Impressions

Prints of Niagara Falls
1851 to 1860

[ 1841 to 1850 | Index | 1861-70 ]


222. "Niagara Falls." New York: Max Jacoby & Zeller, ca. 1850-60. 15 1/4 x 21 7/8. Lithograph. Hand color with black painted margins.

The date given for this print is based on the physical features shown in the image, as well as the obvious connection between this print and the equally dramatic Bornet print [271]. Though not identical, there are enough similarities between the two to conclude that one of these prints was likely "inspired" by the other. Which was the first and which the copy is not evident, though the Bornet print is a more elaborate production. Other Max Jacoby & Zeller prints have legends indicating that they were lithographed in Germany, and this sort of black-bordered lithograph is typical of German folio prints of the period (cf. [223]). Therefore it is not unlikely that this print too was lithographed in Germany.


223. "The Whirlpool near Niagara." Berlin: F. Silber, ca. 1850-60? 15 3/4 x 21. Lithograph. Hand color with black painted margins.

A German lithograph, printed and issued by ("Druck u. Verlag V.") F. Silber in Berlin. This same print, but without the black painted border, was published by Edmund Foerster & Co., New York. (Cf. Wunderlich & Co's 1986 catalogue "Nature's Grandest Scene," #12.)


223ad. "Horse Shoe Falls, Niagara." Lithograph image on full, folded lettersheet. Before 1883, prob. ca. 1850 to 60. On full folded sheet of paper. With light wash.

This print shows one building at table rock and the Terrapin tower.


Maps from Montgomery Martin's The Illustrated Atlas, And Modern History Of The World. London & New York: John Tallis & Co., [1851.] Steel engravings. Outline hand color.

The Warren vignette on the map of West Canada is based closely on Thomas Cole's [101] "A Distant View Of The Falls Of Niagara." The map of "North America" was first published in 1850 in the Tallis & Co. edition of Hinton's History and Topography (cf. [220-221]).


227
227. Max Beeger. "Les Amours Reves. En Amerique Au Niagara." [The dreams of love at Niagara in America.] Paris: Bulla Freres; Berlin: F'd. Ebner; London: E. Gambart & Co.; and New York: Emile Seitz, ca. 1851-53. 13 1/4 x 18 1/4. Two tone lithograph. Printed by Lemercier, Paris.

An unrecorded print issued jointly in Paris, Berlin, London and New York. This is a good example of the international market for top quality, separately issued prints of Niagara Falls. One of the publishers, Emil Seitz, made a feature of his foreign connections, claiming in an 1853 advertisement that he received "with every 'European Steamer,' all the latest publications from 'France and Germany.'" (Peters, p. 362) Peters lists Seitz only at 233 Broadway, from 1851-53, though his address on this print is 413 Broadway. The artist was Max Beeger, a painter and lithographer active in Paris in 1851-53.


Prints by Hippolyte Sebron. New York, Paris, London, & Berlin: Goupil & Co., 1852. 23 1/4 x 37 1/4. Two tone aquatints by Salathe, Paris. Seibel1: 79.

Sebron (1801-1879) studied under Louis Daguerre and began his career painting dioramas.


231. "Moonlight View Of, Horseshoe Falls, Niagara." Music sheet cover illustration for "Niagara Schottisch." New York: James M. Jaques, 1852. 7 3/8 x 10 5/8. Chromolithograph by Sarony & Major. Cf. Adamson2: 247; Seibel1: 56.

A slightly modified version of Köllner's [215] "Horseshoe Falls." The main change is that the view has been turned from a daytime scene into a "Moonlight View."


232. After W.H. Bartlett. "Sunset View, Taken From Below Table Rock. Niagara Falls." Music sheet cover illustration for "Table Rock Schottisch." New York: Jaques & Brother, 1852. 10 1/2 x 8. Chromolithograph by Sarony & Major. Seibel1: 78.

A derivative of Bartlett's [134] "View Below Table Rock," similar to Sarony & Major's separately issued print, [190] "Falls of Niagara."


