2007 Imprint Volume 32-2 Autumn

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200. Jane R. Pomeroy, “Bookmaking and Bible Illustration in the Early Republic: Letters Between Mathew Carey and Alexander Anderson: Part II. Bible Illustration,” Vol. 32, No. 2 (Autumn 2007), 2-15.

A series of letters between Mathew Carey (1760-1839), Philadelphia publisher and bookseller, and Alexander Anderson (1775-1870), wood engraver, was covered in “Bookmaking and Bible Illustration in the Early Republic…Part I. Book Illustration.” Part II continues the correspondence but deals specifically with Bible illustration. Anderson named the sources of his designs: “Raphael’s Bible,” from frescoes in the Vatican, and copperplates in the luxurious 1812 London Bible edited by John Hewlett. Anderson used the Hewlett images in his wood engravings for Bibles published by Collins & Co. in New York, by John Holbrook in Vermont, and by Carey. Anderson asked for careful printing and cleaning of the wood blocks, a request Carey could not satisfy. The prices Carey paid Anderson are supplied. Anderson’s illustrations were used by different publishers well into the nineteenth century.

201. Nancy Finlay, “Founding Brothers: Daniel Wright Kellogg, Elijah Chapman Kellogg, and the Beginnings of Lithography in Hartford” Vol. 32, No. 2 (Autumn 2007), 16-27.

Daniel W. Kellogg and his brother Elijah Kellogg established D.W. Kellogg & Co. in Hartford sometime shortly after June 1831, and by November 1833 the firm was shipping substantial numbers of prints to North Carolina by packet ship. The Kelloggs opened their own retail shop on Main Street in Hartford in 1834. Competing lithographic firms in Hartford included Z.E. Adams & Co. (1834), Case & Waters (1833-36), and Case & Skinner (1842); all were short-lived compared to the Kelloggs, although Lucius Case was involved in lithography for a number of years with several different partners, concluding with William Green, from 1849-1852. Early Kellogg subjects included “fashion plates” such as Emeline (1834) andSarah (1835), portraits, and reproduction prints. The address “110 Main Street” appears on prints published between 1837 and 1840, for exampleGirl at her Studies and Blind Man’s Buff (after Fragonard). D.W. Kellogg & Co. was dissolved in July 1840; at that point Daniel W. Kellogg’s two younger brothers, Elijah and Edmund, became the principal partners in the firm, which continued to operate as E.B. & E.C. Kellogg. Kellogg & Bulkeley, the successor to E.B. & E.C. Kellogg continued on into the twentieth century, finally merging with Case, Lockwood & Brainard in 1947 to form Connecticut Printers.

202. Aimee Newell, “Symbols of Brotherhood: A Primer on Masonic Prints,” Vol. 32, No. 2 (Autumn 2007), 16-27.

For the scholar, the curator, and the collector, Masonic symbols and objects are often a source of confusion, more than anything else. This article aims to uncloak Masonic prints, exploring the role that they played in the lodge and at home. The article is illustrated with documents and decorative prints from the collection of the National Heritage Museum in Lexington, Massachusetts. Masonic lodges relied on a wide range of printed documents, forms, and decorations to assist with learning rituals, remembering the teachings of “the Craft,” and accomplishing lodge business. Some prints memorialize famous Masons like George Washington and Paul Revere.

The article provides an overview of functional Masonic charters, summonses, and certificates, along with decorative and instructive Masonic prints. These items found a ready market not only among lodges, where they could be framed and hung for easy reference during rituals and ceremonies, but also in the homes of Freemasons, where they were colorful and decorative reminders of Masonic values. The Masonic fraternity grew up along with the United States, influencing and being influenced by American aesthetics, values, and citizens. The artifacts of American Freemasonry and those of other fraternities have much evidence to offer for an expanded understanding of life in the past.

203. James S. Brust, “Yet Another Currier & Ives,” Vol. 32, No. 2 (Autumn 2007), 42-43.
This is the latest in a series of articles in Imprint since 1999 that have presented unusual items published by Currier & Ives, or examples of C&I images copied by others. This article features a single, remarkable, unconventional Currier & Ives lithograph. It is a political broadside issued to convince voters not to support a prohibition initiative in some unspecified election, adorned with a small version of the early 1860s C&I print Freedom to the Slaves, and worded to make it seem that Abraham Lincoln himself, though already dead, was appealing to voters to oppose prohibition.

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