-7-r. r.91 1 -LJL* IMPRIA 06· f'A''ll iiI . ~ 1 - ~ /.14 le; , 3 *@*fi-1/ »fir t .1,: 1. N P h. · . ././ID·-= 1 1.. 7.fil...X.i.k... \\. 14 35. I . 4 .1 : 1 I 1 : 11 JOURNAL OF THE AMERICAN HISTORICAL PRINT COLLECTORS SOCIETY VOLUME 27, NUMBER 2 • AUTUMN 2002 . .:41**Illf THE AMERICAN HISTOR-ICAL PRINT COLLECTORS SOCIETY The American Historical Print Collectors Society, founded IMPRINT is published twice-yearly to serve these ends and in I975, is incorporated as a non-profit association in the is available only through membership in the AHPCS. State of Connecticut and has been granted tax-exempt status Membership, now nationwide, is open to all interested indi- bv the U.S. Internal Revenue Service. The purpose of the viduals and institutions. 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Imprint JOURNAL OF THE AMERICAN HISTORICAL PRINT COLLECTORS SOCIETY VOLUME 27, NUMBER 2 AUTUMN 2002 CONTENTS 2 A \-listory of AleKenney and HaWs History oftbe Indian Tribes of Nortb America Christopher W. Lane 16 Endicott & Co. Lithographs at The Mariners' Museum Martha R. Wvatt 27 M .J. Whipple's New England Scenery From Nature Series : A 'Yearbook' of Tappan & Bradford Artists, 1849 to I852 Jourdan Moore Houston 45 Book Reviews Tbomas Beckman, Book Review Editor Goddu, Artist's Proofs for Tbe Birds oj/~.,4,nerica,· Lt'Beau.· Currier and Ives: America Imagined; Miles and Reese, America Pictured to the Life : Illustrated Works from the Paul Mellon Bequest, Hoovel; St . Louis ·and the Art of the Frontier; Wait, Shadows .it the Fair : An Antique Printt Mystery The three maiii articles in this issue all deal with aspects of the history of lithography in the United States, but their subjects ·and approaches vary greatly Christopher Lane's contribution clarifies the extremely complicated publishing history of McKenney and Hall 's History Of tbe Indian Tribes OfNorth America. The project involved numerous artists , lithographers, and pub- lishers and eventually yielded some of the most attractive and important prints in the nation's history f Next, Martha Wyatt examines prints by the New York lithographers Endicatt & Co. in the collection ofThe Mariners' Museum in Newport News, Virginia. She seeks to under- stand why the firm so frequently chose marine views as subjects and to assess the historical v.alue of such views, particularly in relation to Civil War history 91 The third major article concerns several series of lithographs of New England scenery published by M j. Whipple that are now quite rare. Jourdan I Iouston'ss diligent research has uncovered much new infbrmation on the individuals in mid-century Bc,ston's community of artists, lithographers, and publishers who pro- dticed these views. 9 And finally, the issue closes with sever·al reviews of new books of interest. SUE RAINEY,Editor F R O N T COVER : Charles Bird King. Petalesbaroo A Pawnee Brave.Lilliograph by Lehman & Duval, hand-colored, iniage size ca. I21/i X I03/4". Drawn on stone by Albert Newsam. E.C. Riddle. I836. BA C K COVER: Charles Bird King. Pet-A-Le-Sbar-Ro A Pawnee Brave. I.ithograph by J.T.Bowen, hand-colored, image size ca. I21/2 X I03/2'. Drawn on stone by Ralph Tremblay E W. Greenough, 1838 7-ourdan 0\400 re *fouston M. J. .Whipple's Nefu England Scenery -From Nature Series: A 'Yearbook' ofTappan & Bradford Artists, I84.9-I852 ~ n carlv I849 , Boston's sniall cadre of painters , engravers, the seminal America 011 Stone, who saw the volume's eight and sculptors met in the Boston Artists' Association lithographs more than seventy years ago. A number oflith- rooms at Leonard & Cunninghams auction house to ographs thought to be from this and possibly the February ponder remedies for the lackluster state ofart in their city.J 1.Ist I849 issue were recently uncovered in one collection, allowing as the nascent Gold Rush would soon evoke a huge migra- fresh insight into the production, artistry, and range of tile tion of Yankees to California, a desultory market fi,r "native" project. (Tables I and 2, p. 36) art in Boston augured an