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Imprint Annotated Bibliography - 2003
169. Thomas Beckman. "Thomas Calvert: Early Life, Innovative Technology." Vol. 28, no. 1 (Spring 2003), 2-18
Beckman examines Thomas Calvert's life and multiple business activities during the third quarter of the nineteenth century, from his immigration from England in 1849 and the founding of his first graphic arts firm in Philadelphia in 1852 until he incorporated The Calvert Lithographing, Engraving and Map Publishing Company in 1867, a firm that .was to dominate the lithographic market in Detroit. and continue long after his death in 1900. Beckman describes a printmaking process Calvert's firms used frequently in the 1850s and 60s, the printing of cameo stamps, small metal engravings impressed in color on business cards, billheads, envelopes, and the like. Little attention was afforded this process until Beckman "rediscovered" it.
170. Georgia B. Barnhill. "The Marketing and Collecting of Prints in New York, 1825-1861," Vol. 28, no. 1 (Spring 2003), 19-29.
Barnhill uses such documentary evidence as newspaper reports and advertisements, prospectuses, and auction catalogs to explore how prints were marketed and collected in New York City between 1825 and 1861. She describes the tastes and interests of several prominent early collectors, including Shearjashbub Spooner, Edward B. Corwin, James Augustus Suydam, Andrew Jackson Downing, Alexander J. Davis, and Lumen Reed. The tastes of New York's elite during this period favored European works, particularly reproductive prints; whereas artists formed their collections to aid them in their work.
171. Wendy Shadwell. "Double-Sided Prints." Vol. 28, no. 1 (Spring 2003),30-35.
In her years as Curator of Prints at the New-York Historical Society, Shadwell came across several sheets printed on front and back with unrelated images. She focuses here on three such .double-sided prints. and speculates about why they were made. The prints dealt with are Truxton's Victory [1799] and a proof of G. Washington in his last Illness [1800]; Wreck of the Steamer Oregon, 1846, and a Family Register. and Henriette Sonntag, ca. 1852, and The Discord, 1855.
172. William C. Cook. "The Thrill of Collecting-It Never Ends: Coffin Handbills Update." Vol. 28, no. 1 (Spring 2003), 36-38.
Soon after Cook published his article in the Spring 2002 Imprint on the anti-Jackson Coffin Handbills and prints of the presidential campaign of 1848, he learned of two other prints bearing on his subject. One was a print titled Hero of Two Wars, which is very similar to the David Claypoole Johnston print titled Richard III discussed in his article, but without any attribution of artist, engraver, or publisher. The second print, a caricature of Napoleon by John Kay after Johann Michael Voltz titled Governor of the Island of Elba (1814) evidently served as Johnston's inspiration.
173. Wendy Wick Reaves. "Prints as History." Vol. 28, no. 2 (Autumn 2003), 2-16.
Reaves, Curator of Prints and Drawings at the National Portrait Gallery, Smithsonian Institution, points out that .as a museum of history and biography as well as art,. the National Portrait Gallery is concerned with such questions as: What did a print communicate in its own time? And who made it, and for what audience? She looks carefully at such famous prints as the Van der Passe engraving of Pocahantas and at little-known, rather crude woodcuts of Daniel Shays and George Washington. She assumes there was a commercial market for the 1840s lithograph of African-American band leader and composer, Frank Johnson, and suggests political and nationalistic messages in depictions of Winfield Scott, the families of McClellan and Lincoln, and portraits of rival presidential candidates Ulysses S. Grant and Horace Greeley.
174. Robert P. Emlen. "Canterbury Views: The Enduring Image of a Shaker Village." Vol 28, no. 2 (Autumn 2003), 17-28
The first printed illustration of a Shaker village, a wood engraving of Canterbury, New Hampshire, published in the November 1835 American Magazine of Useful and Entertaining Knowledge, set the pattern for future images of the town, inspiring at least eight other versions of the same scene. The panoramic view of the hilltop community from the Shakers. ox pasture showed substantial buildings, well-tended fields, and stone walls-a picture of industrious and healthy living. Nathaniel Hawthorne, who had visited Canterbury in 1831 and published his story .The Canterbuy Pilgrims. in 1832, may have written the description accompanying the 1835 wood engraving.
175. James Brust. "Learning about Currier & Ives from Nineteenth-Century Carte-de-Visite Photographs." Vol. 28, no. 2 (Autumn 2003), 29-40.
Brust has identified over fifty Currier & Ives prints that have been used on carte-de-visites (CDVs). CDVs by other firms have shed light on C&I lithographs. For example, a CDV of performer Lydia Thompson as .the Girl of the Period. was most likely the source of the C&I print The Girl of the Period. Brust uses a CDV of painter Eastman Johnson to argue that one of the figures in the C&I print Husking, after a Johnson painting, is a self-portrait. And CDVs of paintings by the Scottish artist Erskine Nicol suggest that they were the source of several C&I prints, namely Outward-Bound and Homeward-Bound and Convanience and Inconvanience.
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