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Imprint Annotated Bibliography - 1982
43. Beckman, Thomas. "Louis Kurz: Early Years." Vol. 7, no. 1 (Spring 1982), 14-25.
This thoroughly researched article covers the career of Louis Kurz (1835-1917) before he joined with Alexander Allison in 1880. Beckman discusses a number of prints designed to serve a local audience, first in Milwaukee, then in Chicago, including city views, portraits, advertisements, and sheet music covers. Of particular importance are the 52 lithographs he produced for Chicago Illustrated, published by Jevne & Almini beginning in 1866. After the Chicago fire, Kurz returned to Milwaukee, then went back to Chicago in 1878.
44. Franco, Barbara. "Museum of Our National Heritage Exhibition, George Washington: American Superhero." Vol. 7, no. 1 (Spring 1982), 33-36.
In this review of a major exhibition at the Museum of Our National Heritage, Lexington, Massachusetts, Franco mentions a number of historical prints in the exhibition and their importance in documenting Washington's image as superhero. Six prints are reproduced, all from the collection of the Museum.
45. Hoglund, Kenneth G. "'The Least of These': Visions of the Mid-Nineteenth Century City Missions Movement in New York." Vol. 7, no. 1 (Spring 1982), 26-32.
The poor in New York City faced increasing problems as the nineteenth century progressed. Many city missions were created by religious and other voluntary organizations to combat the problems of homelessness. Hoglund discusses the background for the establishment of the missions and reproduces an array of depictions of the missions from a variety of illustrated journals. The article demonstrates the importance of illustrated journals in understanding the nineteenth century.
46. Looney, Robert F. "Jacques Wissler, Painter and Printmaker." Vol. 7, no. 1 (Spring 1982), 37-42.
In 1971, the Free Library of Philadelphia received a box containing a memoir, sketches, and 28 prints by an artist born in Strasbourg, France, in 1803, Jacques Wissler. Looney presents an English translation of the memoir, which covers Wissler's life through 1880. Wissler came to Philadelphia in 1849 where he worked for the lithograph firm of Peter Duval. In 1860 he was sent to Richmond, Virginia, by a New York firm. There are few prints signed by him, but he clearly was technically proficient. He died in 1887.
47. Marks, Matthew S. "Henry Farrer's Early Etchings of New York." Vol. 7, no. 1 (Spring 1982), 2-6.
Farrer (1843-1903), one of the first American etchers, produced an important series of New York views between 1870 and 1877. Marks discusses the significance of these prints and corrects several misconceptions about these rare views of a city undergoing rapid transformation. The New-York Historical Society has twelve of the fifteen prints.
48. Shadwell, Wendy. "Hancock by Hiller." Vol. 7, no. 1 (Spring 1982), 43-44.
This brief article notes the discovery of a second impression of Joseph Hiller's portrait of John Hancock at the New-York Historical Society, a print previously attributed to John B. Forrest (ca. 1814-1870). The impression of the portrait at the New-York Historical Society is the first state; the impression at the Peabody Essex Museum is the second state. Since another, privately owned impression of the second state was on exhibition at the New York Public Library in 1928, Shadwell suggests that another impression is lurking in a collection somewhere.
49. Stambaugh, James D. "Evangel in the Wilderness: The Nineteenth Century Camp-Meeting." Vol. 7, no. 1 (Spring 1982), 7-13.
The year 1800 witnessed two major religious revivals, in New England and in Kentucky and Tennessee. Stambaugh provides the historical background for understanding the prints depicting camp-meetings that occurred as a result of renewed interest in religion. His survey ranges from 1819 through 1872. The illustrations for the article came from the collection of the Billy Graham Center Museum in Wheaton, Illinois.
50. Hughston, Milan R. "The Print Collection of the Amon Carter Museum." Vol. 7, no. 2 (Autumn 1982), 17-27.
Hughston begins his survey by describing works by "historian/artists" who documented the American West. Included in this group are works by James Otto Lewis and James Hall, Thomas L. McKenney, Karl Bodmer, George Catlin, and Alfred Jacob Miller. The holdings of Mexican War prints and prints of California are also described. Landscapes and city views are also an important category for the Museum. Other areas of interest are prints after Bingham's paintings, Currier & Ives, chromolithography, and illustrated books of the West.
51. Wick, Wendy C.. "American Icon: The Eighteenth Century Image of George Washington." Vol. 7, no. 2 (Autumn 1982), 1-9.
This article is based on Wick’s book, George Washington, An American Icon: The Eighteenth Century Graphic Portraits, published in 1982 by the Smithsonian in conjunction with a traveling exhibition. The exhibition included prints of Washington issued from 1775 through 1800, the year after his death. Artists who produced the portraits had two challenges: the need to create a likeness and the symbolic context for it. A range of portraits has survived--from naive woodcuts to elegant mezzotints by Peale and Savage.
52. Yarnell, James L. "Tennyson Illustration in Boston, 1864- 1872." Vol. 7, no. 2 (Autumn 1982), 10-16.
Yarnell describes the illustrations that resulted when two rival publishing houses "engaged in what can be considered a Tennysonian publishing war." In 1864 the firms of Ticknor and Fields and J.E. Tilton and Company each published editions of Enoch Arden. The Tilton edition contained six full-page anonymous wood engravings; Ticknor and Fields commissioned nineteen illustrations from Felix O.C. Darley, William John Hennessey, Elihu Vedder, and John LaFarge. It is to the works of the latter two artists that Yarnell directs his attention. Ironically, Ticknor and Fields did not continue to publish such distinctive illustrations in subsequent editions of Tennyson's works. J.E. Tilton's publications were more successful.
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