Description

36. Cunha, George M. “Print Care.” Vol. 6, no. 1 (Spring 1981), 28-31.

This second installment discusses the solubility of inks and colors and the characteristics of machine-made versus handmade paper. In the first installment (see #27), Cunha discussed the controversial and rather complicated different techniques of deacidifying paper (see Cunha, George M. “Print Care.” Vol. 5, no. 1, 24-26).

37. Mann, Maybelle. “Augustus Kollner.” Vol. 6, no. 1 (Spring 1981), 19-22.

Among Kollner’s works was a series of fifty-four views of American cities published between 1848 and 1851 by Goupil, Vibert & Co. of New York and Paris. Mann provides biographical background on Kollner (ca. 1812-1906) and mentions a variety of his productions, including children’s books, maps, and Civil War sketches reproduced photographically. The Historical Society of Pennsylvania has an important collection of his Pennsylvania views produced in the later years of his life. The Free Library of Philadelphia has a large collection of his drawings and sketches.

38. Newman, Ewell L. “Graceful Vines, Common Scolds, and Shameless Devils: The Image of Woman in Nineteenth Century American Historical Prints.” Vol. 6, no. 1 (Spring 1981), 2-18.

In a well-researched and thoughtful essay, Newman uses lithographs published by Currier & Ives to examine the way in which nineteenth-century graphic artists portrayed women. His survey includes sentimentalized images of women with and without family members and several of the forty portraits of women published by the firm. He turns to other publishers, including Kurz & Allison of Chicago, and the pages of popular magazines to find images of strong women. Winslow Homer was among the artists who depicted the useful lives of women in his Civil War illustrations.

39. Norton, Bettina A. “The Print Collection of the Essex Institute.” Vol. 6, no. 1 (Spring 1981), 23-26.

Among the print holdings at the Peabody Essex Museum (formerly the Essex Institute), Salem, Massachusetts, are topographical prints, portraits, certificates of membership, historical and political prints, and genre scenes. Also present are portfolios of European prints collected by Salem residents while abroad, and prints by Salem artists, including Samuel Blyth, Mary Jane Derby, and Frank Benson. Many of the prints are displayed in historic houses owned by the Museum.