Publications >
Imprint Annotated Bibliography - 2007
197. Stephen Longmire, "Early Views of Sag
Harbor,"
Vol. 32, No. 1 (Spring 2007), 2-9.
In connection with the three-hundredth anniversary of the former whaling port Sag Harbor on eastern Long Island, Longmire searched for historic prints and photographs of the village for his book, Keeping Time in Sag Harbor, which also includes his own photographs. Despite the town's rich history as a major port from the 1790s to the 1840s and as a watch manufacturing and tourist center thereafter, the pictorial record is thin. It includes a map with lithographs of Sag Harbor's major buildings, an album of photographs by William Wallace Tooker (1848-1917), and a magnificent D.W. Kellogg & Co. lithograph titled Sag Harbor, (L.I.) N.Y. after a painting by Orlando Hand Bears (1811-1841), which Longmire dates to 1840. Other views of the town include wood engravings by John Warner Barber and after Harry Fenn in Picturesque America.
198. Christopher Pierce, "Practicing Peeping! New Notes and Comments on the Collection des Prospects of New York City," Vol. 32, No. 1 (Spring 2007), 10-24.
Building on earlier, broader studies of the subject, this article has three principal objectives: it seeks to clarify the sources of Balthazar Frederic Leizelt's (1755-1812) and François Xavier Habermann's (1721-1796) New York perspective views; to investigate the practices and motives governing this popular print type; and to present the social and political agenda of these images and raise key questions about our comprehension of colonialism.
The central focus of this research is Pierce's interrogation of New York City's material history as delineated in contemporary engravings. There are only eight contemporary fictional views of early New York that are significant in this context, six of which form part of the Collection des Prospects -- engravings designed to be viewed through optical devices and published in Augsburg around the time of the American Revolution. While this article focuses its attention on these six perspective views it also contextualizes claims to authenticity of competing views, while extending the socio-cultural message of these six engravings in Europe.
199. Jane R. Pomeroy, "Bookmaking and Bible Illustration in the Early Republic: Letters between Mathew Carey & Alexander Anderson. Part I. Book Illustration," Vol. 32, No. 1 (Spring 2007), 25-36.
A series of letters between two men prominent in bookmaking at the beginning of the nineteenth century, Mathew Carey (1760-1839), Philadelphia publisher and bookseller, and Alexander Anderson (1775-1870), wood engraver, provides us with insight into their dealings, the cost of illustrations and their management of the press. Anderson made detailed recommendations about the need for good printing, while Carey complained that some of Anderson's blocks were difficult to print and stated that "strong bold work" was better than fine lines requiring "more care than printers in general will bestow." Books were suggested by Carey and abandoned due to their cost, and Anderson's prices were not always agreed to, although Carey understood the selling power of illustrated publications. Part II deals with Bible illustration.
200. Jane R. Pomeroy, "Bookmaking and Bible Illustration in the Early Republic:
Letters Between Mathew Carey and Alexander Anderson: Part II. Bible Illustration," Vol. 32, No. 2 (Autumn 2007), 2-15.
A series of letters between Mathew Carey (1760-1839), Philadelphia publisher and bookseller, and Alexander Anderson (1775-1870), wood engraver, was covered in “Bookmaking and Bible Illustration in the Early Republic...Part I. Book Illustration.” Part II continues the correspondence but deals specifically with Bible illustration. Anderson named the sources of his designs: “Raphael’s Bible,” from frescoes in the Vatican, and copperplates in the luxurious 1812 London Bible edited by John Hewlett. Anderson used the Hewlett images in his wood engravings for Bibles published by Collins & Co. in New York, by John Holbrook in Vermont, and by Carey. Anderson asked for careful printing and cleaning of the wood blocks, a request Carey could not satisfy. The prices Carey paid Anderson are supplied. Anderson’s illustrations were used by different publishers well into the nineteenth century.
201. Nancy Finlay, "Founding Brothers: Daniel Wright Kellogg, Elijah Chapman Kellogg, and the Beginnings of Lithography in Hartford" Vol. 32, No. 2 (Autumn 2007), 16-27.
Daniel W. Kellogg and his brother Elijah Kellogg established D.W. Kellogg & Co. in Hartford sometime shortly after June 1831, and by November 1833 the firm was shipping substantial numbers of prints to North Carolina by packet ship. The Kelloggs opened their own retail shop on Main Street in Hartford in 1834. Competing lithographic firms in Hartford included Z.E. Adams & Co. (1834), Case & Waters (1833-36), and Case & Skinner (1842); all were short-lived compared to the Kelloggs, although Lucius Case was involved in lithography for a number of years with several different partners, concluding with William Green, from 1849-1852. Early Kellogg subjects included “fashion plates” such as Emeline (1834) and Sarah (1835), portraits, and reproduction prints. The address “110 Main Street” appears on prints published between 1837 and 1840, for example Girl at her Studies and Blind Man’s Buff (after Fragonard). D.W. Kellogg & Co. was dissolved in July 1840; at that point Daniel W. Kellogg’s two younger brothers, Elijah and Edmund, became the principal partners in the firm, which continued to operate as E.B. & E.C. Kellogg. Kellogg & Bulkeley, the successor to E.B. & E.C. Kellogg continued on into the twentieth century, finally merging with Case, Lockwood & Brainard in 1947 to form Connecticut Printers.
202. Aimee Newell, "Symbols of Brotherhood: A Primer on Masonic Prints," Vol. 32, No. 2 (Autumn 2007), 16-27.
For the scholar, the curator, and the collector, Masonic symbols and objects are often a source of confusion, more than anything else. This article aims to uncloak Masonic prints, exploring the role that they played in the lodge and at home. The article is illustrated with documents and decorative prints from the collection of the National Heritage Museum in Lexington, Massachusetts. Masonic lodges relied on a wide range of printed documents, forms, and decorations to assist with learning rituals, remembering the teachings of “the Craft,” and accomplishing lodge business. Some prints memorialize famous Masons like George Washington and Paul Revere.
The article provides an overview of functional Masonic charters, summonses, and certificates, along with decorative and instructive Masonic prints. These items found a ready market not only among lodges, where they could be framed and hung for easy reference during rituals and ceremonies, but also in the homes of Freemasons, where they were colorful and decorative reminders of Masonic values. The Masonic fraternity grew up along with the United States, influencing and being influenced by American aesthetics, values, and citizens. The artifacts of American Freemasonry and those of other fraternities have much evidence to offer for an expanded understanding of life in the past.
203. James S. Brust, "Yet Another Currier & Ives," Vol. 32, No. 2 (Autumn 2007), 42-43.
This is the latest in a series of articles in Imprint since 1999 that have presented unusual items published by Currier & Ives, or examples of C&I images copied by others. This article features a single, remarkable, unconventional Currier & Ives lithograph. It is a political broadside issued to convince voters not to support a prohibition initiative in some unspecified election, adorned with a small version of the early 1860s C&I print Freedom to the Slaves, and worded to make it seem that Abraham Lincoln himself, though already dead, was appealing to voters to oppose prohibition.
Browse brief descriptions of each Imprint article by year, author, or subject.
1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008
Back issues
Back issues are avilable for purchase. The cost per issue (post paid) for U.S., Canada and Mexico delivery, members US $11, non-members US $15. The cost per issue (post paid) for overseas delivery by surface mail is US $15. Cost for a full set (post paid) of all back issues is US$ 400 for North American delivery and US $480 for overseas delivery (surface mail). Ordering Information
This site and all contents © 2008 American Historical Print Collectors Society