{"id":29385,"date":"2020-12-03T16:42:01","date_gmt":"2020-12-03T21:42:01","guid":{"rendered":"https:\/\/www.georgeglazer.com\/wpmain\/?post_type=product&p=29385"},"modified":"2021-12-03T12:18:48","modified_gmt":"2021-12-03T17:18:48","slug":"landscape-art-currier-ives-hudson-highlands-fanny-palmer-antique-print-1857-sold","status":"publish","type":"product","link":"https:\/\/www.georgeglazer.com\/wpmain\/product\/landscape-art-currier-ives-hudson-highlands-fanny-palmer-antique-print-1857-sold\/","title":{"rendered":"Landscape Art, Currier & Ives, Hudson Highlands, Fanny Palmer, Antique Print, 1857 (Sold)"},"content":{"rendered":"

The print shown here was loaned by George Glazer Gallery to the historic house museum Boscobel House and Gardens, Garrison, New York for the special exhibition\u00a0Home on the Hudson: Women and Men Painting Landscapes 1825-1875,<\/strong> and is reproduced and described in the accompanying exhibition catalogue. Art historian Katherine E. Manthorne of the Graduate Center at City University of New York served as guest curator and as lead author and editor of the catalogue. The show, on view from June 7 to September 7, 2009, looked at the Hudson River School of painting by focusing on the residences of female and male painters, known and unknown, and examining the art created in and around them. (Read more about the exhibition.<\/a>) The catalogue entry for Palmer\u2019s lithograph, written by Whitney Thompson, provides background information about her artistic process and places her work in historical context:<\/p>\n

It is usually claimed that Palmer worked from photographs for her knowledge of locations she was assigned to draw.\u00a0 Examination of the drawings she did preliminary to the prints and other evidence suggests that she likely boarded train or steamer to arrive at sites along the Hudson, where she sketched the scenery onsite.\u00a0 Her knowledge of the British picturesque tradition provided the scaffolding, but observed detail was necessary to give viewers a sense of the authentic.\u00a0 Whatever its precise source, Palmer indisputably discovered a formula that pleased her audience, and it has been claimed that her work decorated the homes of more average Americans than any other artist.\u00a0 It is this same connection to the ordinary — as an image maker who helped define American popular culture — that gives her prints of the Hudson River their powerful and lasting appeal.\u00a0 (p. 10)<\/em><\/p><\/blockquote>\n

Frances Flora (Fanny) Palmer was a British-born American lithographer and draftswoman. In her capacity as one of Currier & Ives principal artists, “[i]t is likely that during the latter half of the nineteenth century more pictures by Mrs. Fanny Palmer decorated the homes of ordinary Americans than those of any other artist, dead or alive,” wrote Ewell L. Newman, a Currier & Ives specialist. Palmer was taught drawing at a girls’ school in her native Leicester, England, and later started a lithography business in 1841 with her husband, Edmund S. Palmer; she as the artist and he the printer.\u00a0 They emigrated to New York in 1844. Edmund descended into chronic alcoholism, and Fanny became the family breadwinner. In 1851, she was hired by Currier & Ives, where she produced close to 200 prints for the renowned firm, mainly rural landscapes. \u00a0Many were of New York and Long Island, while others were pictures of places she had never seen, working from photographs. \u00a0Her works are in the collections of many American museums including the Museum of Fine Arts, Boston; the New York Historical Society and the Brooklyn Museum of Art.<\/p>\n

The lithography firm of Currier & Ives was founded in 1834 by Nathaniel Currier as N. Currier, Lithographer, and based in New York. In 1852, he brought his brother-in-law, James Merritt Ives, into the business and renamed the firm Currier & Ives five years later. \u00a0They were extremely prolific and highly successful, producing almost 7,500 different separately issued art prints through the 19th century until 1907, aptly advertising themselves as “Print-makers to the American People.” \u00a0Their prints were issued in either small, medium or large folio, though some particularly popular images were issued in more than one size. \u00a0Dozens of American artists in the mid 19th century painted primarily for lithographic reproduction by Currier & Ives and other firms. To please a broad audience, the firm presented a warmly positive vision of America, frequently sentimental, and sometimes with a touch of humor. \u00a0Currier & Ives prints generally portrayed the American landscape, scenery and landmarks, including the westward expansion, as well as daily life in both urban and rural settings. \u00a0Their sporting and maritime subjects were particularly popular.\u00a0 These prints are now highly collectible as records of American history, as fine works of American art, and for their decorative appeal.<\/p>\n

Full publication information: Entered according to Act of Congress in the year 1857, by Currier & Ives in the Clerk\u2019s Office of the Dist\u2019t. Court of the South\u2019n\u00a0 Dist\u2019t of N.Y.\u00a0 New York.\u00a0 Published by Currier & Ives, 152 Nassau St.<\/p>\n

References:<\/p>\n

Bonfante-Warren, Alexandra.\u00a0Currier & Ives: Portraits of a Nation.\u00a0<\/em>New York: Friedman\/Fairfax, 1998. pp. 9, 23-41.<\/p>\n

\u201cBoscobel\u2019s Exhibition Gallery.\u201d\u00a0\u00a0Boscobel Historic House and Garden.<\/em>\u00a0 2009.\u00a0 http:\/\/www.boscobel.org\/exhibition-gallery.html (1 July 2009).<\/p>\n

Conningham, Frederic A.\u00a0\u00a0Currier and Ives Prints: An Illustrated Check List.<\/em>\u00a0 New York: Crown, 1949.\u00a0 2973.<\/p>\n

DeWan, George. “The Picture of a Workhorse.”\u00a0LI History.com.\u00a0<\/em>http:\/\/www.lihistory.com\/histpast\/past1006.htm (14 May 2002).<\/p>\n

“Frances (Fanny) Flora Palmer (ne\u00e9 Bond).”\u00a0The Grove Dictionary of Art.\u00a0<\/em>New York: Macmillan. 2000.\u00a0Artnet.com.\u00a0<\/em>http:\/\/www.artnet.com\/library\/06\/0649\/T064931.asp (14 May 2002).<\/p>\n

Manthorne, Katherine E., ed.\u00a0\u00a0Home on the\u00a0<\/em>Hudson<\/em>: Women and Men Painting Landscapes 1825-1875.<\/em>\u00a0 Garrison, New York: Boscobel House and Gardens, 2009, pp. 9-10.<\/p>\n","protected":false},"excerpt":{"rendered":"

Fanny F. Palmer (1812-1876) (after)
\nThe Hudson Highlands from the Peekskill and Cold Spring Road near Garrison’s Landing<\/strong>
\nCurrier & Ives, New York: 1857
\nHand-colored lithograph
\n16.5 x 22.25 inches, image
\n20.25 x 26.5 inches, overall
\n25.75 x 32 inches, framed
\nExhibited 2009 at Boscobel House and Gardens, Garrison, New York<\/p>\n

Pastoral scene of New York State\u2019s Hudson highlands. As is typical of Currier & Ives rural prints, the scene is picturesque and peaceful, with two cows resting in the shade at the side of the Peekskill and Cold Spring Road, a country lane. The road winds down a tree-covered hillside past a farmhouse and into a green valley.\u00a0 The Hudson River is glimpsed in the distance, flanked by rugged mountains rendered in the pale, muted colors typical of a hazy summer day. This is the first version of this subject published by Currier & Ives.<\/p>\n

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