shearman, 93 Fulton Street, New York.
1860. ARTIST: F. Childs. LITHOGRAPHER: Robertson, Seibert & Shearman. PUBLISHER: Mc Ginness & Smith. Lithograph, with added hand coloring. 14½ x 18 in.

Oval view of Nassau Hall depicting the front and the western side entrance of the building. In the foreground President John Maclean, in a top hat, talks with two students while several other figures are either talking in small groups or walking. Whig Hall is visible in the extreme right distance, and there are two cannons buried on Cannon Green.

Nassau Hall, built between 1754 and 1756 for the College of New Jersey, was substantially destroyed by fire in 1855. Philadelphia architect John Notman was retained to rebuild the structure, making it as fireproof as possible. The interior was entirely reconfigured, and stair towers were added to each end of the building. In August 1856 Nassau Hall reopened for the lodging of students.

The present view was lithographed from a painting done sometime after the Notman reconstruction by F. Childs, an artist who is otherwise unidentified. The oil painting is now owned by Princeton University. The lithography firm of Alexander Robertson, Henry Seibert, and James A. Shearman was in business in New York from 1859 through 1861. The publishers, Mc Ginness & Smith, were Princeton booksellers and stationers.

See View of Nassau Hall, | Princeton, N.J.

Published by George Thompson. | Drawn by F. Childs. | Lith. & Printed in Colours by Robertson, Seibert & Shearman 93 Fulton St. N. Y.
About 1860. ARTIST: F. Childs. LITHOGRAPHER: Robertson, Seibert & Shearman. PUBLISHER: George Thompson. Lithograph, with added hand coloring. 15½ x 19½ in.

View of Nassau Hall and the surrounding college buildings. An elegant barouche, drawn by two high-stepping horses and carrying a lady and a gentleman in the rear seat, passes eastward along Nassau Street as the gentleman gestures toward Nassau Hall. Two groups of people converse on the paved sidewalk in front of the buildings, separated from the campus by an iron fence. The publisher, George Thompson, was a Princeton bookseller, publisher, and stationer. See View of Nassau Hall, | Princeton, N.J.

Undated, but probably late nineteenth century. ARTIST: unidentified. Watercolor on the fanned fore-edge of a book. 2 x 4⅜ in.

A fore-edge painting of Nassau Hall copied from the circa 1860 lithograph produced by the New York firm of Robertson, Seibert, and Shearman and published by Princeton bookseller George Thompson. The book is a pocket Bible published in Philadelphia by Miller and Burlock about 1850.

A fore-edge painting is a watercolor done on the fanned fore-edge of a book. When the paint is dry, the edges of the book are either gilt or marbled in the conventional way, so that the closed book shows no evidence of the painting. The technique has been in existence for several centuries, but the best-known practitioner was the late-eighteenth-century London bookbinding and bookselling firm of Edwards of Halifax.

Published by E. Huntington, Hartford: 1825. | Painted by Waldo & Jewett. | Copy Right secured April 30 1822 | Engraved by A B Durand.
1825. ARTIST: Samuel Lovett Waldo and William Jewett. ENGRAVER: Asher Brown Durand. PUBLISHER: Eleazer Huntington. Engraving. Plate, 17⅛ x 12¾ in.

Half-length portrait of Boudinot as an old man, seated in a chair, his left hand holding a pamphlet in his lap. Elias Boudinot (1740–1821), the fourth of the same name in direct descent, was born in Philadelphia, read law, and was licensed as an attorney in 1760. Two years later he married Hannah Stockton, sister of Richard Stockton, a signer of the Declaration of Independence. Boudinot served in the New Jersey Provincial Congress, and in 1777 he was appointed commissary general of prisoners. Later the same year he was elected a delegate to Congress, and served throughout the war. From 1782 to 1784 he was president of that body. He supported New Jersey’s ratification of the Constitution, and he was a member of the House of Representatives in the first three Congresses. In 1795 he was appointed director of the United States Mint, a position he held until his retirement in 1805. He devoted his latter years to the study of theology, and he was instrumental in founding the New Jersey Bible Society in 1809 and the American Bible Society in 1816, serving as the first president of both organizations.

