An outstanding two-color 1856 lithograph view of Lewiston, Maine by John D. Bachelder, the famous chronicler of the Battle of Gettysburg. The view looks on Lewiston from Prospect Hill, a high point to the west, across the Androscoggin River, then the property of Isaac Haskell. Bachelder presents Lewiston as a bustling city, with significant mill and industrial activity, set amongst the natural splendor of rural New England. Ten specific locations are identified numerically, corresponding to numbered tables below the map. Today Lewiston is Maine's second largest city.
Bachelder Cuts his Teeth on New England SceneryThis is no. 14 of a series of New England town and scenery views published by John D. Bachelder in 1856. The view follows Bachelder's brief career as a colonel in the Pennsylvania State Militia. Still a young man, Bachelder left the lucrative military position to pursue his passion as a landscape artist. Returning to his native New Hampshire, he completed a series of twenty views of New England entitled Album of New England Scenery. It was during this period, from 1853 to 1860, that Bachelder developed the skills at landscape art and viewmaking that would serve him so well in his attempts to minutely capture the Battle of Gettysburg.
Publication History and CensusThe view was drawn by Bachelder in 1856. It was subsequently engraved by Endicott and Company of New York. This view is uncommon. The OCLC identifies two institutional holdings, at the Boston Atheneum and at the American Textile History Museum Library. We have identified one further holding at the Yale University Art Collection. Scarce to the market.
John Badger Bachelder (September 29, 1825 – December 22, 1894), also spelled Batchelder, was an American portraitist, landscape artist, lithographer, cartographer, and photographer. In his life he was best known as the preeminent expert on the 1863 Battle of Gettysburg, of which he produced the most iconic representation. Bachelder was born in Gilmantown, New Hampshire and was educated at Captain Alden Partridge's Military School in Pembroke. Upon graduating he relocated to Reading, Pennsylvania, where he took a position at the Pennsylvania Military Institute. He became the head of that institution in 1851. In 1852 he was appointed colonel of the Pennsylvania State Militia. Around 1853 Bachelder returned to New Hampshire to pursue a career as an artist, publishing various views of New England towns; 1854 found him living and working in Manchester, and perhaps this is what led him to produce four views of the city - more than any other place he depicted in print. Bachelder's military training influenced his art materially and he developed a lifelong interest in depicting the dynamics of great battles on canvas. When the American Civil War broke out in 1861, Bachelder was working on a view of the Revolutionary War battle of Bunker Hill. From his work on the Bunker Hill view, Bachelder noted how difficult it was to reconstruct a battle long after the events when most major participants had passed on. He saw an opportunity in the outbreak of the Civil War and attached himself to the Union Army of the Potomac in the hopes of being present at a major battle. He was welcomed on the battlefield, where his accurate drawings helped the generals to better understand the conflicts in question. His most significant work his an impressive bird's-eye view of the Battle of Gettysburg. Though not present at the battle, he was there day's after, and claims to have interviewed the commanders of every regiment and battery in the Army of the Potomac, as well as thousands of wounded soldiers on both sides of the conflict. His work was so precise and significant he was commended to President Lincoln and later took a position as Superintendent of Tablets and Legends for the Gettysburg Battlefield Memorial Association. He is responsible for the monuments and battlefield markers, both Union and Confederate, that can still be noted today at Gettysburg. He also organized reunions and battlefield tours. Bachelder died of Pneumonia in Hyde Park, Massachusetts, in 1894. He is interred in his family plot in Nottingham, New Hampshire. Learn More...
Endicott and Company (fl. c. 1828 - 1891) was a New York based family run lithography firm that flourished throughout the 19th century. The firm was founded by George and William Endicott, brothers who were born in Canton, Massachusetts. George Endicott (June 14, 1802 - 1848) trained as a lithographer under Pendleton Lithography from January of 1826. He later worked as superintendent of Senefelder Company until the summer of 1828. Afterwards, in 1830, he relocated to Baltimore and partnered with Moses Swett. Endicott and Swett relocated to New York City in December of 1831. They remained partners until July of 1834 when the relationship dissolved. George set up shop on his own account at 359 Broadway. William Endicott (1815 - 1851), George's younger brother of 14 years, joined the firm in 1840 and was made a partner in 1845, after which the name of the firm was changed to G. and W. Endicott. George Endicott died shortly afterward, in 1848, but William continued operating the firm as William Endicott and Co. until his own 1851 death at just 35 years. The firm was carried on by his widow Sara Munroe Endicott until it was taken over by her son, Francis Endicott, who ran the firm from 1852 to 1886. George Endicott, Jr. subsequently ran the firm from 1887 to 1891. Peters, in his important work on American lithography America on Stone writes "it is hard to summarize the Endicotts. They did everything and did it well . . . [they] worked with and for Currier and Ives, yet in spite of all that much of their work lacks real individuality." The Endicott firm was responsible for many 19th century views and plans of New York City and state as well as plans of Sacramento, California, and the Midwest. Learn More...
Bachelder, J., Album of New England Scenery, (New York) 1856.
Very good. Light edge soiling.
OCLC 57745370. Yale University Art Collection, 1946.9.1765. Reps, John, Views and Viewmakers of Urban America (University of Missouri, Columbia, 1984), #1219.