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104. Emlen, Robert P. “The Shaker Dance Prints.” Vol. 17, no. 2 (Autumn 1992), 14-26.

In this essay, part of a larger study of how Shaker life was depicted in the popular press, Emlen focuses on prints showing Shakers dancing. At least eighteen prints derive from one engraving issued about 1830 depicting a scene inside the meeting house at New Lebanon, New York. Emlen traces the lines of descent in a careful analysis that includes the architecture of the original meeting house. He suggests that this image “became the one image most people held of Shakerism in the nineteenth century.”

105. Hathaway, Richard O. “Finders Keepers.” Vol. 17, no. 2 (Autumn 1992), 35-37.

Hathaway provides a series of anecdotes about his own collection and comments on the collecting practices of figures such as the Collyer brothers and William Randolph Hearst. He concludes with reasons why we collect–to make order out of chaos, to uncover objects that are transcendent, to create a buffer against mortality.

106. O’Brien, Donald C. “The Promotion of Stafford Springs: Aquatints by Abner Reed.” Vol. 17, no. 2 (Autumn 1992), 27-34.

O’Brien discusses the handsome set of aquatints by Reed, Six Views in Aquatinta (1810), which depict the spa at Stafford Springs, Connecticut. America’s first recognized health spa was owned by Dr. Samuel Willard. O’Brien considers how Reed learned to create aquatints, the history of the spa, the purpose of the prints, and the views themselves.