124. Diebold, William. “Four Great Sequences of Hudson River Prints.” Vol. 20, no. 2 (Autumn 1995), 2-18.
After summarizing notable eighteenth- and early nineteenth-century views of the Hudson River, Diebold describes the production and contents of four significant sequences of Hudson River views: the aquatints of the Hudson River Portfolio by John Hill after William Guy Wall; the lithographs of Jacques Gerard Milbert’s Itineraire pittoresque du Fleuve Hudson; the steel engravings in Willis’s American Scenery after William Henry Bartlett; and the wood engravings in Benson J. Lossing’s The Hudson, from the Wilderness to the Sea. The essay is well-researched and documented.
125. Reed, Cleota. “On the Trail of the Arkansas Traveller.” Vol. 20, no. 2 (Autumn 1995), 19-28.
Henry Chapman Mercer’s decorative fireplace surrounds (1916) titled “The Arkansas Traveller” were based on a nineteenth-century print. Reed, an historian of ceramics, traces the history of this image both in folklore and fine art. Edward Payson Washborne painted the subject about 1856 and the painting was reproduced lithographically by Leopold Grozelier in 1859. A bill from the lithographer John H. Bufford documents the size of the edition and the agents engaged to sell it. This lithograph in turn served as the source for other lithographs published by J. H. Bufford’s Sons and Currier & Ives in the 1870s. Reed provides substantial information on Mercer as well.