1868 (undated) 8.5 x 30.5 in (21.59 x 77.47 cm)
An altogether extraordinary hand colored map of New York City's Central Park and the Upper West Side prepared and printed for inclusion in the Thirteenth Annual Report of the Board of Commissioners of the Central Park. This is an extremely rare variant on the map of Central Park that originally appeared in the 1862 Comissioner's Report
. This variant lacks the title, which is printed at the top of the 1862 map, but depicts more of the surrounding area, especially the Upper West Side, and features a decorative border. The map depicts the park as a whole and includes pathways, lakes, buildings, individual trees, rocks, and elevation measurements. The streets and avenues surrounding the park as well as the tramways that existed at the time are also noted.
The inclusion of the Upper West Side, specifically 8th Avenue (Central Park West) and 9th Avenue (Columbus Avenue) is particularly significant. The park commissioners recognized that the construction of Central Park would transform the Upper West Side plateau into some of the city's most valuable real estate. Though the grid structure of the Upper West Side had been laid out in 1811, when this map was made the Upper West Side plateau was sparsely inhabited and largely given over to farms and squatter communities. The streets and avenues shown here existed only in concept, making this, in essence, the first specific map of the Manhattan's Upper West Side.
This extraordinary map reveals Central Park as conceived by the Landscape Architects, and indeed 'artists,' Vaux and Olmstead. Vaux and Olmstead were awarded the task of designing Central Park in 1853 by the City Common Council. Olmstead's vision drove the overall design while Vaux concentrated his attentions on bridges, buildings, and other structures within the park. The creation of Central Park, which was to consist of some 800 acres of public forest, pathways, promenades, lakes, bridges, and meadows, was a seminal moment in civic urban design. The park itself was designed as a whole with every tree, pond, and bench meticulously planned. Olmstead wrote: 'Every foot of the parks surface, every tree and bush, as well as every arch, roadway, and walk and been placed where it is for a purpose.'
Historian Gloria Deak writes,
'There was a staggering amount of work to be done to transform the area into a blend of pastoral and woodland scenery. This involved the design and construction of roadways, tunnels, bridges, arches, stairways, fountains, benches, lamp posts, gates, fences and innumerable other artifacts. It also involved the supervision of an army of about five thousand laborers…Olmsted, to whom most of the credit goes, insisted on seeing the multidimensional project as a single work of art, which he was mandated to create. For this purpose, he ventured to assume to himself the title of ‘artist.''
Today, because of Vaux and Olmstead's efforts, New York Yorkers, ourselves included, have the privilege of enjoying what is, perhaps, the finest example of a planned urban public recreation area in the world.
Frederick Law Olmstead (April 26, 1822 - 1903) was an American journalist, landscape designer, and forefather of American landscape architecture. Born April 26, 1822 in Hartford, CT, Olmstead never attended college, instead taking work as a seaman, merchant, and journalist until 1848, when he settled at Tosomock Farm in Staten Island, New York. On June 13, 1859 Olmstead married Mary Cleveland, the widow of his brother John and adopted her three children. Olmstead's fateful introduction to landscape design occurred in 1850, when a journalism assignment took him to England to visit public gardens. Inspired by Joseph Paxton's Birkenhead Park, he went on to write and publish Walks and Talks of an American Farmer in England. This led to additional work with the New York Daily Times (The New York Times) who sent him on an extensive tour through Texas and the American South from 1852 to 1857. It was after this trip that Olmstead wrote his popular criticism of slave economies, A Journey Through Texas. In 1858, Olmstead, along with his design partner, the architect Calvert Vaux, entered and won New York City's Central Park design competition. Though it was their first major landscape design project, the construction of Central Park from 1857 to 1866, created what many consider to be the finest planned urban recreation area in the world. They continued collaborating on such projects as Prospect Park in Brooklyn, Chicago's Riverside Park, the Buffalo park system, Milwaukee's Grand Necklace, and the Niagara Reservation. These were not just parks, but entire systems of parks and interconnecting parkways (which they invented) linking cities to green spaces. In 1883, Olmstead founded the Brookline, MA based Fairsted Company, the first landscape architecture firm in the United States. It was from this office he designed Boston's Emerald Necklace, the campus of Stanford University, the University of Chicago, the 1893 Columbian Exposition, and many other public areas. In 1895 Olmstead retired to Belmont, Massachusetts. Three years later, in 1898, he was admitted McLean Hospital, whose grounds he had designed several years before. He remained a resident and patient there until he passed away in 1903. Olmstead is buried in the Old North Cemetery, Hartford, Connecticut.
Calvert Vaux(1824 - 1895) was a British architect and landscaper who is best remembered for his co-design, with Frederick Olmstead, of New York City's Central Park. Born in London in 1824, little is known of his early life, though it is recorded that, at 9 he was apprenticed to London architect Lewis Nockalls Cottingham, a proponent of the Gothic Revival Movement. Vaux worked for Cottingham until he was 26 years old, honing his skills and building a reputation as a skilled draftsman. During an exhibition of his watercolors in 1851, Vaux caught the attention of landscape designer Andrew Jackson Downing. Downing was looking for a partner to fulfill his revolutionary vision of urban architectural-landscaping. Dowing recruited Vaux to design buildings, bridges, and structures, while he focused on the overall landscape design. Vaux accompanied Downing to the United States where, in 1854, he gained U.S. citizenship and founded the American Institute of Architects. Vaux's partnership with Downing lasted approximately two years and resulted in a number of significant works, including the grounds of the White and Smithsonian Institute in Washington D.C. In 1852 Downing passed away in a tragic accident. At the time Downing was working on a landscape design for New York City's Central Park. In a decision that would forever change the American urban landscape, Vaux called in the fledgling landscape designer Frederick Olmstead to fill Downing shoes. Though Central Park was their first joint project, Vaux and Olmstead proved a magical combination, creating what many consider to be the finest planed urban recreation area in the world. Following the completion of Central Park, Vaux and Olmstead formed an official business partnership and went on to design Prospect Park in Brooklyn and Morningside Park in upper Manhattan. They planned one of the first suburbs in Chicago, Riverside, and were commissioned to design parks for Buffalo, NY, Milwaukee, WI, and Rockwood Park in Canada, among others. Vaux ended the partnership in 1872 and went on to collaborate with George Kent Radford and Samuel Parsons. However, in 1889 he again joined forces with Olmstead to design Downing Park, as a memorial to his mentor. Vaux tragically passed away on November 19, 1895, when he drowned in Brooklyn, NY.
Napoleon Sarony (1821-1896), Henry B. Major and Joseph F. Knapp founded the Sarony, Major & Knapp publishing firm in 1857. The firm specialized in portraits, government reports, book illustrations, and architectural and scientific plates. Sarony, Major and Knapp remained in business for ten years finally closing its doors in 1867 when Napoleon Sarony left the firm to follow his interest in photography. In addition to their public sector business, the firm also printed most official maps of New York City, including, between 1860 and 1867, some of earliest maps of Central Park.
Very good condition All in all the condition of this map is extraordinary. Minor discoloration and wear on original fold-lines. Blank on verso.
Deák, Gloria Gilda. Picturing America: 1497-1899. Vol. 1. Princeton, New Jersey: Princeton University Press, 1988. pp. 535-536; Peters, Harry T. America on Stone. U.S.: Doubleday, Doran, 1931. pp. 350-356. (Sarony, Major & Knapp).