Samuel Lovett Waldo (1783–1861) was a native of Connecticut. After working in Hartford, Charleston, and later in England, he returned to the United States and opened a portrait studio in New York in 1809. Three years later he met William Jewett (1789–1874), a talented coach painter who sought instruction as a fine artist. In 1817 the two men became partners and advertised themselves as “Waldo and Jewett.” They split their artistic duties: Waldo painted the faces and hands and Jewett completed the sitters’ clothing, draperies, and background.

“Faithfully yours, always | Theo. Ledyard Cuyler” | Pastor of the 3rd. Presbyterian Church, Trenton N.J. | On Stone by D. S. Quintin | From a Daguerreotype by M. P. Simons, Trenton. | P. S. Duval’s Steam lith. Press, Philada.
Between 1849 and 1853. ARTIST: From a daguerreotype by Montgomery P. Simons. LITHOGRAPHER: David Scott Quintin and P. S. Duval. Lithograph on india paper pasted to a lettered mount. 10¾ x 6⅜ in.

Half-length portrait of Cuyler, his left arm crossed in front of his waist, his right hand holding a Bible. Theodore Ledyard Cuyler (1822–1909) was a distinguished Presbyterian theologian. Born at Aurora, New York, he graduated from the College of New Jersey in 1841 and from the Princeton Theological Seminary in 1846. Ordained to the ministry in 1848, his first service was in Burlington, New Jersey, where he remained only briefly. In October 1849 he was installed as minister to the Third Presbyterian Church in Trenton, and he held the pastorate until 1853, when he moved to New York, where he lived the rest of his life. For many years he was pastor of the Lafayette Avenue Presbyterian Church in Brooklyn, which under his ministry grew to be the largest Presbyterian Church in the United States. He was an outspoken supporter of the temperance movement and an opponent of women’s suffrage.

The portrait is taken from a daguerreotype by Montgomery P. Simons, who is known to have worked in Trenton and Princeton between about 1850 and 1854. The image was drawn on stone by David Scott Quintin. In his early years Quintin was an artist and lithographer, working in Philadelphia. He was a pupil of Alfred Hoffy and contributed numerous color plates to Hoffy’s horticultural publications in 1841 and 1842. He is perhaps best known as the artist and lithographer of a handsome view of the United States Hotel in Philadelphia, published by Duval about 1842. About 1850 Quintin returned to Trenton, where he opened a riding academy. Later he operated a track and training stables and owned several horses.

On his Way to New York to be Inaugurated First President of the United States. | Lith. & Pub. by N. Currier, | Entered according to Act of Congress in the Year 1845 by N. Currier, in the Clerk’s office of the District Court of the Southern District of New-York. | 2 Spruce St. N. Y. | 365.
1845. ARTIST: unidentified. LITHOGRAPHER AND PUBLISHER: Nathaniel Currier. Lithograph, with added hand coloring. 13¼ x 8¾ in.

A uniformed Washington, on horseback facing left, raises his hat as young women and girls place flowers in his path. Several other men, in uniform and mounted, are behind Washington, and at the rear is the triumphal arch, lettered at the center “Battle of Trenton Dec. 26th. 1776” and at the sides “‘The Defender of the Mothers will be || the Protector of the daughters.’” Above the arch an eagle holds in his beak a banner reading “Princeton Monmouth.”

As Washington traveled from Mount Vernon to New York in April 1789 for his inauguration as the country’s first president, he was met with elaborate receptions at every city along the way. Perhaps none was as grand as the reception given him by the citizens of Trenton, who had erected a triumphal arch on the bridge at the Assunpink. As Washington passed through, a choir of young women and girls laid flowers in his path. Several mid-nineteenth-century lithographers captured the scene. See Washington’s Reception by the Ladies, on Passing the Bridge at Trenton, N. J. April 1789, Washington’s Reception by the Ladies at Trenton. N.J. April 1789, Washington’s Reception by the Ladies on the Bridge | At Trenton, New Jersey, April 1789, and Washington’s Reception by the Ladies, at Trenton N.J. April 1789 for variations of this iconic image. A section of the triumphal arch is preserved today in the Free Public Library at Trenton.

