1860 Bennett / Currier and Ives View of West Point, New York, U.S. Military Academy
WestPointCurrierIves-bennett-1860$3,200.00
Title
West Point, from Phillipstown. To Colonel S. Thayer Superintendant of the U.S. Military Academy, West Point...
1860 (undated) 17.25 x 22 in (43.815 x 55.88 cm)
1860 (undated) 17.25 x 22 in (43.815 x 55.88 cm)
Description
This is a scarce c. 1860 Currier and Ives view of the U.S. Military Academy at West Point, New York, based on an earlier painting by William James Bennett.
At this time, the campus largely consisted of a North and South Barracks and an academic building known simply as 'the Academy.' These buildings and most of the records of the Academy's early history were lost in a fire in 1838. However, the main building depicted here is most likely the West Point Hotel, which housed alums, visiting dignitaries, and cadets' families, among others. Being built in 1829, it would have been very recently constructed when Bennett made his painting (demolished 1932).
Colonel Sylvanus Thayer (1785-1872), himself a graduate of the Academy, became superintendent in 1817 and undertook a series of reforms, including a standardized and rigorous four-year curriculum with an emphasis on engineering, admission based on merit, strict discipline, and a strong ethical code. The results were dramatic, and by the time Thayer ended his tenure as superintendent in 1833, the Academy thrived on excellence in leadership, academics, and military training. Many of the cadets trained during Thayer's tenure were leading officers during the Mexican-American War (1846-1848) and the American Civil War (1861-1865).
Over its storied history, West Point has played a pivotal role in shaping the course of American history, producing distinguished leaders such as Ulysses S. Grant, Dwight D. Eisenhower, and Douglas MacArthur. Its rigorous curriculum blends academic study with military training, fostering a culture of discipline, integrity, and service. Today, West Point stands as a testament to the enduring commitment of the United States to educate and inspire the next generation of military leaders.
Because of the multiple printings of the view, institutional catalog listings are somewhat inconsistent, but in any printing the view is quite rare and no examples are listed in the OCLC. We have only been able to locate two examples of the c. 1860 Currier and Ives printing in institutional collections, at the Metropolitan Museum of Art (dated by them 1831 but printed by Currier and Ives and therefore c. 1860) and the National Maritime Museum in Greenwich, London.
A Closer Look
This view is oriented towards the west, looking at the U.S. Military Academy from Philipstown (spelled here with two 'l's), just across the Hudson River. The bucolic scene presents the Academy set amidst mountains and forests overlooking the teeming Hudson River, flush with boats (including a paddle steamer). The buildings seen on the flat land ('the Plain') atop the hill towards the left would have mostly been constructed after the American Revolutionary War (1775 - 1783). However, some structures from the original fort of that era remained. (The Fort was originally named Fort Arnold after Benedict Arnold, and then Fort Clinton after the general's failed attempt to surrender the fort to the British). The land jutting out into the bend in the Hudson River towards the right is Constitution Island, which was also the site of a fort during the Revolutionary War and is the only part of the U.S. Military Academy Reservation on the east shore of the Hudson River.At this time, the campus largely consisted of a North and South Barracks and an academic building known simply as 'the Academy.' These buildings and most of the records of the Academy's early history were lost in a fire in 1838. However, the main building depicted here is most likely the West Point Hotel, which housed alums, visiting dignitaries, and cadets' families, among others. Being built in 1829, it would have been very recently constructed when Bennett made his painting (demolished 1932).
U.S. Military Academy at West Point
The United States Military Academy at West Point has a storied history as one of the world's most prestigious institutions for military education. Proposed by Alexander Hamilton during the Quasi War (1798 - 1800) and established in 1802 by President Thomas Jefferson, West Point was envisioned as a center for training gentleman officers for the fledgling United States Army. The early years of the Academy were tumultuous, and there were few standards with regard to the age of cadets or their length of study. The War of 1812 convinced Congress to develop the Academy along more formalized lines to train a professional officer corps.Colonel Sylvanus Thayer (1785-1872), himself a graduate of the Academy, became superintendent in 1817 and undertook a series of reforms, including a standardized and rigorous four-year curriculum with an emphasis on engineering, admission based on merit, strict discipline, and a strong ethical code. The results were dramatic, and by the time Thayer ended his tenure as superintendent in 1833, the Academy thrived on excellence in leadership, academics, and military training. Many of the cadets trained during Thayer's tenure were leading officers during the Mexican-American War (1846-1848) and the American Civil War (1861-1865).
Over its storied history, West Point has played a pivotal role in shaping the course of American history, producing distinguished leaders such as Ulysses S. Grant, Dwight D. Eisenhower, and Douglas MacArthur. Its rigorous curriculum blends academic study with military training, fostering a culture of discipline, integrity, and service. Today, West Point stands as a testament to the enduring commitment of the United States to educate and inspire the next generation of military leaders.