Prints by Baron Regis de Trobriand. "A Valuable Series of Illustrated Views of Niagara Falls." From Gleason's Pictorial Drawing Room Companion. Boston: Frederick Gleason, 1852. Six illustrations on two pages. Wood engravings.

"We can, of course, say nothing new of Niagara.... These timely scenes will be valuable to our readers, inasmuch as it will find large numbers of them on the very spot and amid the scenes that we have herewith depicted, while others just about to make the journey thither, will read and examine these pages with more than ordinary interest; and when they shall reach the scene, and the thunder of the cataract sounds in their ears, they will remember our Pictorial, and compare the reality with the counterfeit presentment as given in our pages." (p.37). "No American, who can afford to travel at all, should fail to look upon this wonder of nature's handiwork. It is almost the first resort of the foreign traveller, who is then prepared to visit the Mammoth Cave of Kentucky, only second in grandeur to Niagara." (ibid.)


Views by Baron Regis de Trobriand. "Second Illustrated Series Of Views Of Niagara Falls." From Gleason's Pictorial Drawing Room Companion. Boston: Frederick Gleason, 1852. Six illustrations on two pages. Wood engravings.

These views are a continuation of the series above. "The number of visitors at the falls is from twelve to fifteen thousand annually, and is continually increasing. The fashionable, the opulent, and the learned here congregate in the summer season from all parts of the civilized world." (p. 69)


Prints by Godfrey N. Frankenstein. From "Niagara," in Harper's New Monthly Magazine. August, 1853. Wood engravings by J.W. Orr. Dow: 904; Cf. Seibel: 40.

Godfrey N. Frankenstein visited Niagara regularly from 1844 to 1853, painting about 200 canvases overall of the cataract. From these Frankenstein compiled a one thousand foot "Panorama of Niagara Falls." This panorama was unrolled on stage as a diorama, the entire image taking about an hour and a half to show. The panorama was on exhibit between 1853 and 1859, then again in 1865, and finally in the 1880s, after which it disappeared. The only surviving visual record of this diorama consists of these seventeen woodengraved images based on Frankenstein's studies for the panorama. Note that the print of "The Tower, From Near The Ferry, Canada Shore" is incorrectly signed in the print as being by "G.L.F.." Seibel incorrectly attributes these and the following print to Gustavus Frankenstein, Godfrey's brother (Seibel1: 40).


253. Godfrey N. Frankenstein. "Niagara Falls." Philadelphia: E. Ferrett & Co., 1853. 5 3/4 x 4 5/8. Steel engraving by Jones. Dow: 905; Seibel1: 40.

An engraving of a view by Godfrey Frankenstein that was likely also based on a study for his panorama.


Prints in The Ontario And St. Lawrence Steamboat Company's Hand-Book For Travelers To Niagara Falls, Montreal And Quebec, And Through Lake Champlain. Buffalo: Jewett, Thomas & Co. and Rochester: D.M. Dewey, 1853. 12mo.

A mixed group of images of Niagara from a tourist guide issued by the Ontario and St. Lawrence Steamboat Company.


261. Redated and listed on 1841-50 page.


262. J.C. Buttre, "(from an original sketch)." "Niagara Falls." New York: R. Martin, 1854. From Littell's Living Age. Boston, New York & Philadelphia: Littel, Son and Company, 1854. 6 1/2 x 4 1/2. Steel engraving by J.C. Buttre. Hand color. With a four line poem in the title block. Dow: 905; Seibel1: 13.

A slightly modified derivative of T. Allom's [117] "Horse-Shoe Fall, Niagara."


263. "Falls Of Niagara." In The Ladies' Repository. Boston: A. Tompkins, February, 1854. 4 1/2 x 5 6/8. Steel engraving.

An anonymous image showing a group of tourists at Prospect Point.


264. "View Of The Suspension Bridge, Niagara." From Gleason's Pictorial Drawing-Room Companion. Boston: Frederick Gleason, September 9, 1854. Half page illustration: ca. 6 x 9 1/4. Wood engraving by Cornington(?).


