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Imprint Annotated Bibliography - 2001
156. Nicholas Westbrook. Ticonderoga in Print: Prints from the fort Ticonderoga Museum Collection.. Vol 26, no. 1 (Spring 2001), 2-18.
Westbrook, Director of Fort Ticonderoga, discusses some of the key images of the strategic Ticonderoga peninsula and the historic fort built by the French and later occupied, and then destroyed, by the British. The images range from an early fanciful view of the French victory in 1758, to a series of picturesque views of the ruins of the fort by such artists as Hugh Reinagle, William Guy Wall, Thomas Cole, and Jacques Gérard Milbert to later images of some of the events of the American Revolution. Westbrook interprets how the different subjects relate to changing cultural concerns.
157. Jacqueline Calder. .The Flower Prints of Vermonters John Henry Hopkins, Sr. and Jr.. Vol. 26, no. 1 (Spring 2001), 19-24.
Calder tells the story of the creation of the beautiful and extremely rare Burlington Drawing Book of Flowers (1846) by a father-son team. John Henry Hopkins (1792-1868) was a multi-talented man. In 1832 he became bishop of Vermont and moved to Burlington. In 1836 he published an Essay on Gothic Architecture, illustrated with his own lithographs. Struggling to support his school, the Vermont Episcopal Institute, he produced a series of drawing books including The Vermont Drawing Book of Landscapes (1838). He was assisted by his son, John Henry Hopkins Jr., whose name is on the title page of The Burlington Drawing Book of Flowers. This and the portfolio version, titled The Vermont Drawing Book of Flowers, are owned by the Vermont Historical Society.
158. Sally Lorensen Conant. .'Always Beautiful in My Eyes.: An American Industrial Entrepreneur and the Picturesque.. Vol. 26, no. 1 (Spring 2001), 25-31.
Conant examines prints of the factories at Matteawan, now known as the city of Beacon, New York, to trace the diminishing use of picturesque conventions and greater attention to commerce and industrial development. The 1832 aquatint by John Hill, Matteawan . Manufacturing Village, Near Fishkill Landing, N. York, after a sketch by O. Neely, combines an accurate depiction of the industrial town with traditional picturesque elements. A state of this print with an extensive legend in both English and Spanish shows it was intended to advertise the Matteawan Company.s products and machinery. Conant speculates that Philip Hone, one of the company.s investors and a sophisticated art patron, may have influenced the choice of aquatint for this print. Hone.s attitude that industry enhanced the natural landscape was probably shared by the Schenck family, owners of the Company.
159. Jourdan Moore Houston and Alan Fraser Houston. .Lithographer Henry Hitchings: Educator and .Early Devotee of Landscape Art... Vol. 26, no. 2 (Autumn 2001), 2-13.
Henry Hitchings (1823-1902) of Boston had a long career as an artist, printmaker, and art teacher and administrator. Recent discoveries of his works allow the Houstons to present his significant contributions and those of his Boston circle. In 1849 Hitchings became chief lithographer for the four-part series, Landscape Sketches from Actual Views of New England Scenery. Hitchings lithographed some of his own drawings in this series designed to showcase the talents of members of the Boston Artists. Association. In 1859 he traveled with Albert Bierstadt and Seth Frost along the Oregon Trail, making sketches and watercolors, and eventually at least one lithograph. He may have also made photographs in the West. After serving as drawing master at the U.S. Naval Academy, in 1869 he began what would be a long career as an art teacher and administrator in the Boston schools, working with Walter Smith. Hitchings produced drawing texts, including Spencerian Drawing-Book No.2 in 1871 and Landscape Studies in Sepia, published by Prang in 1876.
160. Wendy Shadwell and James Brust. .Unrecorded Currier & Ives.. Vol. 26, no. 2 (Autumn 2001), 14-18.
The authors present several newly discovered items produced by the various firms Nathaniel Currier established. First, the short-lived firm of Stodart & Currier lithographed a map of China dated 1834. In 1840 N. Currier lithographed the sheet music cover .Tippecanoe, the Hero of North Bend,. with a portrait of Whig party presidential candidate, William Henry Harrison. A Nathaniel Currier billhead from 1852 shows the firm.s sidelines included imported engravings and frames. Finally, a C & I portrait of Edward Stiles Stokes, murderer of James Fisk in 1872, is shown to be based on a Harper.s Weekly wood engraving from a photograph by .Kurz..
161. Ron Tyler. .Illustrated Government Publications Related to the AmericanWest, 1843-1863.. Vol. 26, no. 2 (Autumn 2001), 19-31.
Tyler surveys the eighteen illustrated federal government publications relating to the West issued from 1843 to 1863-from Fremont.s first report on the Rocky Mountains to Lt. John Mullen.s Report on the Construction of a Military Road from Fort Walla-Walla to Fort Benton. They contain more than 1600 unique illustrations, and the size of editions ranged from 100 to 53,000. Tyler asks, and attempts to answer, four questions: Why did the government publish these pictures? How widely were they disseminated? .what was their impact? And how did they affect the fledgling lithographic industry? Motivations ranged from the need for scientific and practical information to the desire to emulate European governments in publishing expedition reports, although some objected to the expense. Their impact was to acquaint a wide public with largely unknown regions and to encourage westward expansion.
162. David Tatham. .Winslow Homer.s General Giuseppe Garibaldi: An Unrecorded Harper.s Weekly Illustration. Vol. 26, no. 2 (Autumn 2001), 32-33.
Tatham identifies a portrait of the Italian patriot General Giuseppe Garibaldi that appeared on the front page of the November 17, 1860 Harper.s Weekly as the work of Winslow Homer. It is signed with an elongated .H. similar to that used by Homer in several instances. The Weekly explained that the portrait was drawn from a photograph of a painting by Pagliano.
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