Description

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

This brief article provides further information on two of the four prints described by Brust in Imprint in 1995 (no. 121). He has located an impression of The Celebrated Terrier Dog Major with an imprint. However, he no longer believes that The Seven Stages of Matrimony is by Currier, since an impression has surfaced with a plate number that does not correspond to Currier’s numbering system.

142. Cherbosque, Cathy. “American Historical Prints at the Huntington–The Prints and Ephemera Collections”. Vol. 23, no. 2 (Autumn 1998), 27-34.

The Henry E. Huntington Library in San Marino, California, has broad collections relating to both American and British history and culture. Cherbosque provides an overview of the history of the collections and the current policy for adding to the print collection. Several representative highlights are reproduced, drawing from collections of posters, broadsides, genre prints, portraits, and social and political caricature.

143. Schneider, Rona. “The Canadian Etchings of Stephen Parrish and Charles Adams Platt”. Vol. 23, no. 2 (Autumn 1998), 2-19.

Parrish and Platt traveled together to the Canadian maritime provinces in August and September of 1881, lured by the scenery and stories of other artists. Parrish made fourteen etchings and Platt eight as a result of this trip. In this thoroughly documented essay, Schneider provides biographical information on each artist, background on the etching revival, and information about the creation, publication, and exhibition of the etchings of the two men.

144. Sweeney, Erin Michaela. “The Patriotic Ladies of Edenton, North Carolina: The Layers of Gray in a Black-and-White Print”. Vol. 23, no. 2 (Autumn 1998), 20-24.

One British mezzotint that has long fascinated scholars is A Society of Patriotic Ladies, at Edenton in North Carolina, published by Robert Sayer and John Bennett in 1775. Sweeney analyzes the economic, political, and social motives behind the publication of this print that shows women of Edenton signing a petition against the importation of British goods and the consumption of tea. In spite of its ostensibly pro-American sentiment, Sweeney points out aspects of the image that make it ambiguous in its meaning.