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Imprint Annotated Bibliography - 2006
190. Donald C. O'Brien, "William Satchwell
Leney, Artist, Engraver, and Entrepreneur," Vol. 31, No. 1 (Spring
2006), 2-13.
William Satchwell Leney (1769-1831), a London-trained engraver, migrated to America in 1805 with a letter of introduction from Benjamin West to John Trumbull. Leney worked in New York City for thirteen years, engraving portraits, landscapes, and bank notes. He made enough money to buy a farm near Montreal and moved his family there in 1819. He spent the last twelve years of his life farming and doing some engraving.
Through Stauffer's American Engravers Upon Copper and Steel the author knew that there had been an account book in the possession of a Warren C. Crane of New York City . O'Brien finally found the account book plus engravings, newspaper clippings, and correspondence at the Houghton Library, Harvard University . Hence this article is based on material in the Crane collection as well as research completed at the American Antiquarian Society.
191. Nancy Finlay, "On His Own: The Prints of E.C. Kellogg, 1851-1854," Vol. 31, No. 1 (Spring 2006), 14-28.
While one often thinks of the Hartford lithographers E.B. & E.C. Kellogg as inseparable, some of the most ambitious and interesting Kellogg prints were produced by Elijah Chapman Kellogg during the years 1851-1854, when he was operating on his own, without his brother. These include genre scenes, such as Little Bloomers , probably published in 1851; book illustrations such as those for Peter Good's Materia Medica Animalia ( Cambridge , 1853), and a major group of large landscape prints, in collaboration with Connecticut artists Joseph Ropes, Titus Darrow, and J. Denison Crocker.
192. Sarah J. Weatherwax, "A Newly-Discovered Rembrandt Peale Lithograph," Vol. 31, No. 1 (Spring 2006), 29-32.
In the mid 1820s Rembrandt Peale (1778-1860) began to seriously pursue lithography and is known to have produced twenty-six lithographs. One of his earliest attempts, a previously-unlocated lithograph known as .a female head from a work by Titian,. was recently acquired by the Library Company of Philadelphia . Peale worked with some of America 's leading lithographic presses, including the Pendleton brothers of Boston , producing prints based on his own paintings as well as the works of others. including Old Masters and his contemporaries. This brief article explores how Rembrandt Peale incorporated the relatively new medium of lithography into his multifaceted artistic career.
193. Christopher Jones and Harry Katz, "Experiment on Stone: An Early Lithograph After Bennett," Vol. 31, No. 1 (Spring 2006), 33-36.
Americana dealer and collector Christopher Jones and Harry Katz, former Head Curator in the Prints and Photographs Division at the Library of Congress, speculate on the production and attribution of a heretofore unknown lithographic variant after a view of Baltimore , Maryland , by English-born topographical artist William Bennett (1787-1844). The authors suggest that the unsigned print represents an early attempt to create a large city view in the new medium of lithography rather than the tried-and-true method of aquatint etching.
194. Lauren B. Hewes, "`Dedicated to the lovers of art and
literature,
The Cosmopolitan Art Association Engravings, 1856-1861." Vol. 31, No. 2
(Autumn 2006), 2-17.
The Cosmopolitan Art Association was founded in 1854 to "encourage and popularize the Fine Arts, and disseminate wholesome literature throughout the country." Started by the book and periodical publisher Chauncey Lyman Derby in Sandusky, Ohio, the organization moved to New York and established a presence on Broadway. Like the American Art-Union, the Cosmopolitan Art Association issued large format engravings as a benefit of membership. This article discusses the five large format engravings published by the Association and the challenges faced during their production. The popularity of the organization, which at its peak in 1857 numbered 38,000 members, meant that the engravings were printed in large runs (often over 8,000), and were selected to appeal to broad audiences. The article is followed by an illustrated checklist of the small-format engravings that appeared in the Association's monthly publication, The Cosmopolitan Art Journal, 1857-1861.
195. James Smethurst, "Emancipation Day: Postbellum Visions of African Americans in Currier & Ives Prints," Vol. 31, No. 2 (Autumn 2006), 18-29.
Currier & Ives lithographs depicting African Americans, especially those in the .Darktown Series,. played an important role in the political and cultural debates over the rights and the status of African Americans in the last quarter of the nineteenth century. Allegedly depicting life in an all-black town, the .Darktown. lithographs drew on minstrelsy, plantation literature, and a range of popular visuals to caricature African American men and women. These caricatures demeaned African Americans as citizens (and as people), helping to underpin the establishment of Jim Crow segregation in the 1880s and 1890s. Though the prints were primarily designed to be humorous, like the so-called .coon song,. they often carried hints of more sinister racial threats arising from black citizenship in the Reconstruction era.
196. Georgia B. Barnhill, "The Pictorial Context for Nathaniel Currier Prints for the Elite and Middle Class," Vol. 31, No. 2 (Autumn 2006), 31-42.
Nathaniel Currier's career began in Boston in the lithographic firm of William Pendleton. This article traces the impact that his experience there might have had in terms of workshop practices and selection of imagery when he became a print publisher. Currier's lithographs are compared to the output of other contemporary publishers including George Endicott, James Baillie, Henry R. Robinson, as well as the elegant aquatints of William Bennett and John Hill. Publications of the American Art-Union and the French publisher Goupil, Vibert and Company are likewise discussed in an attempt to set Nathaniel Currier's publications in the context of other prints.
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