On his Way to New York to be Inaugurated First President of the United States. | Lith. & Pub. by N. Currier, Entered according to Act of Congress in the Year 1845 by N. Currier, in the Clerk’s office of the District Court of the Southern District of N.Y. | 33 Spruce St. N. Y. | 365.
1845. ARTIST: unidentified. LITHOGRAPHER AND PUBLISHER: Nathaniel Currier. Lithograph, with added hand coloring. 13⅛ x 8¾ in.

Currier has moved to 33 Spruce Street and redone the stone. Two additional men, in uniform and mounted, have appeared on Washington’s right, and many small details are changed. Currier’s inventory number remains “365.” See Washington’s Reception by the Ladies, on Passing the Bridge at Trenton, N. J. April 1789, Washington’s Reception by the Ladies at Trenton. N.J. April 1789, Washington’s Reception by the Ladies on the Bridge | At Trenton, New Jersey, April 1789, and Washington’s Reception by the Ladies, at Trenton N.J. April 1789 for variations of this iconic image.

On his Way to New-York to be Inaugurated First President of the United States. | 191 | Kelloggs & Thayer, 144 Fulton St, N.Y. | E. B. & E. C. Kellogg, 136 Main St, Hartford Conn. | D. Needham 223 Main St, Buffalo.
About 1846–1847. ARTIST: unidentified. PUBLISHERS: Kelloggs & Thayer, E. B. and E. C. Kellogg, and D. Needham. Lithograph, with added hand coloring. 9⅛ x 12⅛ in.

An early Kellogg version of Washington’s reception at Trenton, executed in a horizontal format. A uniformed Washington, on horseback facing right, raises his hat as young women and girls place flowers in his path. Several other men, in uniform and mounted, are behind Washington, and at the rear is the triumphal arch, lettered “Decem. 26. 1776. The hero who defended the mothers will protect the daughters.” See Washington’s Reception by the Ladies, on Passing the Bridge at Trenton, N. J. April 1789, Washington’s Reception by the Ladies, on Passing the Bridge at Trenton, N. J. April 1789, Washington’s Reception by the Ladies on the Bridge | At Trenton, New Jersey, April 1789, and Washington’s Reception by the Ladies, at Trenton N.J. April 1789 for variations of this iconic image.

On his Way to New-York, to be Inaugurated First President of the United States. | Published by James Baillie, 87th. St. near 3rd. Avenue N.Y. | Entered according to Act of Congress in the Year 1848, by J. Baillie, in the Clerk’s Office of the Distt. Court of the Southern Distt. of N.Y.
1848. ARTIST: unidentified. LITHOGRAPHER AND PUBLISHER: James Baillie. Lithograph, with added hand coloring. 12⅞ x 8⅝ in.

James Baillie, another New York lithographer, has his version. A uniformed Washington, on horseback facing left, raises his hat as young women and girls place flowers in his path. Several other men, in uniform and mounted, are behind Washington, and at the rear is the triumphal arch, lettered “‘The hero who defended the mothers at the Battle of Trenton Dec. 26th. 1776. will protect the daughters.’” Above the arch an eagle holds in his beak a banner reading “Princeton Monmouth.” See Washington’s Reception by the Ladies, on Passing the Bridge at Trenton, N. J. April 1789, Washington’s Reception by the Ladies, on Passing the Bridge at Trenton, N. J. April 1789, Washington’s Reception by the Ladies at Trenton. N.J. April 1789, and Washington’s Reception by the Ladies, at Trenton N.J. April 1789 for variations of this iconic image.

On his Way to New York to be Inaugurated First President of the United States in 1789. | Lith. of E. B. & E. C. Kellogg, 87 Fulton St. New York, | 73 Main St. Hartford, Conn.
Between 1852 and 1856. ARTIST: unidentified. LITHOGRAPHER AND PUBLISHER: E. B. and E. C. Kellogg. Lithograph, with added hand coloring. 9 x 12½ in.

