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Imprint Annotated Bibliography - 1993
107. Brust, James, and Wendy Shadwell. “The Many Versions and States of The Awful Conflagration of the Steam Boat Lexington: An Update.” vol. 18, no. 1 (Spring 1993), 27-31.
In 1990 the authors published an article listing thirteen states of the Nathaniel Currier print that existed in three different versions. This article adds a new state of the first version, adds a location for another item, provides some biographical data on a couple of the passengers as well as the full list of passengers and crew, and adds another European version.
108. Miller, Steven. “A 1986 Currier & Ives Lament.” Vol. 18, no. 1 (Spring 1993), 15.
This brief note by the former senior curator at the Museum of the City of New York suggests strategies for research on the output of the firm, such as looking at sources for the prints, reviewing Harry T. Peters’ research records, writing about political prints, and using the methodologies of the historian and art historian. In an editorial footnote, Rona Schneider says that there has been progress on the C & I research front since Miller wrote in 1986.
109. Schantz, Michael W. "James D. Smillie's The Goldsmith's Daughter. The Making and Marketing of a Reproductive Master Print." Vol. 18, no. 1 (Spring 1993), 2-14.
Schantz opens his discussion with a summary history of reproductive engraving, suggesting its importance as a genre and comparing the process to etching. Schantz bases his analysis of a reproductive engraving by Smillie (1833-1909) after Daniel Huntington’s painting, The Goldsmith’s Daughter, on materials and diaries in the Smillie Family Collection at the Archives of American Art. The creation of the print is described as well as its publication and marketing.
110. Steinway, Kate. "Early Nineteenth-Century American Children's Books and Their Relationship to Currier & Ives Lithographs." Vol. 18, no. 1 (Spring 1993), 17-26.
Considering illustrations in children's books as the earliest genre images, Steinway suggests that their audience in the 1820s and 1830s formed the audience for Currier & Ives prints in the 1840s and later. She describes several types of imagery as a visual language that formed stereotypes and conventions that appear in both sets of images. Steinway concludes that the motifs became so accepted that the images could be read without the texts.
111. Dorrill, Lisa K. "Illustrating the Ideal City: Nineteenth- Century American Bird's Eye Views." Vol. 18, no. 2 (Autumn 1993), 21- 31.
This essay focuses on the use of bird's-eye city views as promotional pieces, especially views of Mid-western and Western cities. Dorrill uses prints of Lawrence, Kansas, 1858-1880, to trace shifting attitudes towards that city as it changed from an abolitionist stronghold to a metropolitan center. Her analysis of these prints is thorough and her methodology can be used on other bird's-eye views.
112. Palumbo, Anne Cannon. "Prints into Paint: The Influence of Prints on Eighteenth-Century American Painting." Vol. 18, no. 2 (Autumn 1993), 13-20.
Using the Winterthur Museum exhibition of 1992-93 To Please Every Taste, Palumbo focuses on artists who relied on prints as learning devices and as sources for historical paintings. Artists mentioned include Benjamin West, J.S. Copley, and William Williams. The latter artist used prints as sources for settings and poses in portrait painting. John Greenwood was indebted to a print by Hogarth for his painting of Sea Captains Carousing in Surinam. Palumbo also suggests that West derived part of his painting William Penn's Treaty With the Indians from the cartouche of Henry Popple's 1733 map of the British Empire in America. This essay points to an important fact about prints relating to North America--the appropriation of them by artists to create additional works of art.
113. Rainey, Sue. "J.D. Woodward's Wood Engravings of Colorado and the Pacific Railways, 1876-1878." Vol. 18, no. 2 (Autumn 1993), 2-12.
Popular journals met the need for more information about the West, particularly after the completion of the transcontinental railroad in 1869. John Douglas Woodward was hired by D. Appleton's Art Journal to make drawings along the railroad's route to California and in Colorado and Utah. Rainey provides information on Woodward's career relying on his extant drawings for much of her excellent discussion of this project published in The Art Journal in 1876 and 1877 and as a book titled Scenery of the Pacific Railroads and Colorado in 1878.
114. Shadwell, Wendy. "The Perkins' Sun Lithographic Establishment: A New York Mystery." Vol. 18, no. 2 (Autumn 1993), 32-34; and “An Update.” Vol. 22, no. 2 (Autumn 1997), 22-25.
The first article reprints a lengthy advertisement from the August 1850 New York Sun for a lithographic firm whose output is scanty. Joseph Perkins' firm advertised only briefly, and only one print bearing its imprint had been found. In the 1997 “Update” Shadwell added another print to Perkins' known output, American Superiority at the World’s Great Fair (1851).
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