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Imprint Annotated Bibliography - 2002
163. Gloria Deák. .The Print Legacy of Isaac Newton Phelps Stokes to the City of New York.. Vol. 27, no. 1 (Spring 2002), 2-11.
Architect and pioneering print collector I.N. Phelps Stokes (1867-1944) assembled a comprehensive collection of views of New York City, and eventually of the development of the entire United States. In 1930 he bequeathed his whole collection to The New York Public Library. Deák recounts the story of his collecting and his resolve to publish The Iconography of Manhattan Island, including reproductions of every map, plan, or view of New York City, whether in his collection or not. It eventually reached six volumes.
164. Erika Piola. .Object, Producer, and Consumer of Popular Prints: A Study of Afro-Americana Graphics at The Library Company of Philadelphia.. Vol. 27, no. 1 (Spring 2002), 12-22.
This article stems from questions that arose in cataloging the extensive holdings in Afro-Americana Graphics at The Library Company of Philadelphia (now accessible through the Library.s on-line catalog, Wolf-PAC: www.librarycompany.org). With focus on the Philadelphia area, the Afro-Americana graphics .elicit an informal visual history of the African American presence in Philadelphia from the late eighteenth to late nineteenth century.. Piola addresses such questions as how African Americans were represented in popular prints and the economic and social motives for producing and consuming prints with an African American theme.
165. William C. Cook. .The Coffin Handbills-America.s First Smear Campaign.. Vol. 27, no. 1 (Spring 2002), 23-37.
Cook focuses on the many versions of the .Coffin Handbills. attacking Andrew Jackson in the presidential campaign of 1828, when his opponent was John Quincy Adams. In its first version, published by John Binns in Philadelphia as a supplement to The Democratic Press, the handbill depicted six coffins. These represented six Tennesse militia men executed thirteen years earlier, Feb.21, 1815, after a court martial found them guilty of disobedience. As Commander of the Seventh Military District, Jackson had let the court.s decision stand, and his opponents tried to use this to defame his judgment. Cook has located 27 .Coffin Handbills,. including one covered with 184 coffins. An annotated catalog of these follows the article.
166. Christopher W. Lane. .A History of McKenney and Hall.s History of the Indian Tribes of North America.. Vol. 27, no. 2 (Autumn 2002), 2-15.
Lane clarifies the extremely complicated publishing history of McKenney and Hall.s monumental work containing 117 lithographed portraits of Native Americans, .the largest and most elaborate lithographed volume. issued in the U.S. to that time. As head of the Bureau of Indian Affairs, Thomas L. McKenney assembled an archive of artifacts and portraits by Charles Bird King and James Otto Lewis that would eventually make up the War Department.s Indian Gallery. In 1829 McKenney initiated his .Great National Work., to publish lithographs of the portraits. Over the next fourteen years, many different publishers and lithographers were involved . Examples of publishers. imprints and their variations can aid in the identification of variant images.
167. Martha R. Wyatt. .Endicott & Co. Lithographs at The Mariner.s Museum.. Vol. 27, no. 2 (Autumn 2002), 16-26.
Wyatt examines prints by the New York lithographers Endicott & Co. in the collection of The Mariner.s Museum in Newport News, Virginia, founded in 1932 by Archer and Anna Huntington. She seeks to understand why the Endicott firm so frequently chose marine subjects and to assess the historical value of such views, particularly in relation to Civil War history. From the 180 Endicott lithographs in the Museum.s collection, she focuses on views of steamships on the Hudson River and Civil war .ironclad. vessels. She gives particular attention to two artists and lithographers, Charles Parsons and Edwin Whitefield.
168. Jourdan Moore Houston. .M. J. Whipple.s New England Scenery From Nature Series: A .Yearbook. of Tappan & Bradford Artists, 1849-1852.. Vol. 27, no. 2 (Autumn 2002), 27-44.
In 1849, to generate interest in home-grown art, members of the Boston Artists. Association contributed to a bound portfolio of lithographs of regional scenes published by M. J. Whipple, a dealer in artists. materials, and lithographed by Tappan & Bradford. Houston.s research has turned up several lithographs thought to be from this rare first portfolio and evidence of at least three more bound issues with the same title (more or less) published between 1849 and 1852. Houston recounts Whipple.s contributions to the Boston art community and what is known about a number of the artists and printmakers, including Francis Nalder Mitchell, William Henry Tappan, Edward Augustus Fowle, Benjamin Franklin Smith, Jr., Richard Parrott Mallory, and teachers Edward Seager, Frederick D. Williams, William N. Bartholomew, Henry Hitchings, and Benjamin Franklin Nutting.
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