A later Kellogg stone, entirely redrawn. See Washington’s Reception by the Ladies, on Passing the Bridge at Trenton, N. J. April 1789, Washington’s Reception by the Ladies, on Passing the Bridge at Trenton, N. J. April 1789, Washington’s Reception by the Ladies at Trenton. N.J. April 1789, and Washington’s Reception by the Ladies on the Bridge | At Trenton, New Jersey, April 1789 for variations of this iconic image.

Embracing Six New Cottages erected by N. Hotchkiss and C. Thompson, – shewing also a part of the City of Trenton together with the New-York and Philada. Rail-Road Depots on the Delaware and Raritan Canal. | The Cottages designed by N. Hotchkiss & H. Austin of New-Haven, Conn. | P. S. Duval’s Lith. Press, Philadelphia. | Painted from Nature & drawn on Stone by A. Hoffy, Philada. | Entered [. . .] 1840 by Nelson Hotchkiss [. . .] Eastern District of Pennsylvania.
1840. ARTIST: Alfred M. Hoffy. LITHOGRAPHER: Alfred M. Hoffy for P. S. Duval. Lithograph, with added hand coloring. 13¾ x 30½ in. (cropped).

A view of the newly constructed Park Row in Trenton. Horses and carriages travel the wide road in front of the houses, and in the foreground cattle graze within fenced pastures. At the right a train emerges from the depot of the New York and Philadelphia Railroad, and beyond the railroad tracks several vessels ply the Delaware and Raritan Canal. In the background houses and commercial structures are visible.

A damaged but very rare lithograph depicting the Park Row development—a series of six villas designed by New Haven architect Henry Austin and erected between 1839 and 1840 along what is today East State Street, east of the Trenton Freeway between present-day East Canal Street and South Clinton Avenue. The houses, always known locally as “The Cottages,” were one of Austin’s earliest commissions. The builders were Horatio Nelson Hotchkiss and Charles Thompson, fellow New Haven builders who had just completed the new Greek Revival First Presbyterian Church in Trenton. New Jersey historians John W. Barber and Henry Howe, in their Historical Collections of the State of New Jersey (1844) found the Cottages sufficiently interesting to justify a woodcut illustration of the houses and the comment: “Near the railroad depot, in the environs of Trenton, is the neat and beautiful row of private dwellings designated as ‘the Cottages.’ They were built a few years since, under the superintendence of Messrs. Hotchkiss & Thompson; and, while they reflect credit upon the skill of the architects, form a pleasing exhibition of an improved taste in the construction of private residences.” All of the houses have long since been demolished.

Built, 1794. — Altered & Enlarged 1845 & 46. | John Notman, Phila., Archt. | H. Whateley del. | T. Sinclair’s lith, Philada.
1846. ARTIST: H. Whatley (signed in the stone lower left, “H. Whatley”). LITHOGRAPHER: Thomas Sinclair. Toned lithograph. 16¼ x 24¼ in.

A southeast view of the New Jersey State House at Trenton showing the recent alterations by John Notman.

By 1845 New Jersey's State House—built in 1794—had become both inadequate and in need of considerable repair. Philadelphia architect John Notman (1810–1865) was retained to prepare a set of drawings, which were soon accepted. Notman’s plan dramatically altered and enlarged the original structure. Construction began in 1845 and was completed the next year. At some point in the process, drawings by Notman were provided to the Sinclair firm, which produced three lithographs: one depicting the original 1794 structure, and two depicting the Notman alterations and addition, one a northeast perspective and the other—the present view—a southeast perspective.

The artist, whose name appears as “H Whatley” in the lower left of the stone and as “H. Whateley” in the text below the image, has not been identified. The same individual produced a view of Mount Vernon that was lithographed by the Sinclair firm in 1859. He is almost certainly not the nineteenth-century English artist Henry Whatley.