265. "Niagara Falls. Inset on "Map of the State of New York." New York: Charles Magnus, 1854. Inset 3 3/8 x 8; map 18 1/4 x 22 3/4. Steel engraving. Hand color. Also with insets of Long Island.

This inset on a Magnus map of New York State is a bird's eye view which graphically depicts the buildup of structures around the Falls at mid-century.


266. S. Schuster. "Niagara Falls." UR (in image): "Pl. 8." 1854-60. 9 x 11 3/4. Lithograph. Hand color. Dow: 919; Seibel1: 78.

This is a crude copy of Köllner's [216] "General View." There are slight differences in the sightseers depicted and the Maid of the Mist has been added to the image, but all else is the same. As Köllner made eight prints of Niagara and as this has "Pl 8" printed in the image, it is not unlikely that Schuster copied Köllner's entire series of prints [210-217]. The dates cited are based on the inclusion in the image of the second Maid of the Mist (1854-60).


267. "Niagara Falls From Near Top Of Ferry Road." Buffalo: Charles Grebner, 1854-60. 8 1/4 x 12 3/8. Tinted lithograph. Seibel1: 44.

The date cited is based on the inclusion in the image of the second Maid of the Mist (1854-60). This view may have been drawn by Fred H. Holloway, who was active in Buffalo at the time, for it is drawn in a similar style to prints known to be by him.


268. Fred H. Holloway. "Suspension Bridge. Constructed 1854." 1854-55. Ca. 7 3/4 x 12. Three tint lithograph by C.E. Lewis.

This was probably a separately issued souvenir published for the opening of the Suspension Bridge in 1855. It includes two columns of text with statistics below the image.


269. Barry. "Suspension Bridge Over Niagara River." From Ballou's Pictorial Drawing-Room Companion. Boston: Maturin M. Ballou, June 16, 1855. Cover illustration: 5 1/2 x 9 1/2. Wood engraving.

"drawn upon the spot by Mr. Barry, expressly for the pages of the Pictorial." Maturin Ballou, editor of Gleason's Pictorial, took over ownership of the paper in 1855 and changed its name to Ballou's Pictorial.


270. Kilburn. "Lewiston Suspension Bridge, And Queenston Heights." From Ballou's Pictorial Drawing-Room Companion. Boston: Maturin M. Ballou, November 3, 1855. Cover illustration: 5 3/4 x 9 1/2. Wood engraving by John Andrew.

"from a drawing made on the spot for us by Mr. Kilburn,..."


Bornet Niagara Falls
271. John Bornet. "Niagara Falls, American Side." New York: Goupil & Co., 1855. 23 3/4 x 36. Lithograph by John Bornet. Printed by Nagel & Weingartner. Hand color.

One of the most dramatic views of Niagara Falls, issued in the middle of the nineteenth century. The image shows both falls from a vantage point near the foot of the American Falls and the image is almost overwhelming and rather exaggerated. "A similar view that definitely oversteps the boundaries of reality is John Bornet's 'Niagara Falls, American Side,' a colored lithograph published in New York in 1855. It looks more like shirred Victorian curtains and cotton candy than tumbling, agitated water." (McKinsey, p.164)


272. De Lay Glover. "The Great International Railway Suspension Bridge Over The Niagara River. In Full View of the Falls. Connecting The United States & Canada. The New York Central & Great Western Railways." New York: D.L. Glover, 1855. 3 1/4 x 5 3/8. Steel engraving by D.L. Glover. Printed by H. Peters. Seibel1: 43.

A small engraving, perhaps issued separately as a souvenir for the opening of the Roebling's Suspension Bridge. Below the image are two columns of statistics and a small vignette of the US and British coasts of arms and flags. The same plate was later used in John H. French's Gazateer of New York State (1860) [346], lacking the columns of statistics.


273. "Niagara Suspension Bridge." UC: "Niagara And Its Wonders." Hartford & New York: E.B. & E.C. Kellogg and Rochester: D.M. Dewey, 1855. 8 1/4 x 13 1/4. Lithograph. Hand color. Dow: 918; Greenhill: 4I; Seibel1: 58.

