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Imprint Annotated Bibliography - 1995
120. Brust, James. "A Nathaniel Currier Family Photo Album." Vol. 20, no. 1 (Spring 1995), 3-6.
Brust's article provides genealogical information on and photographs of Nathaniel Currier and family members. Although his name is familiar to all print collectors and scholars, little is known about the man, and Brust remedies this situation.
121. Brust, James. "Prints of Questionable Taste That Nathaniel Currier Would Not Sign." Vol. 20, no. 1 (Spring 1995), 7-11.
Several prints issued during the nineteenth century bear the signs of having been published by Nathaniel Currier, but lack an imprint. Brust illustrates and describes The Wedding Night, When! Shall We Three Meet Again?, The Celebrated Terrier Dog Major Performing His Wonderful Feat of Killing 100 Rats in 8 m. - 58 sec., and The Seven Stages of Matrimony. Brust's attributions are carefully considered. (See the Update, no. 141.)
122. Holmer, Rich. "California Currier & Ives: From Amusement to Admiration." Vol. 20, no. 1 (Spring 1995), 13-21.
Forty-two prints published by Nathaniel Currier and Currier & Ives depict California subjects. Holmer discusses these prints as well as the market for them. A list of the prints, arranged chronologically, follows the text.
123. Major-Marothy, Eva. "The Wild and the Tamed: Bartlett's Canada Versus Views by his Canadian Contemporaries." Vol. 20, no. 1 (Spring 1995), 22-28.
The author compares the views of Canada by William Henry Bartlett for Nathaniel Parker Willis's Canadian Scenery Illustrated with works by Canadian artists. In order to appeal to a European audience, Bartlett emphasized the wild nature of the country. In contrast, views made for home consumption focused on progress and development. Prints after views by James Pattison Cockburn (1779-1847), William Eagar (ca. 1796-1839), Robert Auchmaty Sproule (1799-1845), Thomas Young (d. 1860), and John Gillespie (fl. 1841-59) are compared to Bartlett's views.
124. Diebold, William. "Four Great Sequences of Hudson River Prints." Vol. 20, no. 2 (Autumn 1995), 2-18.
After summarizing notable eighteenth- and early nineteenth-century views of the Hudson River, Diebold describes the production and contents of four significant sequences of Hudson River views: the aquatints of the Hudson River Portfolio by John Hill after William Guy Wall; the lithographs of Jacques Gerard Milbert's Itineraire pittoresque du Fleuve Hudson; the steel engravings in Willis's American Scenery after William Henry Bartlett; and the wood engravings in Benson J. Lossing's The Hudson, from the Wilderness to the Sea. The essay is well-researched and documented.
125. Reed, Cleota. "On the Trail of the Arkansas Traveller." Vol. 20, no. 2 (Autumn 1995), 19-28.
Henry Chapman Mercer's decorative fireplace surrounds (1916) titled "The Arkansas Traveller" were based on a nineteenth-century print. Reed, an historian of ceramics, traces the history of this image both in folklore and fine art. Edward Payson Washborne painted the subject about 1856 and the painting was reproduced lithographically by Leopold Grozelier in 1859. A bill from the lithographer John H. Bufford documents the size of the edition and the agents engaged to sell it. This lithograph in turn served as the source for other lithographs published by J. H. Bufford's Sons and Currier & Ives in the 1870s. Reed provides substantial information on Mercer as well.
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