Admiral Farragut's fleet engaging the rebel batteries at Port Hudson, March, 14th 1863

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.

After first battles involving of American ironclads (both with wooden ships and with one another) in 1862 during the American Civil War, it became clear that the ironclad had championed the unarmored ship as the most powerful warship. This type of ship would come to be very successful in the American Civil War. This change was pushed forward by the development of heavier naval guns (the ironclads of the 1880s carried some of the heaviest guns ever mounted at sea at the time), more sophisticated steam engines, and advances in metallurgy which made steel shipbuilding possible. An ironclad is a steam-propelled warship protected by iron or steel armor plates used in the early part of the second half of the 19th century. The ironclad was developed as a result of the vulnerability of wooden warships to explosive or incendiary shells. The first ironclad battleship, Gloire, was launched by the French Navy in November 1859. In early 1859 the Royal Navy started building two iron-hulled armored frigates, and by 1861 had made the decision to move to an all-armored battle fleet. The rapid development of warship design in the late 19th century transformed the ironclad from a wooden-hulled vessel that carried sails to supplement its steam engines into the steel-built, turreted battleships and cruisers of the 20th century.

In the early years of the war many civilian ships were confiscated for military use, while both sides built new ships. The most popular ships were tinclads—mobile, small ships that actually contained no tin. These ships were former merchant ships, generally about 150 feet in length, with about two to six feet of draft, and about 200 tons. Shipbuilders would remove the deck and add an armored pilothouse as well as sheets of iron around the forward part of the casemate and the engines. Most of the tinclads had six guns: two or three twelve-pounder or twenty-four-pounder howitzers on each broadside, with two heavier guns, often thirty-two-pounder smoothbores or thirty-pounder rifles, in the bow. These ships proved faster than ironclads and, with such a shallow draft, worked well on the tributaries of the Mississippi.

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.