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1856 Bachelder View of Lynn, Massachusetts
LynnMass-bachelder-1856$500.00
Title
Lynn, Mass. East View from Near High Rock.
1856 (dated) 13.5 x 17 in (34.29 x 43.18 cm)
1856 (dated) 13.5 x 17 in (34.29 x 43.18 cm)
Description
One of Bachelder's earliest works, this is an 1856 John Badger Bachelder view of Lynn, Massachusetts. Looking east over the city, houses, churches, and factories are illustrated. Eight locations within the view, including the high school and the residence of the 'Hutchinson Family' vocalists, are numerically identified along the bottom border and correspond with a small index situated to the left and right of the title. The city seal appears below the bottom border as well and Bachelder's printed signature is included to the right.
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 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,
Historical Context
When this view was published, Lynn was experiencing a city-wide transition from a sleepy coastal town into a seaside resort. Estates and beach cottages were built along the shoreline throughout the mid-19th century, turning Lynn into a fashionable summer destination. Today, many of these estates are part of the National Register-listed Diamond Historic District.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. While before the rise of lithography, the ability to own and display artwork in the home was largely limited to the extremely wealthy, 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 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 created by John Badger Bachelder from a daguerreotype by G. Hill, lithographed by Endicott and Company, and published by Bachelder in 1856. We note a single OCLC cataloged example at the Boston Athenaeum, and one other example at the National Museum of American History. Rare on the private market.CartographerS
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. More by this mapmaker...
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...
Condition
Very good.
References
National Museum of American History 2013.0309.05. OCLC 191908022.