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Imprint Annotated Bibliography - 1998
138. Rainey, Sue. "Recollections of a Leslie's Special Artist in the Civil War". Vol. 23, no. 1 (Spring 1998), 18-26.
Rainey has transcribed and provided an introduction to a memoir by Francis H. Schell (1834-1909) relating his experiences as an artist employed by the publisher of Frank Leslie's Illustrated Newspaper in the early months of the Civil War. His account provides interesting details about pictorial journalism, the expectations of the publisher, and some of the pitfalls facing the many men who worked for the illustrated newspapers. The memoir, located in the Special Collections Department of the University of Virginia Library, has provided Rainey the ability to attribute some unsigned illustrations to Schell.
139. Tatham, David. "Keppler versus Beecher: Prints of the Great Brooklyn Scandal". Vol. 23, no. 1 (Spring 1998), 2-8.
In 1872 the famous Brooklyn preacher, Henry Ward Beecher, became embroiled in a scandal over an affair with the wife of Theodore Tilton, a noted journalist. The scandal remained a target of cartoonists for three years. Among the artists who contributed to the pictorial documentation of the scandal was Joseph Keppler, whose lithographs appeared in his magazine Puck. Tatham provides the context for these prints and discusses seven of them in detail.
140. Wright, Helena E. "A 'Transatlantic Stranger': Portrait Prints of John James Audubon". Vol. 23, no. 1 (Spring 1998), 9-17.
In this well-researched article, Wright asserts that Audubon's style of self-promotion influenced his reception and reputation, using portrait prints and verbal descriptions of him as the basis for her thesis. He even admitted in a letter to his wife that his long hair was as important to his success as his talents. The portrait prints discussed by Wright were derived from life portraits.
141. Brust, James. "Prints of Questionable Taste That Nathaniel Currier Would Not Sign: An Update". Vol. 23, no. 2 (Autumn 1998), 25-6.
This brief article provides further information on two of the four prints described by Brust in Imprint in 1995 (no. 121). He has located an impression of The Celebrated Terrier Dog Major with an imprint. However, he no longer believes that The Seven Stages of Matrimony is by Currier, since an impression has surfaced with a plate number that does not correspond to Currier's numbering system.
142. Cherbosque, Cathy. "American Historical Prints at the Huntington--The Prints and Ephemera Collections". Vol. 23, no. 2 (Autumn 1998), 27-34.
The Henry E. Huntington Library in San Marino, California, has broad collections relating to both American and British history and culture. Cherbosque provides an overview of the history of the collections and the current policy for adding to the print collection. Several representative highlights are reproduced, drawing from collections of posters, broadsides, genre prints, portraits, and social and political caricature.
143. Schneider, Rona. "The Canadian Etchings of Stephen Parrish and Charles Adams Platt". Vol. 23, no. 2 (Autumn 1998), 2-19.
Parrish and Platt traveled together to the Canadian maritime provinces in August and September of 1881, lured by the scenery and stories of other artists. Parrish made fourteen etchings and Platt eight as a result of this trip. In this thoroughly documented essay, Schneider provides biographical information on each artist, background on the etching revival, and information about the creation, publication, and exhibition of the etchings of the two men.
144. Sweeney, Erin Michaela. "The Patriotic Ladies of Edenton, North Carolina: The Layers of Gray in a Black-and-White Print". Vol. 23, no. 2 (Autumn 1998), 20-24.
One British mezzotint that has long fascinated scholars is A Society of Patriotic Ladies, at Edenton in North Carolina, published by Robert Sayer and John Bennett in 1775. Sweeney analyzes the economic, political, and social motives behind the publication of this print that shows women of Edenton signing a petition against the importation of British goods and the consumption of tea. In spite of its ostensibly pro-American sentiment, Sweeney points out aspects of the image that make it ambiguous in its meaning.
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