The view of the Suspension Bridge in the center is surrounded by twelve smaller views of the Falls and the Niagara region. Below the image are statistics about the bridge. Dow says the central image is surrounded by only ten views (Dow, p.918), but this was a mis-count, as the print in the Dow Collection is identical to this one.


274. J.B. Wandesforde. "Niagara." New York, 1855. 19 x 26 5/8. Steel engraving by Robert Hinshelwood. Cf. Seibel1: 88.

This is a variant state of a print issued as a premium for subscribers of The New York Albion. Lacking on this state of the print, but imprinted below the image of the premium version is: "From a Drawing made On The Spot. November, 1853. For the subscribers of The New York Albion 1855." This print is almost identical to Frederick Girsch's [275] "Der Niagara," another premium print. One of these prints was clearly derived from the other; as discussed below, most likely Girsch copied Wandesforde.


275. Frederick Girsch. "Der Niagara. Pramie zum siebenten Bande der New-Yorker Criminal Zeitung." New York: New Yorker Criminal-Leitung, ca. 1855. 18 3/4 x 26 1/2. Steel engraving by F. Girsch. DeVolpi: 42; Seibel1: 43.

Frederick Girsch, a German artist and engraver, emigrated to the United States in 1849. The first works he executed in this country were two premium prints for the New Yorker Criminal Zeitung, this one and another entitled, "Die Helden der Revolution." (cf. Stauffer Vol. I, p.102) This print has almost exactly the same image as Wandesforde's [274] "Niagara;" one is clearly a copy of the other. It is likely that Girsch copied from Wandesforde rather than vice versa. Not only does Wandesforde make the claim that his image was "drawn on the spot," while Girsch makes no such claim, but wherever the prints differ, the Wandesforde image appears more detailed, accurate, and realistic than the Girsch image.


Prints "Drawn After Nature." From Charles A. Dana's The United States Illustrated; in Views of City And Country. New York: Herrmann J. Meyer, ca. 1855. Steel engravings.

These four prints are slightly modified copies of the Bartlett prints listed. Some of the prints were struck from the same plates as impressions issued by the Bibliographic Institution in Hildburghausen. It is interesting to note that in "Outlet Of The Niagara" an Afro-American couple is shown sight-seeing by the Niagara Gorge; this is quite an early view of Afro-Americans depicted as tourists. Seibel1 incorrectly attributes the first three prints to Gustavus Frankenstein.


280. William H. Beard. "Great Suspension Bridge At Lewiston and Queenston. Over the Niagara River Six Miles below Niagara Falls. The Largest In The World, Built In 1850." New York: William Endicott & Co., ca. 1855. 11 x 15 1/2. Tinted lithograph. Deák2: 709; Seibel1: 6.

The supporting guy wires of the bridge, added in 1855, are shown. William Holbrook Beard, a native of Ohio, set up a studio in Buffalo in the 1850s. Below the image are printed statistics on the bridge.


Steel plates by Charles Magnus & Co.. New York, ca. 1855-1860.

These are original steel plates used by Charles Magnus & Co. to make some of its many prints. "Niagara Falls From a Photograph" is engraved with the same image as appears on the black bordered souvenir print of the same title [285]. The vignette of Terrapin Tower engraved on the third plate is the same as one of the images which appears in the Grand Trunk Railway Bouquet [290]. The dates cited come from the inclusion in some of the images of the second Maid of the Mist (1854-60) and of the steel arch bridge to Goat Island, which was built in 1855-56.


284. "Niagara Falls. From A Fotograph." New York: Charles Magnus & Co., ca. 1855-1860. 5 x 7 7/8. Steel engraving. Hand color.

The image of this print is the same as that on item [285], though the title of the latter print states "From A Photograph" instead of "From A Fotograph."


Magnus Canadian Side
Souvenir prints with black painted borders. New York: Charles Magnus & Co., ca. 1855-1860. Steel engravings. On Bristol board. Hand colored, and with black painted borders and gold lines. Seibel1: 63.

