1995 Imprint Volume 20-1 Spring


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120. Brust, James. “A Nathaniel Currier Family Photo Album.” Vol. 20, no. 1 (Spring 1995), 3-6.

Brust’s article provides genealogical information on and photographs of Nathaniel Currier and family members. Although his name is familiar to all print collectors and scholars, little is known about the man, and Brust remedies this situation.

121. Brust, James. “Prints of Questionable Taste That Nathaniel Currier Would Not Sign.” Vol. 20, no. 1 (Spring 1995), 7-11.

Several prints issued during the nineteenth century bear the signs of having been published by Nathaniel Currier, but lack an imprint. Brust illustrates and describes The Wedding Night, When! Shall We Three Meet Again?, The Celebrated Terrier Dog Major Performing His Wonderful Feat of Killing 100 Rats in 8 m. – 58 sec., and The Seven Stages of Matrimony. Brust’s attributions are carefully considered.

See the update (article no. 141): Brust, James. “Prints of Questionable Taste That Nathaniel Currier Would Not Sign: An Update”. Vol. 23, no. 2 (Autumn 1998), 25-6. 

122. Holmer, Rich. “California Currier & Ives: From Amusement to Admiration.” Vol. 20, no. 1 (Spring 1995), 13-21.

Forty-two prints published by Nathaniel Currier and Currier & Ives depict California subjects. Holmer discusses these prints as well as the market for them. A list of the prints, arranged chronologically, follows the text.

123. Major-Marothy, Eva. “The Wild and the Tamed: Bartlett’s Canada Versus Views by his Canadian Contemporaries.” Vol. 20, no. 1 (Spring 1995), 22-28.

The author compares the views of Canada by William Henry Bartlett for Nathaniel Parker Willis’s Canadian Scenery Illustrated with works by Canadian artists. In order to appeal to a European audience, Bartlett emphasized the wild nature of the country. In contrast, views made for home consumption focused on progress and development. Prints after views by James Pattison Cockburn (1779-1847), William Eagar (ca. 1796-1839), Robert Auchmaty Sproule (1799-1845), Thomas Young (d. 1860), and John Gillespie (fl. 1841-59) are compared to Bartlett’s views.