156. Nicholas Westbrook. “Ticonderoga in Print: Prints from the Fort Ticonderoga Museum Collection.” Vol 26, no. 1 (Spring 2001), 2-18.
Westbrook, Director of Fort Ticonderoga, discusses some of the key images of the strategic Ticonderoga peninsula and the historic fort built by the French and later occupied, and then destroyed, by the British. The images range from an early fanciful view of the French victory in 1758, to a series of picturesque views of the ruins of the fort by such artists as Hugh Reinagle, William Guy Wall, Thomas Cole, and Jacques Gérard Milbert to later images of some of the events of the American Revolution. Westbrook interprets how the different subjects relate to changing cultural concerns.
157. Jacqueline Calder. “The Flower Prints of Vermonters John Henry Hopkins, Sr. and Jr.” Vol. 26, no. 1 (Spring 2001), 19-24.
Calder tells the story of the creation of the beautiful and extremely rare Burlington Drawing Book of Flowers (1846) by a father-son team. John Henry Hopkins (1792-1868) was a multi-talented man. In 1832 he became bishop of Vermont and moved to Burlington. In 1836 he published an Essay on Gothic Architecture, illustrated with his own lithographs. Struggling to support his school, the Vermont Episcopal Institute, he produced a series of drawing books including The Vermont Drawing Book of Landscapes (1838). He was assisted by his son, John Henry Hopkins Jr., whose name is on the title page of The Burlington Drawing Book of Flowers. This and the portfolio version, titled The Vermont Drawing Book of Flowers, are owned by the Vermont Historical Society.
158. Sally Lorensen Conant. “‘Always Beautiful in My Eyes’: An American Industrial Entrepreneur and the Picturesque.” Vol. 26, no. 1 (Spring 2001), 25-31.
Conant examines prints of the factories at Matteawan, now known as the city of Beacon, New York, to trace the diminishing use of picturesque conventions and greater attention to commerce and industrial development. The 1832 aquatint by John Hill, Matteawan. Manufacturing Village, Near Fishkill Landing, N. York, after a sketch by O. Neely, combines an accurate depiction of the industrial town with traditional picturesque elements. A state of this print with an extensive legend in both English and Spanish shows it was intended to advertise the Matteawan Company.s products and machinery. Conant speculates that Philip Hone, one of the company’s investors and a sophisticated art patron, may have influenced the choice of aquatint for this print. Hone’s attitude that industry enhanced the natural landscape was probably shared by the Schenck family, owners of the Company.