1878 Stoner / Ruger Chromolithograph Bird's-Eye View of Wiscasset, Maine

A striking two-color 1878 chromolithograph bird's-eye view of Wiscasset, Maine, issued by J. J. Stoner and Albert Ruger. This is the only known bird's-eye view of Wiscasset.

A Closer Look

The view looks northwest on Wiscasset from an imagined high point above Wiscasset Bay - a natural widening of the Sheepscot River. The railroad line and Wiscasset Railroad Bridge (from 1871 accommodating the Knox and Lincoln Railroad) appears in the foreground. The wide Main Street and subsequent bridge across the Sheepscot River dominate the town - now part of historic Highway 1. At left we can see White's Island, now abandoned but then connected to the town by a large bridge and home to several lumber processing plants run by the Hobson family. Behind the town, rolling hills trail off into the distance.

Wiscasset

According to the sign at the town entrance, Wiscasset is the 'prettiest village in Maine'. A small town on a natural widening of the Sheepscot River, Wiscasset was first settled by Europeans in 1660. It was then abandoned in the late 17th century before being resettled in 1730 and incorporated in 1760 as Pownalborough (after Governor Thomas Pownall). During the American Revolutionary War (1775 - 1783) it became a seaport and center of shipbuilding, fishing, and lumber milling. The town's prosperity led to the construction of multiple large and impressive homes, most of which still stand. In 1802, the town changed its name to 'Wiscasset' the original Abenaki name. Today, it is a popular stop for travelers on U.S. Route 1, known for its historical architecture, art galleries, and delicious fresh lobster rolls.

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.

Chromolithography

Chromolithography, sometimes called oleography, is a color lithographic technique developed in the mid-19th century. The process involved using multiple lithographic stones, one for each color, to yield a rich composite effect. Oftentimes, the process would start with a black basecoat upon which subsequent colors were layered. Some chromolithographs used 30 or more separate lithographic stones to achieve the desired product. Chromolithograph color could also be effectively blended for even more dramatic results. The process became extremely popular in the late 19th and early 20th centuries when it emerged as the dominant method of color printing. The vivid color chromolithography produced made it exceptionally effective for advertising and propaganda imagery.

Publication History and Census

This view was drawn by Albert Ruger and published by J. J. Stoner in 1878. Reps notes a single example, at the Lincoln County Cultural and Historical Association in Wiscasset. We note additional examples at the Library of Congress and the Osher Map Library. No known market history.