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36 pen and ink drawings, and 3 with watercolour and wash, on highly-polished wove paper with a pale blueish tone. Loper and his yacht Palmer, during the Civil War Loper had been appointed assistant agent to the War Department with responsibility for procuring troop transports; and Capt. Lawson, controversial Boston "copper baron" and stockbroker, and historian of the America's Cup. Worth (1834-1917) was one of America's most prolific comic illustrators of the nineteenth century, "a comic and genre artist, he sold his first comic sketch to Nathaniel Currier in 1855, and later became one of the most popular of the artists whose work was lithographed by Currier & Ives" (Groce & Wallace, Who Was Who in American Art). Lithograph printed in colour (image 50 x 84 cm; sheet 63 x 94,5 cm) after a drawing by Parsons; small tear in right margin, anciently laid-down but in fine condition.
Slightly rubbed at the extremities, front joint more so and starting towards the tail, headcap chipped, tan-burn to the free endpapers from the turn-ins, slight yellowing at the margins, overall very good. Other yachting notables who participated in the cruise, and receive humorous mentions are James Gordon "Jim" Bennett, at the time Commodore of the NYYC, and his schooner yacht Henrietta, in which Bennett had just won the first recorded transatlantic yacht race initiating the new era of escalating personal feuds, and shipyard experimentation in the search of competitive advancement; shipbuilder and inventor Richard F.
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Three sketches are scenes in the Great South Bay L[ong] I[sland] on board the Evelyn." Superbly rendered and witty visual record of the misadventures of a party of New Yorkers afloat with the New York Yacht Club on their annual competitive cruise, documenting the moment when the old keen, but gentlemanly, spirit of competition began to shade over into more intense, professionalized rivalries.
The accompanying sketches were actual incidents of the cruise.
He was never an full-time employee of Currier & Ives, also publishing in various of Harper's titles - the masthead of Harper's Weekly is signed with his "TW" monogram - and many of the plethora of popular humorous and topical magazines of the time, such as Puck, and Frank Tousey's Judge, also providing the illustrations for Harper's Household Edition of Dickens's Old Curiosity Shop. Before serving as the art director for Harper's Weekly and Magazine from 1863 to 1889 and as such being instrumental in the development of the art of American illustration, Charles Parsons (1821-1910) apprenticed at 15 to the New York lithographic studio of George Endicott (1802-1848). Tight, bright, clean and especially sharp-cornered.
Through Endicott's studio he worked directly for the famous firm of Currier & Ives, and deserves credit for many of the best marine lithographs ever produced.
Before he left for Harper's he was made a full partner and it was undoubtedly his marines which earned him the position and drew the most public attention.
He chose to revisit nautical subjects when he returned to watercolours and lithography in retirement from Harper's.
Parsons was an associate member of the National Academy of Design and a member of the New York Watercolor Society.
The United State Mail Steamer Fulton, commanded by James A. The lithograph, a cartoon type illustration, is of a poor old trotting horse which has been uncoupled from its 2-wheeled sulky and is being rubbed down, brushed and smartened up for the next race by 3 stable-lads, whilst being fed whisky, watched over by driver who has the most amazing dark glasses.
Wotton, travelled in the 1850s and 1860s across the Atlantic Ocean, from Le Havre to New York through Southampton to deliver passengers and mails to the United States Quartermaster. A splendid original coloured lithograph by Thomas Worth published by Currier & Ives in 1875. Owing to its large size, the print has some tears which have been professionally repaired, and are in the main completely hidden by the mount; there is some slight browning to the paper, but the overall appearance of the lithograph is excellent Size: 17 x 12 Inches .
Numerous reports about her voyages were published in The New York Times in the 1860s. The pair "Creating a segregated community of black Americans, Darktown prints showcased a full array of negative stereotypes of former slaves who moved north after the Civil War.
An advertisement from the 15th March 1856 quoted the price of passage for First Cabin at 0 and for Second Cabin at . A pair of full coloured lithographs from the Darktown series depicting coloured folk in rather cruel or ridiculous situations. Portrayed as mentally slow, physically grotesque, and morally inept, African Americans became comical figures to the primarily white consumers of Currier and Ives prints.