These are separately issued, "deluxe" souvenir prints, which have their borders painted black for display. On another Magnus publication, the 1861 "Union Military Chart," is printed the following advertisement for these prints, "Look At our Mount Vernon Souvenir and Original Engravings of over 100 American Cities and Scenes, National Buildings &c. executed in Oil Color Printing, on Bristol Board, black, gold & silver Border. Price 25 Cents each Picture." The print, "Niagara Falls, From A Photograph," has the same image as is engraved on the steel plate with the same title [281].


288. Pictorial lettersheet with vignettes of Niagara. New York: Charles Magnus & Co., ca. 1855-1860. Steel engravings. Hand color. On full, folded letter sheet with lightly printed lines for writing.

A full page, pictorial lettersheet with six vignettes surrounded by decorative border. Five of the images are of Niagara, the sixth is "Chaudiere Falls. Ottawa."


289. "Niagara Falls, Canadian Side." New York: Charles Magnus & Co., ca. 1855-1860. Steel engraving. 5 1/8 x 7/8. Seibel1: 63.

An engraving on stationery paper, probably a lettersheet image that was trimmed. This has the same image as the black bordered print with the same title [286].


290. "Grand Trunk Railway Bouquet." New York: Charles Magnus & Co., ca. 1855-1860. Steel engravings printed on two sides of a sheet of paper that has been elaborately cut into eight wedge shapes, which when folded makes a "bouquet." Total size unfolded, ca. 9 x 9.

A paper "bouquet" used for promotion by the Grand Trunk Railway. When folded, the bouquet has a rose on each cover. It unfolds to reveal various images of Canada, including five of Niagara. The last image of Terrapin Tower is the same as is engraved on the steel plate with four vignettes [283].


290ad. Steel engraving by Charles Magnus. Composite print of five images of Niagara Falls and one of Chaudiere Falls with a decorative border surmounted by a Beaver. New York: Charles Magnus, ca. 1855-60. Steel engravings. 5 1/2 x 8. Images listed clockwise from top left.


291. S. Barnett. "Winter Views Of Niagara Falls." From Frank Leslie's Illustrated Newspaper. New York: March 22, 1856. Three views on double page. Wood engravings. Seibel1: 4/61.

"Our illustrations are the first elaborate views of Niagara Falls in their winter costume, ever given in their present form to the public." The artist may have been Sidney Barnett, son of Thomas Barnett of the Table Rock Museum.


292. W.H. Bartlett. "Falls of Niagara." Inset vignette on "North America." From W.H. Bartlett's The History Of The United States Of America. London & New York: George Virtue, 1856. Vignette 2 1/2 x 3 1/2; map 12 1/2 x 9 3/4. Engraving. Hand color.

The vignette of Niagara is based on Bartlett's [131] "Niagara Falls From The Ferry."


293. Thomas Benecke. "Niagara Falls. Canadian Side." New York: Goupil & Co., 1856. 23 5/8 x 35 3/4. Lithograph by T. Benecke. Printed by Adam Weingartner. Hand color. Adamson2: 167; Seibel1: 7.

A dramatic image of the Falls, which likely was issued by Goupil & Co. as a companion to John Bornet's [271] "Niagara Falls, American Side."


294. "Suspension Bridge At Niagara Falls." From Family Circle & Parlor Annual. 1856. 4 x 6 1/4. Steel engraving. Dow: 915; Seibel1: 71.

This print shows the Railroad Suspension Bridge from a vantage point on the American side looking down river. A depiction of the second Maid of the Mist is included. Seibel mistakenly attributes the print to Peter A. Porter, who was collector, not the artist for this image.


294ad. Frederick W. Lock. "Niagara Falls, Winter View Of Horseshoe Fall Taken From The Canadian Side, February 1856." Toronto & London: T. Jefferson, Nov. 1, 1856. 21 1/4 x 32. Drawn on stone by Edmund Walker. Lithograph by Day & Son. Tinted lithograph with hand finishing. Seibel: 62.

