2002 Imprint Volume 27-2 Autumn



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Articles from this issue are available for individual purchase as digital downloads. The print version is unavailable for purchase.

166. Christopher W. Lane. “A History of McKenney and Hall’s History of the Indian Tribes of North America.” Vol. 27, no. 2 (Autumn 2002), 2-15.

Lane clarifies the extremely complicated publishing history of McKenney and Hall’s monumental work containing 117 lithographed portraits of Native Americans, “the largest and most elaborate lithographed volume” issued in the United States to that time. As head of the Bureau of Indian Affairs, Thomas L. McKenney assembled an archive of artifacts and portraits by Charles Bird King and James Otto Lewis that would eventually make up the War Department’s Indian Gallery. In 1829 McKenney initiated his “Great National Work,” to publish lithographs of the portraits. Over the next fourteen years, many different publishers and lithographers were involved. Examples of publishers, imprints, and their variations can aid in the identification of variant images.

167. Martha R. Wyatt. “Endicott & Co. Lithographs at The Mariners’ Museum.” Vol. 27, no. 2 (Autumn 2002), 16-26.

Wyatt examines prints by the New York lithographers Endicott & Co. in the collection of The Mariners’ Museum in Newport News, Virginia, founded in 1932 by Archer and Anna Huntington. She seeks to understand why the Endicott firm so frequently chose marine subjects and to assess the historical value of such views, particularly in relation to Civil War history. From the 180 Endicott lithographs in the Museum’s collection, she focuses on views of steamships on the Hudson River and Civil war “ironclad” vessels. She gives particular attention to two artists and lithographers, Charles Parsons and Edwin Whitefield.

168. Jourdan Moore Houston. “M. J. Whipple’s New England Scenery From Nature Series: ‘A Yearbook’ of Tappan & Bradford Artists, 1849-1852.” Vol. 27, no. 2 (Autumn 2002), 27-44.

In 1849, to generate interest in homegrown art, members of the Boston Artists’ Association contributed to a bound portfolio of lithographs of regional scenes published by M. J. Whipple, a dealer in artists. materials, and lithographed by Tappan & Bradford. Houston’s research has turned up several lithographs thought to be from this rare first portfolio and evidence of at least three more bound issues with the same title (more or less) published between 1849 and 1852. Houston recounts Whipple’s contributions to the Boston art community and what is known about a number of the artists and printmakers, including Francis Nalder Mitchell, William Henry Tappan, Edward Augustus Fowle, Benjamin Franklin Smith, Jr., Richard Parrott Mallory, and teachers Edward Seager, Frederick D. Williams, William N. Bartholomew, Henry Hitchings, and Benjamin Franklin Nutting.