Publication History and Census
This view was printed by Currier and Ives in New York, c. 1860. It is based on an earlier aquatint print, published in 1831 by Parker and Clover, itself based on a painting by William James Bennett. Currier and Ives acquired the plate and issued one of their rare copperplate engraved prints, as opposed to their typical lithographs (the faint text 'Coloured by Hill' can be seen at bottom-left, a holdover from the original engraving).Because of the multiple printings of the view, institutional catalog listings are somewhat inconsistent, but in any printing the view is quite rare and no examples are listed in the OCLC. We have only been able to locate two examples of the c. 1860 Currier and Ives printing in institutional collections, at the Metropolitan Museum of Art (dated by them 1831 but printed by Currier and Ives and therefore c. 1860) and the National Maritime Museum in Greenwich, London.
CartographerS
William James Bennett (1787 - May 14, 1844) was a British-born American painter and engraver best known for his aquatint views of landscapes and cities. Bennett was born in London and studied at the Royal Academy, under William Westall (1781 - 1850), among others. He gained a position with the medical staff of the army to undertake sketches during military assignments in Egypt and the Mediterranean. Bennett came to the United States in 1826 and quickly established himself as a talented artist, exhibiting a variety of works and receiving a positive reception. He joined the recently-established National Academy of Design and prepared multiple paintings and prints of scenes of New York City. Bennett also undertook a series of paintings of scenes in Upstate New York, including a series on Niagara Falls, which were then printed as aquatints, as well as a series of eighteen aquatint views of American cities. In 1988, Gloria-Gilda Deák, an expert on American views and prints, published an exhibition catalog for the New York Public Library titled William James Bennett: master of the aquatint view, which remains an invaluable resource on his life and work. More by this mapmaker...
Nathaniel Currier (March 27, 1813 - November 20, 1888) was an American lithographer best known as part of 'Currier and Ives'. Born in Roxbury, Massachusetts, Currier attended public schools until fifteen, when he apprenticed with the Boston lithographic firm of William and John Pendleton. The Pendletons were the first successful lithographers in the United States and were responsible for educating the next generation of lithographic printers. In 1833, Currier left the Pendleton's shop to work with M.E.D. Brown in Philadelphia. A year later, Currier moved to New York City, where he planned to start a business with John Pendleton. When Pendleton backed out, Currier found a new partner, founding 'Currier and Stodart', but the concern survived for just a year. Currier opened his own lithographic studio in 1835 as an eponymous sole-proprietorship. He initially printed the standard materials, including letterheads, sheet music, and handbills. Later in 1835, Currier began issuing current event imagery. Some of his news printers were issued in the New York Sun. By 1840, Currier had moved away from 'job printing' and further toward fine-print publishing. His Awful Conflagration of the Steam Boat 'Lexington', was published in the Sun that year, as well as being separately issued. James Ives (March 5, 1824 - January 3, 1895) began working under Currier in 1850 as a bookkeeper. Ives contributed greatly to the growth of the business, particularly as a manager, marketer, and businessman. Ives became a full partner in 1857, and the firm was renamed 'Currier and Ives'. Currier and Ives produced over 7,500 images and is best remembered for its popular art prints, particularly Christmas scenes and landscapes. They also produced banners, illustrations of current events, views, and historical scenes. Currier retired in 1880 and turned the business over to his son Edward. Currier married Eliza West Farnsworth in 1840, with whom he had one child Edward West Currier. Eliza died in 1843. Currier remarried to Lura Ormsbee in 1847. Other than being a lithographer, Currier also served as a volunteer New York City fireman during the 1850s, and he liked fast horses. Learn More...
James Merritt Ives (March 5, 1824 - January 3, 1895) was an American businessman, bookkeeper, and lithographer who oversaw the business side of the famed lithographic firm Currier and Ives. Born in New York City, Ives was a self-trained artist who began working at the age of twelve. He married Caroline Clark (1827 - 1896) on June 24, 1846, who was the sister-in-law of Nathaniel Currier's brother, Charles Currier. In 1852, Nathaniel Currier (March 27, 1813 - November 20, 1888) hired Ives as the bookkeeper for his firm N. Currier, Lithographer, on Charles's recommendation. Ives' talent for art and his knowledge of the artistic world soon became apparent to Currier, who valued his insights as well as the business acumen. Currier offered Ives a full partnership in 1857. They renamed the firm 'Currier and Ives' with Ives as the general manager. Ives began to play a role in selecting artists and prints to publish, and was responsible for pursuing publication of scenes of middle-class America that made the firm famous. After Ives died in 1895, his sons continued to work with Currier's son to manage the firm until it was liquidated in 1907. Learn More...
Condition
Very good. Light toning. Closed margin tear professionally repaired on verso.
References
Metropolitan Museum of Art Object No.: 63.550.524. Royal Greenwich Museums PAI0374.