A rare Canadian imprint. This large winter scene is one of a pair by F.W. Lock, who has depicted himself in the foreground with his easel. The large size allows Lock to depict the sweep of the Horseshoe Falls and also to give a nice impression of the huge ice formations of Niagara in winter.


295. Charles Parsons. "The Rail Road Suspension Bridge. Near Niagara Falls. Length of Bridge 822 feet. Height above Water 240 feet." New York: Currier & Ives, 152 Nassau Street, 1857. Copyright by N. Currier, 1856. Medium folio; 10 1/4 x 15 1/2. Lithograph. Hand color. Conningham: 5056; Gale: 5479; McKinsey: 100; Seibel1: 26.

This print was copyrighted by Nathaniel Currier in 1856 and was published a year later just after James Ives became Currier's partner. It is possible that some issues of the print may lack the "Currier & Ives" publishing line.


296. S. Barnett. "Niagara Falls In Winter-The American Fall." After 1856. Wood engraving.

The same image as Barnett's [291] "View From Under The Horse-Shoe Fall, Canada Side, Showing Extraordinary Ice Formations." The print may be from Harper's Young People, 1886.


297. After a photograph by Holmes. "The Falls Of Niagara.-From A Photograph By Holmes, of New York." From The Illustrated London News. London: September 5, 1857. Full page illustration: 9 1/4 x 13 1/2. Wood engraving.


298. Frederick E. Church. "The Great Fall, Niagara." Printed & published, London: Day & Son, 1857. Copyrighted, New York: Williams, Stevens, Williams & Co., 1857. 16 5/8 x 36. Chromolithograph by Charles Risdon Day & Son. Adamson2: 146; Dow: 906.

This was the "official" print of Church's famous 1857 painting, lithographed when the canvas was on display in London. The rights to reproduce the painting were purchased for $2,000 by Williams, Stevens, Williams & Co., which also purchased the painting itself for $2,500. This firm exhibited the painting in its gallery, where it also sold the chromolithograph by subscription; artist's proofs $30, regular $15. The first subscriber was President Millard Fillmore from Buffalo.


Prints by James Pattison Cockburn. London: Ackermann & Co., 1857. Aquatints. Hand color. Cf. Eland: 127; Seibel: 22a.

Cockburn, a Lieutenant-Colonel in the Royal Artillery, was posted to Canada from 1826 to 1836. These are the second edition of his prints, issued in 1857 and dedicated to Queen Victoria. The first edition prints were published in 1833 and were dedicated to King William IV.


Prints in Hunter's Panoramic Guide from Niagara to Quebec by William S. Hunter, Jr.. Boston: J.P. Jewett & Co., and Cleveland: H.P.B. Jewett, and Montreal: Benjamin Dawson, 1857. First edition. Octavo guide book. Wood engravings by John Andrew. Adamson2: 201; Kotick: 39.

A first edition of this popular guide book which features a long, folding panorama of the St. Lawrence River from Niagara to Quebec.


309. "Niagara Falls." New York: Currier & Ives, 152 Nassau Street, 1857-72. Medium folio; 14 1/2 x 20. Lithograph. Hand color. Conningham: 4456; Gale 4839; Seibel1: 26.


310. After William H. Bartlett. "The Outlet of Niagara River." New York: Currier & Ives, 152 Nassau Street, 1857-72. Small folio; 8 x 12 1/2. Conningham: 4661; Gale: 5053; Seibel1: 26.

Based on Bartlett's [132] "The Outlet Of Niagara River. (Lake Ontario in the Distance)."


A series of cartoons, "A Trip To Niagara Falls." From Harper's Weekly. New York: October 2, 1858. Seven images of Niagara out of twelve cartoons on two pages, each ca. 4 x 4. Wood engravings.

A series of comic scenes illustrating a purported letter from a tourist to "My Dear Aunt Bessie" concerning "our delightful trip to the Falls."


