240. David Gilmore Wright, “Behind the Scenes: Early Civil War Views of Fort McHenry by Edward Stuart Lloyd,” Vol. 39, No. 1 (Spring 2014), 2-13, 9 illus.
Investigating two lithographs of Baltimore’s Fort McHenry, published in 1861 from drawings by Edward Stuart Lloyd, a corporal in the Third Battalion of Rifles, Massachusetts Volunteer Militia, led author David Wright to explore significant historical events connected with the fort and the early conduct of the Civil War. Edward Stuart Lloyd (1835-1879) is a little-known artist, descended on his mother’s side from the families of American painters Gilbert Stuart and Gilbert Stuart Newton. Lloyd enlisted for military service with his local Massachusetts militia just before the outbreak of the Civil War. Wright’s account of the training, transport, quarters, and duties of Lloyd’s unit illuminates life in the three-month regiments dispatched to the front with all possible speed when hostilities broke out. As it happened, Lloyd served at Fort McHenry at the time when many secessionist political prisoners were incarcerated there without due process of law. Foremost among them was John Merryman, a high-profile Confederate sympathizer who, aided by Chief Justice Roger Taney, challenged Lincoln’s war-time decree suspending the writ of habeas corpus. Published views of the fort, based on Lloyd’s sketches show how the historic fort adapted to wartime needs. Lloyd’s life and career remain obscure, but he wrote and drew for the weekly New York humor magazine Puck from shortly after its founding in 1876 until his death.
241. Christopher W. Lane, “The Beginnings of Cincinnati Lithography: With a List of Lithographs Made in Cincinnati to 1845,” Vol. 39, No. 1 (Spring 2014), 14-33, 15 illus.
This is the first in a series of articles on lithography in Cincinnati. The article discusses the situation of the printing trade in that city when Louis Samyn, a Frenchman, life dates unknown, attempted to establish a lithographic business in 1838 and 1839. Like many early lithographers on the East Coast, Samyn sought clients among the intellectual and professional class, printing book illustrations for investigations into the geology, fossils, and history of his area. Emil Klauprech (1815-1896) arrived from Germany about 1837 and seems to have been a better businessman. In partnership with Adolphus Menzel (ca. 1812-1874), Klauprech printed a variety of products including book and magazine illustrations, advertisements, sheet music, maps, views, portraits, and framing prints. Like Samyn, Klauprech& Menzel enlisted the skill of local artists. Their connection with John Jollasse, the American name adopted by the German architect Jean David Jollasse (1810-1876) during his brief stay in Cincinnati, is particularly noteworthy. The “List of Lithographs Made in Cincinnati to 1845,” is a chronological listing by firm of all the lithographs the author has been able to substantiate printed by Klauprech & Menzel and Louis Samyn from ca. 1837 through 1844. The next installment of this series appears in Imprint, vol. 39, no. 2 (Autumn 2014).