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Additional notes:
This is not a modern print. This impression is more than 118 years old. The strike is crisp and the lines are sharp. 
Extra Information:
Wilhelmus Kieft...had been greatly annoyed by the factious meetings of the good people of New Amsterdam, but, observing that on these occasions the pipe was ever in their mouth, he began to think that the pipe was at the bottom of the affair, and that there was some mysterious affinity between politics and tobacco-smoke. Determined to strike at the root of the evil, he began forthwith to rail at tobacco, as a noxious, nauseous weed, filthy in all its uses; and as to smoking, he denounced it as a heavy tax on the public pocket,--a vast consumer of time, a great encourager of idleness, and a deadly bane to the prosperity and morals of the people. Finally he issed an edict, prohibiting the smoking of tobacco throughout the New Netherlands. Ill-fated Kieft! Had he lived in the present age and attempted to check the unbounded license of the press, he could not have struck more sorely upon the sensibilities of the million. The pipe, in fact, was the great organ of reflection and deliberation of the New Netherlander. It was his constant companion and solace: was he gay, he smoked; was he sad, he smoked; his pipe was never out of his mouth; it was part of his physiognomy; without it his best friends would not know him. Take away his pipe? You might as well take away his nose!
The immediate effect of the edict of William the Testy was a popular commotion. A vast multitude, armed with pipes and tobacco boxes, and an immense supply of ammunition, sat themselves down before the governor's house, and fell to smoking with tremendous violence. The testy William issued forth like a wrathful spider, demanding the reason of this lawless fumigation. The sturdy rioters replied by lolling back in their seats, and puffing away with redoubled fury, raising such a murky cloud that the governor was fain to take refuge in the interior of his castle. A long negotiation ensued through the medium of Antony the Trumpeter. The governor was at first wrathful and unyielding, but was gradually smoked into terms. He concluded by permitting the smoking of tobacco, but he abolished the fair long pipes used in the day of Wouter Van Twiller, denoting ease, tranquility, and sobriety of deportment; these he condemned as incompatible with the despatch of business, in place whereof he substituted little captious short pipes, two inches in length, which, he observed, could be stuck in one corner of the mouth, or twisted in the hatband, and would never be in the way. Thus ended this alarming insurrection, which was long known as The Pipe-Plot, and which, it has been somewhat quaintly observed, did end, like most plots and seditions, in mere smoke.  ~Knickerbocker's History of New York by Washington Irving
Artist Biography:
George Henry Boughton was an Anglo-American landscape and genre painter, illustrator and writer. Boughton was born in Norwich in Norfolk, England, the son of farmer William Boughton. The family emigrated to the United States in 1835, and he grew up in Albany, New York where he started his career as a self-taught artist. At this early stage he was influenced by the artists of the Hudson River School. By the age of 19 he was recognised as a landscape painter and opened his first studio in 1852. In 1853, the American Art Union purchased one of his early pictures which financed six months of studying art in England. He concluded this period of his training with a sketching tour of the Lake District, Scotland and Ireland. After coming back to the USA, Boughton exhibited his works in Washington, D.C. and New York, but in the late 1850s he finally made a decision to move to Europe. From 1859–61 he studied art in France under Pierre Edouard Frère (1819–1886) and Edward Harrison May (1824–1887). In 1861 Boughton opened a studio in London, and, although living in England, nevertheless focused on subjects of early American Colonial history, and an American critic noticed that "for early history of this country his talents seems to be peculiarly fitted." His subject-pictures, such as the Early Puritans of New England Going to Church (1867), were especially popular. The Return of the Mayflower (shown at the Goupil Gallery, New York in 1871) was praised as "a picture which will live as long as the memory of the Mayflower itself lasts." Vincent Van Gogh, who lived London in 1873–75, was much impressed by Boughton’s painting Godspeed! Pilgrims Setting Out for Canterbury. Then working as a minister, he gave a sermon inspired by the painting, and wrote about it to his brother Theo. The Boughton painting is now part of the collection of the Van Gogh Museum in Amsterdam. Boughton illustrated Nathaniel Hawthorne’s The Scarlet Letter and Henry Wadsworth Longfellow's poems. In 1893, the edition of Washington Irving’s Rip Van Winkle and Sleepy Hollow was published in London with 53 illustrations by Boughton. A London critic once declared that he "has learnt the secret of putting natural feelings into rustic figures, which has been almost entirely wanting to English painters." Boughton exhibited extensively in both Britain and USA, and was elected a member of the National Academy of Design in New York in 1871. He was elected a member of the Royal Institute of Painters in Water Colours, an Associate of the Royal Academy (ARA) in 1879, and a Royal Academician (RA) in 1896. "He was a useful and popular member of this body, and worked well as member of the council, as a 'hanger', and as a teacher in the schools." After the death of John Callcott Horsley, Boughton was elected a Director of the "Fine Art and General Insurance Company". Among his landscape paintings - views of England and Brittany in France. In 1883, he travelled to Holland. His illustrated account of that journey was published in the Harper's Magazine as 'Artist Strolls in Holland', and published next year in London as Sketching Rambles in Holland. Boughton obviously took pleasure in writing: later he would participate in the publication of the 'English Art in the Public Galleries of London' providing the overview of George Morland's biography and work. Boughton easily socialised in London artistic circles and was a member of the Arts Club (1869–96), of the Reform Club, the Athenaeum Club, the Burlington Fine Arts Club and the Grolier and Lotos Clubs in New York. In 1865, Boughton married Katherine Louise Cullen (1845-after 1901), and they had an adopted daughter, Florence. Along with John Callcott Horsley, he was one of the early clients of architect Richard Norman Shaw who built a house for the Boughtons on Campden Hill, London. "The parties given here by Mr and Mrs Boughton were celebrated among artistic and literary people and in the Anglo-American section of the society." It was noticed that Boughton was influenced by works of British painter and illustrator Frederick Walker (1840–1875). In the 1870s in London he met James Whistler. In 1878, an American reviewer praised them as "shining lights in the art world" of London. Boughton published vivid recollections about Whistler, particularly mentioning his work on the famous ‘Peacock Room'. In 1877 he made an acquiaintance with Henry James (1843–1916). The female novelist Violet Hunt (1862–1942) based her novels Their Lives (1916) and Their Hearts (1921) on her early love affair with Boughton. The novel Christina Chard (1894) by Mrs Rosa Campbell-Praed (1851–1935), an Australian novelist, was dedicated to Boughton, because he had suggested the idea of the book. In the 1880s-1890s, he was associated with several artistic colonies in countryside, namely with the village of Broadway in Worcestershire, the rustic beauty of which was recognised by many American artists. Along with Henry James, Edwin Abbey, John Singer Sargent and others, he frequently visited Broadway. Through Horsley and Shaw he also was associated with the Cranbrook Colony of artists, visiting them in the late 1860s-1880s. Boughton died of heart disease, on January 19, 1905, in his studio at Campden Hill, north London. His obituary stated that "he was kindly, genial, humorous, a lover of a good story, the essence of hospitality, and wholly free from jealousy, malice, and incharitable judgments." His paintings are now represented in many museums in the United States and Europe.

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