Prints in Falls Of Niagara and the Vicinity (cover) or The Falls of Niagara: Being A Complete Guide... (title page). London, Edinburgh, & New York: T. Nelson & Sons, and Toronto: James Campbell, 1858. 12mo. souvenir viewbook. With map and 11 of 12 prints. Each ca. 3 x 4 3/4. Wood engravings printed in three colors. Cf. Dow: 901; cf. Kotik: 43; cf. Seibel1: 66ff..

An early edition of T. Nelson & Son's guide, missing the print "Three Sisters And Goat Island From Goat Island." The same prints appear in later editions of the guide, though without the angled corners to the images that are a feature in this edition. This guide includes other small, uncolored woodengravings within the text.


325. Regis Gignoux. "Gignoux's Niagara.-The Property Of Hon. August Belmont." From Harper's Weekly. New York: July 9, 1859. Single page illustration: 7 1/3 x 13 3/4. Wood engraving. Dow: 912; McKinsey: 86; Seibel1: 43.

Gignoux's original canvas is lost, and this Harper's print is our only source for what the painting looked like. Gignoux's painting was considered to be the nighttime companion to Church's "Niagara Falls" (cf. [298]).


326. "Monsieur Blondin Crossing Niagara On A Rope, Dressed As An Ape, July 14, 1859." From Frank Leslie's Illustrated Newspaper. New York: August 6, 1859. Half page illustration: 7 x 9 1/2. Wood engraving.


327. Ferdinand Richardt, "the bridge from daguerreotype." "The Great International Railway Suspension Bridge. Over The Niagara River Connecting The United States & Canada. The New York Central And Great Western Railways." New York: De Lay Glover, 1859. 20 1/2 x 32 1/8. Steel engraving by D.L. Glover. With remarque portrait of John A. Roebling in lower margin. Adamson2: 92; Dow: 913; Greenhill: 4J; Seibel1: 73.

Ferdinand Richardt was a Danish painter who came to America specifically in order to paint Niagara, intending to publish "a great National Work, embracing more than sixty engraving of Niagara Falls." Though nothing came of this project, Richardt did paint 32 views of Niagara for an exhibition that was held in New York in November 1856. The image for this print was drawn by Richardt, though the depiction of the bridge was based on a daguerreotype. A list of statistics on the bridge is included in the bottom margin.


#327ad
327ad. Samuel Geil "Map of the Vicinity of Niagara Falls From Actual Surveys by Samuel Geil Author of Maps of Niagara, Orleans And Cayuga Counteis, N.Y. &c." Philadelphia: S. Geil & J.L. Delp, 1859. Folding travel map on banknote paper. 23 x 28. Lithograph. Hand color. Cf. Dow: 905.

A map of the "vicinity of Niagara Falls," including on both the American and Canadian side. This was a folding travel map intended for tourists and emigrants to the region. Information shown includes some topography, roads, settlements, and property survey divisions. This data is clearly presented and highlighted by bright color. This striking map is surrounded by thirteen vignettes showing scenes of the Falls and other regional sites, and at the top is a handsome title cartouche featuring a male and female Native American.


328. B. Hess. "The Falls of Niagara. `From the Canada Side.'" New York: Currier & Ives, 1859. Large folio; 18 1/8 x 27 3/4. Lithograph by Charles Parsons. Hand color. Conningham: 1828; Dow: 913; cf. Eland: 119; Gale: 1986; cf. Seibel1: 26.

Currier & Ives reissued this print in 1873.


329. "Niagara By Moonlight." New York: Currier & Ives, 152 Nassau Street, 1859-72. Medium folio; 9 3/8 x 15 7/8. Lithograph. Hand color. Conningham: 4454; Gale: 4838; Seibel1: 26.

A close copy of Regis Gignoux's painting of Niagara (cf. [325]).


330. "Niagara Falls, From Goat Island." [Night] New York: Currier & Ives, 152 Nassau Street, 1859-72. Medium folio; 9 1/4 x 15 3/4. Lithograph. Hand color. Conningham: 4458; Gale: 4842; cf. Seibel1: 26.

A slightly reduced version of [329] "Niagara By Moonlight." It possibly was printed from the same stone.


