A New Jersey Fox Hunt: "A Smoking Run"

In this humorous fox hunting scene, a boy smokes a huge cigar as he rides a black donkey over a field (galloping diagonally from the upper right towards the lower left of the image). The rider wears a red jacket (its flaps flying behind him), a blue-green vest, a gold horseshoe ornament adorning his tie, tan pants, big black boots, and a red/blue striped cap with a large visor. Two dogs run alongside the donkey; two others trail behind them. At the lower right, a grey fox, hiding in a log, peeks out to see the hunter and his dogs rush past.

Nathaniel Currier, whose successful New York-based lithography firm began in 1835, produced thousands of prints in various sizes that together create a vivid panorama of mid-to-late nineteenth century American life and its history. People eagerly acquired such lithographs featuring picturesque scenery, rural and city views, ships, railroads, portraits, hunting and fishing scenes, domestic life and numerous other subjects, as an inexpensive way to decorate their homes or business establishments. As the firm expanded, Nathaniel included his younger brother Charles in the business. In 1857, James Merritt Ives (the firm's accountant since 1852 and Charles's brother-in-law) was made a business partner; subsequently renamed Currier & Ives, the firm continued until 1907.
　































The late nineteenth-century Darktown prints by Currier & Ives depict racist stereotypes that are offensive and disturbing.The Metropolitan Museum of Art preserves such works to shed light on their historical context and to enable the study and evaluation of racism.

In this print, a caricatured, wide-eyed Black (African American) man has wrapped his arms and legs around the smokestack of a train engine (the locomotive --in a cropped side view--heads from right to left). A large bicycle wheel loops around the man's legs-- evidence that he had been riding a high-wheeled bicycle and collided into the train. The ttle and caption --imprinted in bottom margin-- imply that the accident has knocked the man's head so severely that instead of "seeing stars," he says --in his crazy daze-- that he has "struck a comet."

Nathaniel Currier, whose successful New York-based lithography firm began in 1835, produced thousands of prints in various sizes that together create a vivid panorama of mid-to-late nineteenth century American life and its history. People eagerly acquired such lithographs featuring picturesque scenery, rural and city views, ships, railroads, portraits, hunting and fishing scenes, domestic life and numerous other subjects, as an inexpensive way to decorate their homes or business establishments. As the firm expanded, Nathaniel included his younger brother Charles in the business. In 1857, James Merritt Ives (the firm's accountant since 1852 and Charles's brother-in-law) was made a business partner; subsequently renamed Currier & Ives, the firm continued until 1907.