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Imprint Annotated Bibliography - 1997
132. Kaskell, Joan Macy. "Eastman Johnson, Lithographer." Vol. 22, no. 1 (Spring 1997), 11-15.
The author, descended from Eastman Johnson, writes about a small group of portrait lithographs by Johnson (1824-1906), who was better known as a genre painter. Executed before he was thirty years old, the portrait prints depict members of the Folsom family and are now in the collection of the Metropolitan Museum of Art. Johnson did one later lithograph, Marguerite, issued about 1860.
133. Rudisill, John and Barbara. "Some Previously Uncataloged Currier & Ives Prints." Vol. 22, no. 1 (Spring 1997), 16-24.
The authors summarize the available catalogs of Currier & Ives prints and list 115 unrecorded items. They are eager to receive information on additional prints. (The list, with recent additions, is posted on the AHPCS web site: www.ahpcs.org.)
134. Tatham, David. "Winslow Homer as a Book Illustrator: Further Notes." Vol. 22, no. 1 (Spring 1997), 25-6.
Tatham's Winslow Homer and the Illustrated Book was published in 1992. This brief note adds two additional books to Homer's oeuvre: The White Rabbit and Other Stories from Robin-Wood (Boston, 1857) and Poetical Works of John Greenleaf Whittier (Boston, 1871).
135. Tovell, Rosemarie L. "Charles Henry White (1878-1918), Canada's Painter-Etcher of American Cities." Vol. 22, no. 1 (Spring 1997), 2-10.
In this well-documented article, Tovell establishes White as a founder of the etching revival of the early 1900s, a movement known for its realistic treatment of subject matter. She focuses on his etchings of American cities, particularly New York, executed beginning in 1901. At the same time he provided illustrations for popular magazines such as Harper's Monthly. Although he lived abroad beginning in 1909, he exhibited in Chicago, New York, and Philadelphia.
136. Hewes, Lauren B. "Ponderous Folios and Curious Engravings: The Print Collection of the Henry Wadsworth Longfellow Family." Vol. 22, no. 2 (Autumn 1997), 11-22.
The Longfellow National Historic Site in Cambridge, Massachusetts, houses nearly 1,200 prints acquired by the Longfellow family. Hewes provides a synopsis of Longfellow's life and identifies several themes evident in the family’s collection: portraits of acquaintances and views of places they visited, prints acquired for their usefulness as reference tools, prints by local artists, and reproductions of important works of art. Both European and American prints are discussed and reproduced.
137. Katz, Harry L. "Love, Lies, and Wood Engravings: Alfred Waud in Boston, 1856-1860." Vol. 22, no. 2 (Autumn 1997), 2-10.
Waud lived in Boston for several years, using a pseudonym (A. Hill) to try to conceal his whereabouts due to an illicit love affair with a married woman. Katz uncovered this aspect of Waud's career by comparing extant sketches in The Historic New Orleans Collection with published illustrations in Ballou's Pictorial. He discusses these years of Waud's life and work in detail. Eventually the woman was divorced, paving the way for Waud to marry her. The Civil War opened new opportunities for Waud in New York and his reputation as a "special artist" soared.
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