331. "Niagara Falls, From Goat Island." [Day] New York: Currier & Ives, 152 Nassau Street, 1859-72. Medium folio; 9 3/8 x 15 3/4. Lithograph. Hand color. Adamson2: 58; Conningham: 4457; Gale: 48423; cf. Seibel1: 26.

This print has the same image as the preceding print [330], but it is colored differently to present a daytime scene. It possibly was printed from the same stone as the preceding two prints [329, 330].


332. H.G.H.. "Niagara Falls, From Goat Island." Portland, Me.: George Stinson & Co., ca. 1860-70. 9 1/4 x 15 1/2. Lithograph.

A copy of the Currier & Ives' nighttime scenes [329, 330].


333. "20. Der Niagarafall." Published in Esslingen near Stuttgart by F.J. Schreiber ("Berlag von F.J. Schreiber in Gslingen bei Stuttgart"). For Walther's pictures for visual instruction ("Walther, Bilder zum Unschauungs-Unterricht III."). Probably 1850s or '60s. 10 5/8 x 14. Chromotypograph.

A print used for "visual instruction," probably for students in Germany.


#334
334. Hoster. "Exercices De L'Echelle Perilleuse. Executes par M. Hanlon, en Amerique, sous le Pont suspendu de la Cataracte du Niagara." Probably 1850s or '60s. 15 x 20 1/8. Lithograph. Hand color.

"Exercises on the Perilous Ladder. Executed by M. Hanlon, in America, near the Niagara Suspension Bridge." This poster probably was used to advertise a performance by M. Hanlon in France rather than at Niagara. This is indicated both by the language of the poster and by the fact that United States flags are shown on both sides of the river, a mistake that is unlikely for a poster issued for a North American performance. It is possible that M. Hanlon never performed his "Exercises on the Perilous Ladder" at Niagara, but just made the claim to boost his reputation.


335. "The Japanese Embassadors Viewing Thorpe's Picture Of Niagara Falls." From Harper's Weekly. New York: July 7, 1860. Half page illustration: 7 x 9 1/4. Wood engraving. Eland: 166; Seibel1: 48.


Prints from The Illustrated London News. London: August 25, 1860. Wood engravings, except as noted.

The August 25, 1860 issue of The Illustrated London News was particularly focused on Niagara Falls and the Prince of Wales'--later Edward VII--visit there during his tour of Canada in 1860. This issue had a supplement on Niagara Falls, which included a special double page, color print. Most of the prints are by George Henry Andrews (1816-1898), an Englishman who accompanied Edward on his tour.


340. H. Ingram. "Farina, With a Man on His Back, Crossing The Niagara On A Tightrope.-From A Sketch Taken By The Late Master H. Ingram, From Clifton House Balcony, August 29, 1860." From The Illustrated London News. London: October 6, 1860. Half page illustration: ca. 5 7/8 x 9 3/8. Wood engraving. DeVolpi: 52; Seibel1: 55.


341. George H. Andrews. "Niagara Falls From The American Side. From A Drawing By Our Special Artist, G. H. Andrews." From Supplement to The Illustrated London News. London, October 27, 1860. 11 x 17 3/8. Chromolithograph. Seibel1: 1.


Prints by Gardner D. Engleheart. From Journal of the Progress of H.R.H. the Prince of Wales, Through British North America. London, 1860. Privately printed. 4 1/4 x 6 7/8. Tinted lithographs by Day & Son.

Engleheart was the private secretary to the Duke of Newcastle and he accompanied the royal party on its tour of Canada.


Prints from John H. French's Historical and Statistical Gazateer of New York State. Syracuse: R.P. Smith, 1860. Steel engravings. Dow: 914.

The print of the suspension bridge is a reprint of an earlier, separately issued souvenir [272].


Prints in Hunter's Panoramic Guide from Niagara to Quebec by William S. Hunter, Jr.. Montreal: Hunter & Pickup, 1860. Octavo guide book. Wood engravings by John Andrew. Kotick: 39.

Another edition of Hunter's Panoramic Guide, essentially unchanged from the 1857 edition [305-308].


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Impressions of Niagara

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