New York in the twenties and thirties was a bustling and thriving port city. Luxury liners from England, France, and the United States routinely tied up at the piers along the Hudson; the rivers and approaches teemed with all description of watercraft: tugs and barges, ferry, fire, and pleasure boats. The docks and piers of the Navy Yard on the East River were alive day and night with cargo and cranes. Aldren entered this paradise when just ten years old, taking walks with his father Ernest, an instructor at Pratt Institute and a practicing artist who had enthusiastically embraced the neighborhood and was determined to record it with his camera. He used the photographs when teaching classes on perspective at Pratt; later, his son, Aldren, would use them as the basis for the watercolors that grace this book.
New York in the twenties and thirties was a bustling and thriving port city. Luxury liners from England, France, and the United States routinely tied up at the piers along the Hudson; the rivers and approaches teemed with all description of watercraft: tugs and barges, ferry, fire, and pleasure boats. The docks and piers of the Navy Yard on the East River were alive day and night with cargo and cranes. Aldren entered this paradise when just ten years old, taking walks with his father Ernest, an instructor at Pratt Institute and a practicing artist who had enthusiastically embraced the neighborhood and was determined to record it with his camera. He used the photographs when teaching classes on perspective at Pratt; later, his son, Aldren, would use them as the basis for the watercolors that grace this book.