1858 Hayward Bird's-Eye View of Danbury, Connecticut as a Hatter's Center

This is a c. 1858 lithograph bird's-eye view of Danbury, Connecticut, by George Hayward. The view illustrates Danbury at its height as a major center of hat making.

A Closer Look

The low-oblique view looks westward on Danbury from Hayes' Hill, a highpoint east of the city center. In the foreground sheep lounge on a bucolic hillside, while a post chaise carriage trundles along a fenced country lane. Bountiful fields spread out behind, eventually giving way to the urban center of Danbury. Soaring steeples represent the New Congregational Church and the Methodist Church, numbers 15 and 10, respectively. Some 25 locations are identified numerically, quite a few of which emphasize Danbury's history as a hat-making center.

Hat City

In the 19th century, Danbury, Connecticut, solidified its reputation as the 'Hat City,' becoming a notable center for hat making in the United States. The hat industry's roots in Danbury can be traced back to 1780, but it was during the 1800s that the city experienced a period of remarkable growth. With proximity to major waterways and the New York markets, Danbury was ideally positioned for the industry, and the city saw a dramatic increase in the number of hat factories, making it the nation's foremost producer. At its peak, Danbury was producing more than 5 million hats per year, drawing labor from not just the local population, but also immigrants from Europe who brought skilled craftsmanship, transforming the city into the epicenter of American hat manufacturing. The impact of this industry was so substantial that it significantly shaped Danbury's economic, social, and cultural landscapes during the 19th century.

American Bird's-Eye City Views

The tradition of the bird's-eye city view emerged in the United States in the middle part of the 19th century and coincided with the commercial development of lithographic printing. Before the rise of lithography, the ability to own and display artwork in the home was largely limited to the extremely wealthy, the advent of lithographic printing made it possible for everyone to own visually striking artwork. A robust trade developed in portraits of political leaders, allegorical and religious images, and city views.

City views were being produced in the United States as early as the 1830s, but the genre exploded after the American Civil War (1861 - 1865). Bridging the gap between maps and pictures, most 19th century American bird's-eye views presented cities to the public from high vantage points. Some were imagined, but others were drawn from hot-air balloons or nearby hills. The presentation, combining high elevation, commercial interest, and new printing technology, created a uniquely American art form, as described by historian Donald Karshan

Some print connoisseurs believe that it was only with the advent of the full-blown city-view lithograph that American printmaking reached its first plateau of originality, making a historical contribution to the graphic arts. They cite the differences between the European city-view prints and the expansive American version that reflects a new land and a new attitude toward the land.

The vogue for bird's-eye city views lasted from about 1845 to 1920, during which period some 2,400 cities were thus portrayed, some multiple times. Although views were produced in many urban centers, the nexus of view production in the United States was Milwaukee, Wisconsin. The major American viewmakers were Stoner, Wellge, Bailey, Fowler, Hill, Ruger, Koch, Burleigh, Norris, and Morse, among others.

Publication History and Census

This view was drawn and engraved by the New York artist and lithographer George Hayward. It was published around 1858. We see no publisher identified, but Reps points to C. E. Smith and Van Zandt of New York. Very Rare. Reps notes but one example, located in the Danbury Scott-Fanton Museum and Historical Society. Not in OCLC.