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The bombardment and capture of Fort Fisher, N.C. Jany. 15th 1865
The bombardment and capture of Fort Fisher, N.C. Jany. 15th 1865
Plan and sections of Fort Fisher, carried by assault by the U.S. forces, Maj. Gen. A.H. Terry commanding, Jan. 15th, 1865
Plan and sections of Fort Fisher, carried by assault by the U.S. forces, Maj. Gen. A.H. Terry commanding, Jan. 15th, 1865 /
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Plan of Fort Fisher and vicinity, North Carolina. Plan of second attack, January 15th, 1865.
Plan and sections of Fort Fisher : carried by assault by the U.S. Forces Maj. Gen. A. H. Terry, Commanding, Jan. 15th, 1865 /
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The bombardment and capture of Fort Fisher, N.C. Jany. 15th 1865
Summary
Print shows Union soldiers during the attack on Fort Fisher, North Carolina, with Union warships, just offshore, bombarding the fort.
Caption: Both the Army and Navy were engaged in this great exploit, the most terrific of its kind on record. The Iron clads and Frigates under command of Rear Admiral Porter poured in a most destructive fire of shot and shell; while the gallant Soldiers under Genl. A.H. Terry rushed to the assault, and after a bloody contest of several hours, drove the Rebels out of their strong hold, capturing over 2000 prisoners, the rebel Genl. Whiting, and 75 Guns of large calibre; many of them of "celebrated English make". Three cheers for the Army and Navy!
Currier & Ives : a catalogue raisonné / compiled by Gale Research. Detroit, MI : Gale Research, c1983, no. 0656
(DLC/PP-390108).
Exhibited: "The Civil War in America" at the Library of Congress, Washington, D.C., 2013.
The invention of lithography at the turn of the 19th century opened a new world for bird illustrators. It brought many advantages to the artist — ease of use, a softness of line, and a new freedom to effect bold designs with a wide range of light and dark tones. Most of the fine ornithology books of the 19th century were prepared in folio format with hand-colored lithographic plates. The lithographic process is one of flat surface printing from a design drawn on stone. It is based on the principle of the resistance of grease to water. There are no raised or cut portions, as there are in engraving and etching. The image is drawn with greasy ink or chalk on a smooth stone, and the rest of the stone is treated with gum arabic and nitric acid. The gum retains the lines of the greasy design, which repels the water used in printing. Special paper and ink, as well as a special press, are needed to produce the prints. First used for bird illustration in 1820, lithography was widely adopted by the best artists of the century. The technique was popular because the artist could draw his own illustration directly on the lithographic stone. Prints could be made from the drawing with no intermediary such as an engraver. Accurately reproduced and then colored by hand, the resulting illustrations gave the impression of original watercolor paintings.
New York City from 1835 to 1907 headed first by Nathaniel Currier, and later jointly with his partner James Merritt Ives. The prolific firm produced prints from paintings by fine artists as black and white lithographs that were hand-colored. The firm called itself "the Grand Central Depot for Cheap and Popular Prints" and advertised its lithographs as "colored engravings for the people". The firm adopted the name "Currier and Ives" in 1857.
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