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Imprint Annotated Bibliography - 1999
145. Brust, James, and Wendy Shadwell.
"Unconventional Currier
& Ives."
Vol. 24, no. 1 (Spring 1999), 2-26.
In the spring of 1998, Brust and Shadwell mounted an exhibition of uncommon objects relating to Currier & Ives at the New-York Historical Society. This article discusses these items and others, including cases for daguerreotypes, wood engravings of lithographs, unusual lithographs for the firm, job work, trade cards published by the firm based on earlier larger prints, and photographs of their prints. Also noted are works by other artists who copied prints by the firm. This is a fascinating excursion into little-known images.
146. Worman, Paul. "The Etchings of Thomas Waterman Wood". Vol. 24, no. 1 (Spring 1999), 27-34.
Worman is engaged in the compilation of a catalog raisonné of Thomas Waterman Wood. In this essay, he presents Wood's biography and describes his use of the etching process beginning in 1877 at the first meeting of the New York Etching Club. Wood worked in this medium until 1894 when he refocused his attention on his painting career.
147. Burant, Jim. "The Growth and Protection of a Cultural Industry: The Graphic Arts in Canada, 1850-1914." Vol. 24, no. 2 (Autumn 1999), 25-37.
Based on his presentation at the North American Print Conference held in Ottawa in 1984, Burant's essay documents the imposition of protective tariffs, the growth of a distinctively Canadian graphic arts industry, its commercialization, and the development of a tradition of fine-art printmaking. Prior to the establishment of a protective tariff in 1858, many Canadian artists turned to the centers of print production in Europe and the United States for lithographs after their works. Burant provides ample examples of each of his major themes in this seminal article.
148. Casper, Scott E. "First First Family: Seventy Years with Edward Savage's The Washington Family.” Vol. 24, no. 2 (Autumn 1999), 2-15.
Edward Savage's painting The Washington Family was reproduced by Savage himself as a print in 1798 and by a host of printmakers and publishers over the next seventy years. Casper analyzes Savage's painting and print and their copies, finding changing cultural and political ideas expressed in the varying adaptations through the nineteenth century.
149. Stephens, Sloane. "Electra Havemeyer Webb's Print Collection at the Shelburne Museum." Vol. 24, no. 2 (Autumn 1999), 16-24.
Long before the Shelburne Museum was opened, its founder, Electra Havemeyer Webb (1888-1960), collected American prints and related Americana for her homes in Vermont and Westbury, Long Island, beginning in 1919. Stephens, Managing Curator at the Museum, documents the collection and its installation at Shelburne, founded in 1947. Collections include important Currier & Ives prints, circus posters, textiles related to prints, as well as railroad, naval, whaling and maritime prints that reflect other major parts of the Museum's interests.
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