The Mountain Pass. / Sierra Nevada. New York: Published by Currier & Ives, 152 Nassau Street, 1867. Hand-colored lithograph, image and text measures 48.4 x 55.4 cm (19 1/16 x 25 3/4 inches); sheet measures 55.2 x 73.0 cm (21 3/4 x 28 3/4 inches). Image based on a painting by F. F. Palmer (Frances Flora Bond Palmer, July 24, 1812 – August 20, 1876), often referred to as Fanny Palmer, "an English artist who became successful in the United States as a lithographer for Currier and Ives ... During Palmer's association with the printing companies of N. Currier and Currier and Ives, between 1849-1868, she is credited with producing around two hundred lithographs. She participated in every stage of the lithographic printing process in some way and was widely renowned for her technical skills. She is also credited with assisting Nathaniel Currier in the improvement of existing lithographic technology, including Currier's own lithographic crayon. Palmer specialized in landscape and genre prints. Among her subjects were rural farm scenes, famous American ships and architecture, hunters, and Western landscapes ... Palmer created most of her work by beginning with rough sketches from life ... Though her work was mainly directed by the type of prints that Currier and Ives wanted to sell or determined by preexisting prints, her few original pieces received praise for their compositional fluidity and technical skill. Her most notable original work is 'Landscape, Fruit, and Flowers,' published in 1862. In STILL LIFE PAINTING IN AMERICA, Wolfgang Born describes the composition of this work as 'flawless.' He also describes the piece as an example of early lithography 'anticipating the impressionist movement.'" - Wikipedia. "Mrs. Palmer worked for Nathaniel Currier for more than twenty-five years. She was, according to Gloria Deak, 'the foremost woman lithographer of her time' (PICTURING AMERICA, 647). In 1851, Fanny Palmer was hired as a staff artist by Nathaniel Currier, and she became the family breadwinner. She would travel in a carriage to New Jersey, Long Island, and other nearby places where she would sketch all types of rural and suburban settings, but, most of her artwork came from descriptions in books, daguerreotypes and, in the latter part of her career, photographs. She sometimes used her husband and his dogs as models for her Long Island hunting and wildlife scenes. Fanny Palmer was the first woman in the United States to make her living as a full-time artist. She is also generally regarded as the foremost woman lithographer of her time. All lithographs were produced on limestone printing plates on which the drawing was done by hand and printed one by one. A stone often took over a week to prepare for printing. Palmer's earliest lithographs were printed in black and white and then colored by hand. As new techniques were developed, she began to produce full-color lithographs that gradually became softer, and her picturesque panoramas of the American landscape more closely resembled paintings ... Although Fanny Palmer never traveled more than 100 miles outside of New York City, she created many scenes she had never witnessed, [including] steamboats on the Mississippi River, working from a drawing by H. D. Manning, a moonlit scene depicting a race between the Natchez and the Eclipse on the Lower Mississippi in 1854, in which the Eclipse proved victorious. By the outbreak of the Civil War in 1861, Fanny had become one of America's most prolific and versatile printmakers, producing hundreds of prints for Currier and Ives which portrayed a wide range of subjects, including farm and suburban scenes, sporting and marine prints, still life, literary subjects, panoramic views of steamboats, railroad trains, the Civil War and the settling of the American West." - Maggie MacLean (Civil War Women, online). Gale 4609. Lightly toned, some minor spotting in blank margins. Color and paper in near excellent to excellent state of preservation. Framed. A vibrant, fine example. Provenance: The Collection of Dr. James Lee. (#158858).