A spatial interface to twenty essays on the objects and themes of the exhibit as well as the objects and landmarks
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The important landmarks that stood at this important Broadway intersection over time and by site
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A look at the technical processes along with the men and women who made all these cultural commodities in New York
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William Perris
[Map bounded by City Hall Square, Frankfort Street, Gold Street, Maiden Lane, Broadway, Park Row]
From William Perris, Maps of the City of New York (New York: Perris & Browne, 1857–62)
Hand-colored lithograph
Bound volume; 26 3/4 in. (68 cm)
The Lionel Pincus & Princess Firyal Map Division, The New York Public Library, Astor, Lenox and Tilden Foundations
Edward Anthony and Henry T. Anthony
Broadway on a Rainy Day [looking north], Anthony’s Instantaneous Views, No. 188
Published by E. & H.T. Anthony & Co, 1859
Hand-colored albumen silver prints from glass negatives (stereoscopic views)
Inscription: Edward Anthony
3 1/4 × 6 1/4 in. (8.3 × 15.7 cm)
Collection of David Jaffee
Edward Anthony and Henry T. Anthony
Broadway on a Rainy Day, Anthony’s Instantaneous Views, No. 5095
Published by E. & H.T. Anthony & Co, 1859
Albumen silver prints from glass negatives (stereoscopic views)
Inscription: Edward Anthony
3 1/2 × 6 7/8 in. (8.0 × 17.5 cm)
The New-York Historical Society, PR65.0423.0019
Edward Anthony and Henry T. Anthony
Frozen ruins of Barnum’s Museum as it appeared immediately after the fire of March 3rd 1868, Anthony’s Instantaneous Views, No. 5971
Published by E. & H. T. Anthony & Co., 1868
Albumen silver prints from glass negatives (stereoscopic views)
3 1/4 × 6 3/4 in. (8.3 × 17.1 cm)
The New-York Historical Society, PR65.0342.0001
Edward Anthony and Henry T. Anthony
Return of the Japanese Embassy from City Hall, Anthony’s Instantaneous Views, No. 24
Published by E. & H. T. Anthony & Co., 1860
Albumen silver prints from glass negatives (stereoscopic views)
3 1/4 × 6 3/4 in. (8.2 × 17.1 cm)
The Metropolitan Museum of Art, Herbert Mitchell Collection, 2007, 2007.457.3626
John C. Gobright (Gobright and Pratt)
Advertisement for E. Anthony, American & Foreign Stereoscopic Emporium
From The Union Sketch-book: A Reliable Guide, Exhibiting the History and Business Resources of the Leading Mercantile and Manufacturing Firms of New York . . .
New York: Pudney & Russell, 1860
Reproduction only
Courtesy American Antiquarian Society, LNL NewY Gobr U860
Thomas Hornor (artist and etcher)
John William Hill (aquatinter)
Broadway, New-York. Shewing Each Building from the Hygeian Depot Corner of Canal Street to beyond Niblo’s Garden
Printed by W. Neale; Published by Joseph Stanley & Co., 1836
Aquatint and etching with hand-coloring
17 3/4 × 27 1/8 in. (45.1 × 68.9 cm)
The Metropolitan Museum of Art, The Edward W. C. Arnold Collection of New York Prints, Maps and Pictures, Bequest of Edward W. C. Arnold, 1954, 54.90.703
Engraving
An intaglio technique in which a burin is used to cut into a hammered metal plate, typically made of copper. The plate is inked and wiped clean, leaving ink only in the grooves made by the burin. The pressure of the printing press then transfers the ink to paper. This technique was widely used by the sixteenth century in Europe, but by the middle of the nineteenth century it became less common with the invention of more economical reproductive means, like lithography and wood engraving.
Woodcut
The oldest reproductive process, the woodcut is made by cutting into a wooden block; inking the raised, uncut areas; and pressing the block onto a sheet of paper. This technique was later used in block-printed wallpapers, where inked blocks, one for each color, are applied in patterns to lengths of paper, as with this exceptional wallpaper depicting New York City landmarks.
Wood Engraving
This technique involves engraving with a burin, as with copper engraving, except on wood. Whereas copper engraving is an intaglio process, however, wood engraving is a relief process like the woodcut, where the ink takes to the smooth surface rather than to the incised marks. The wooden plank is cut horizontally from a tree trunk, which minimizes warping and change in the plank, making these plates more stable than those used in woodcuts. By the 1870s and 1880s, wood engraving had become a preferred means of printing on a large scale, particularly in illustrated periodicals like Harper’s Weekly and Frank Leslie’s Illustrated Newspaper, because of its easy reproducibility and cost efficiency.
Etching
In this intaglio process, the copper plate is covered in a resist, into which the etcher draws the image. The plate is then placed in an acid bath, which etches away only those marks made, and is inked, wiped clean, and printed in the same manner as an engraving.
Aquatint
Aquatint utilizes the same basic process as etching. Unlike etchings, however, a resinous, acid-resistant substance is sprinkled over the plate before the acid bath, a process which can be repeated in order to enable gradations of shadow rather than precise lines. It is often used in conjunction with etching, as with Thomas Hornor’s meticulous rendering of Broadway and Canal Street.
Lithography
Lithography is a planographic technique that uses a limestone surface (or sometimes a zinc plate) on which the artist draws directly with a waxy crayon. A weak nitric acid is applied to the surface, leaving the blank areas to be wetted and allowing for ink to adhere only to the drawn portions. After printing, the paper can be colored by hand. This quick and simple method of reproduction enabled printing in large quantities with consistent impressions, as with the commercial lithography of Currier & Ives.
Chromolithography
This process builds on that of lithography, but introduces the use of multiple stones or zinc plates, one for each printed color. Currier & Ives’ City of New York of 1876 is one such example.
Daguerreotype
With daguerreotype photography, a copper sheet is plated with silver and treated with iodine, rendering the surface light sensitive. After exposure, mercury vapor is used to adhere to the lightest parts of the image, and sodium thiosulfate to affix the image. The unique silvered image is then encased in glass for protection from tarnishing. Some are additionally toned gold, a process that further stabilized the image, as with Mathew Brady’s portrait of Jenny Lind.
Collodion Type
The glass plate is polished and cleaned, a collodion solution is applied, and the plate is placed in a bath of silver nitrate to enable light sensitivity before exposure. This process produces a wet-plate negative, which allows for much finer image detail than older processes, like that of the daguerreotype and the calotype, and printing unlimited copies from the negative. The ambrotype is a variation on this process, where the back of the glass is painted black, creating a direct positive image.
Calotype
The process, which produces a paper negative, involves applying silver nitrate to paper and soaking it in potassium iodide. A solution of silver nitrate and gallic acid is applied before and after exposure in order to make visible the latent image as with Victor Prevost’s street scenes.
Salted-Paper Print
The paper is soaked in a salt solution, often sodium chloride. When dry, the paper is coated with silver nitrate, which reacts with the salt to create silver chloride, and is then exposed under a dry calotype negative. For added stability the paper can be toned gold and fixed with sodium thiosulfate. Salt prints were initially produced by making positive images of calotype negatives but were also be produced from glass negatives.
Albumen Print
The albumen print takes its name from the substance, an egg-white protein, used to affix the image to the paper. The process is similar to that of creating a salted-paper print; however, the image lays in the albumen coating rather than directly on the paper. The development of the albumen print allowed for a range of dark values and fine details that were not possible with the salted-paper process. Albumen prints were used in the production of stereoview cards as well as of the small, portable cartes de visites popular in the nineteenth century.
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