Giunzione del Sacandaga e fiumi Hudson (n. 2 del Fiume Hudson portafoglio). Artista: dopo William Guy parete (irlandese, Dublino 1792-dopo il 1864 Irlanda (attivo America). Dimensioni: Immagine: 14 1/16 x 20 3/16 in. (35,7 x 51,3 cm) foglio: 19 x 24 1/2 in. (48,3 x 62,2 cm). Incisore: John Hill (American (nato in Inghilterra), Londra 1770-1850 Clarksville, New York). Stampante: William e Charles Rollinson (American, active ca. 1808-33). Editore: Henry J. Megarey (American, 1818-1845 New York); W. B. Gilley (New York, NY); John Mill (Charleston, Carolina del Sud). Serie/portafoglio: il fiume Hudson Portfoli
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Junction of the Sacandaga and Hudson Rivers (No. 2 of The Hudson River Portfolio). Artist: after William Guy Wall (Irish, Dublin 1792-after 1864 Ireland (active America)). Dimensions: Image: 14 1/16 x 20 3/16 in. (35.7 x 51.3 cm) Sheet: 19 x 24 1/2 in. (48.3 x 62.2 cm). Etcher: John Hill (American (born England), London 1770-1850 Clarksville, New York). Printer: William and Charles Rollinson (American, active ca. 1808-33). Publisher: Henry J. Megarey (American, 1818-1845 New York); W. B. Gilley (New York, NY); John Mill (Charleston, South Carolina). Series/Portfolio: The Hudson River Portfolio. Date: 1821-22. The confluence of the Sacandaga and Hudson occurs just below the rapids represented in plate 1 of the Hudson River Portfolio (54.90.1274(1)). John Agg's related text tells us, "the shores in this place, are broken and precipitous; and the natural course of the current is impeded and distracted by the large fragments of stone...the character of the scenery is a wild, ferocious, and solitary sublimity. " Both image and description come from a monument of American printmaking produced through the collaboration of artists, a writer, and publishers. In the summer of 1820, the Irish-born William Guy Wall toured and sketched along the Hudson, then painted a series of large watercolors. Prints of equal scale were proposed--to be issued to subscribers in sets of four--and John Rubens Smith hired to work the plates. Almost immediately, Smith was replaced by the skilled London-trained aquatint engraver John Hill, who finished the first four plates, and produced sixteen more by 1825. Over the next decade, the popularity of the Portfolio stimulated new appreciation for American landscape, and prepared the way for the Hudson River School. Museum: Metropolitan Museum of Art, New York, USA.
