2006 Imprint Volume 31-1 Spring


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190. Donald C. O’Brien, “William Satchwell Leney, Artist, Engraver, and Entrepreneur,” Vol. 31, No. 1 (Spring 2006), 2-13.

William Satchwell Leney (1769-1831), a London-trained engraver, migrated to America in 1805 with a letter of introduction from Benjamin West to John Trumbull. Leney worked in New York City for thirteen years, engraving portraits, landscapes, and bank notes. He made enough money to buy a farm near Montreal and moved his family there in 1819. He spent the last twelve years of his life farming and doing some engraving.

Through Stauffer’s American Engravers Upon Copper and Steel, the author knew that there had been an account book in the possession of a Warren C. Crane of New York City. O’Brien finally found the account book plus engravings, newspaper clippings, and correspondence at the Houghton Library, Harvard University. Hence this article is based on material in the Crane collection as well as research completed at the American Antiquarian Society.

191. Nancy Finlay, “On His Own: The Prints of E.C. Kellogg, 1851-1854,” Vol. 31, No. 1 (Spring 2006), 14-28.

While one often thinks of the Hartford lithographers E.B. & E.C. Kellogg as inseparable, some of the most ambitious and interesting Kellogg prints were produced by Elijah Chapman Kellogg during the years 1851-1854, when he was operating on his own, without his brother. These include genre scenes, such as Little Bloomers, probably published in 1851; book illustrations such as those for Peter Good’s Materia Medica Animalia (Cambridge, 1853), and a major group of large landscape prints, in collaboration with Connecticut artists Joseph Ropes, Titus Darrow, and J. Denison Crocker.

192. Sarah J. Weatherwax, “A Newly-Discovered Rembrandt Peale Lithograph,” Vol. 31, No. 1 (Spring 2006), 29-32.

In the mid 1820s, Rembrandt Peale (1778-1860) began to seriously pursue lithography and is known to have produced twenty-six lithographs. One of his earliest attempts, a previously-unlocated lithograph known as “a female head from a work by Titian,” was recently acquired by the Library Company of Philadelphia. Peale worked with some of America’s leading lithographic presses, including the Pendleton brothers of Boston, producing prints based on his own paintings as well as the works of others, including Old Masters and his contemporaries. This brief article explores how Rembrandt Peale incorporated the relatively new medium of lithography into his multifaceted artistic career.

193. Christopher Jones and Harry Katz, “Experiment on Stone: An Early Lithograph After Bennett,” Vol. 31, No. 1 (Spring 2006), 33-36.

Americana dealer and collector Christopher Jones and Harry Katz, former Head Curator in the Prints and Photographs Division at the Library of Congress, speculate on the production and attribution of a heretofore unknown lithographic variant after a view of Baltimore, Maryland, by English-born topographical artist William Bennett (1787-1844). The authors suggest that the unsigned print represents an early attempt to create a large city view in the new medium of lithography rather than the tried-and-true method of aquatint etching.