Raoul Varin

Chicago in 1857

1930

A beautiful turn-of-the-century lake view of Chicago by an American artist known for his Texas landscapes. Etching with drypoint on watermarked Umbria laid paper with deckle edges, 7 1/4 x 10 7/8 inches (182 x 275 mm), full margins. Signed and numbered 4/25 in pencil, lower margin. In good condition with adhesive residue at the sheet edges on the verso, does not show through to the recto. A lovely Lake Michigan landscape...

A view of lower Manhattan's Cherry Street as it appeared at the turn of the 20th century. One of only 5 proof impressions. New York: 1904. Drypoint with aquatint on watermarked, cr...

The hand-colored print titled "New York," published in 1842, presents a detailed and picturesque view of the cityscape of New York as it appeared in the early 19th century. The title "New York" is centered below the image. Below the title, the text reads "LONDON: Published by Thomas Kelly. 17, Paternoster Row," indicating the publisher and location of publication in London. Additionally, the text "S. Davenport. Sculp." is printed beneath the image, signifying that the engraving was done by S. Davenport. Description of the Image: - **Perspective**: The image provides a broad view, likely from an elevated point, showing the expanse of the city. The perspective gives a sense of depth, with the street extending into the distance. - **Central Street**: A wide, unpaved street runs down the center of the image, flanked by rows of buildings on both sides. This street is bustling with various activities. - **Buildings**: The buildings are primarily two to three stories tall, featuring a mix of architectural styles typical of the period. Some have distinct red roofs, adding a touch of color to the scene. - **Churches**: There are several prominent churches with tall spires visible in the background, indicating the importance of religious institutions during that time. - **Foreground**: In the foreground, to the right, there is a large, columned building, which might be a significant public or religious structure. - **Activity**: The street scene includes horse-drawn carriages and pedestrians, capturing the everyday life of the city's inhabitants. - **Harbor**: In the far background, you can see masts of ships, indicating the proximity of the harbor and the importance of maritime activities to the city. Artistic and Historical Context: - **Engraving Style**: The work of S. Davenport, an engraver, suggests fine detail and precision typical of hand-colored prints of that era. - **Historical Significance**: This print serves as a valuable historical document, offering a glimpse into the urban layout and architecture of New York City in the early 1840s. - **Publishing Context**: Being published in London by Thomas Kelly indicates a transatlantic interest in the growing metropolis of New York, reflecting its emerging significance on the global stage. This print is not only an artistic representation but also a historical record, encapsulating the essence of New York City during a period of significant growth and development. Identifying specific buildings from a historical print like this one can be challenging, especially without modern landmarks for direct comparison. However, a few notable buildings and features from New York in the early 1840s could potentially be recognized based on historical context and architectural details. Potential Recognizable Buildings: 1. **St. Paul's Chapel**: Given its prominent spire and proximity to the center of early New York...

"View of the City of Milwaukee" from "Harper's Weekly" is an original hand-colored wood engraving by Theodore R. Davis. It depicts an aerial view of the Wisconsin lakeside city in 1882. 9" x 13 3/8" art 17 5/8" x 21 3/4" frame Theodore R. Davis (1840–1894) was a 19th-century American artist, who made numerous drawings of significant military and political events during the American Civil War and its aftermath. As a child, Theodore R. Davis was taken to Washington D.C. where he graduated from Rittenhouse Academy. When he was fifteen, he moved to New York where studied art under Henry W. Herrick and James Walker. The Training Theodore Davis received under James Walker was informal. Davis typified certain artists as "special artists" was hired by popular magazines and newspapers. He was hired by them to illustrate the Civil War. He was hired by Harpers Weekly in 1861.[ During the Civil War, he served as a captain in the 15th Connecticut Volunteer Infantry. After the war, he became a companion of the New York Commandery of the Military Order of the Loyal Legion of the United States. Some of these drawings include the Battle of Champion Hill, and the most significant sketch of General Joseph E. Johnston and General William T. Sherman meeting at the Bennett Farm near Durham Station to discuss the surrender terms of the remaining Confederate armies in the Southeast. After the war when the Cyclorama in Atlanta was being painted, Davis was asked for his ideas having traveled with Sherman's army. He was later added to the painting. Theodore Davis was a staff artist at Harper's Weekly. Many of his drawings were published as wood engravings in Harper's Weekly. Theodore R. Davis was chosen to create the Haye's China with a chance meeting. Mr. Davis suggested using flora and fauna of the American decor...