exodus of artists from local studios The theme and scope of New England Scenery was still to more receptive cities. "Boston is not so warm a place for an novel, if not new. Other series by local artists had not artist as I could desire," one Association member wrote a advanced past the first issue. In I84.3, ti)r example, the versatile New York client Lit niid-century, adding, "When I first came and voltible sculptor-poet Edward Brackett (IBIS-*)08), a here, I h·ad considerable to do, not as much since. And I am f,under of the Boston Artists' Association in late I841, had almost frozen by the lack of that interest."1 issued Brackettl- Iltrks, a folio with four plates engraved in The compatrints' boldest hope was to implement their Boston by Ephrim BotivE (IBIF'-I897) and William Sharp own art union to foster lotteries to promote their works. But (I803-I875)· The volume, which included Brackett's poetry ainong their less formidable and more immediate responses ·and promoted his memorial sculptures, was declared "one of was the publication of a bound portfolio of rorional scenes the tinest specimens of American typography and lineb printed by the fledgling Boston lithographic firm of Tapp·an engraving ever published in the United States."4 Brackett & Bradthrd and published by M. J. Whipple, a dealer in intended that, should "lovers of art" find his eff()rt satistiic- artists niaterials who was clerk of the Boston Artists' tory enough to "render the support that is needed," a new Association. Modest in size but ambitious in scope, Ake edition offour more prints and accompanying poems would England Scenery stood out not only as a collective effbrt , but be issued every six months . ~ It was , however, not to be . also as a preamble to the ascendancy of home-grown ·art at a Single-issue compilations th,it incluiled New England time when Americans still clamored for works with a landscapes had already been published, some more ambi- European flavor. It was one of two publications in early I849 tious, soine with n·arrative, some with prints crafted on that answered a complaint heard in the citv ·as the first Whipple portfolio was he·aded to press: "It is mel·ancholy to 478./1''&*diff- see how much ofthe artistical talent ofthe country in engrav- ing is devoted to the reproductions of European engravings."2 ~ 35· ':'2--47'*:.,·z. i-vi-&' 45: Planned as a series, this first Tappan & Bradford portfo- lio proved successful enough-or Whipple proved persistent enough-to generate at least three more bound issues with ..~'72JI¤t~ 1<· v ·u,;/19 .*42£,fiES Za- ?Y~ the s·ame title (more or less) between I849 and I852. The h' rf'file• 3... third and fourth issues of the series, both published in I852, -f'l,~ 19\ ....4, 7'**1,44!1.,., . 1 14 A' f,U it E. -~>·~Sy'f:g have survived intact and are accessible in sever·al locales. --+*'"¥1 f , (Fig. 1) Copies of the earlier series, however, have proven more elusive, although the November I849 edition of New .*' ··..: •··Ztt.~·~•'/1,V gLF.% England Scenery is mentioned by Harry T. Peters, author of JOURDAN HOUSTON and her husband, Alan Fraser I louston, research the lives of Boston artists born before I83o and those who visited FIG. I. Henry Hitchings. Cover of Fom·tb Sene.j.· New England Sh'nery the pre -railroad frontier. She is writing more extensively about several Net, From Nature, By Various Artists (Boston: M .J . Whipple, I852). I .ithograph , England S#Werv participants and is completing a histon' ofthe Boston Art 101/2 x 131/2" ( sheet). Printed by Tapp, in & Br: idford. Courtesy of the Club and its predecessors through tlic eartv 4706 American Antiquarian Society. 28 Imprint ·AUTUMN 2002 metal, some on stone. As the Boston artists met, William of almost exclusively American works of art, was well suited Oakes's Scene,y ftbr White Mountains was being sold loc·ally for the task of marketing this little volume. By I846, he had in an edition limited to 200 copies, gaining notoriety as set up shop in an elegant two-st()rv building not far from much for the puzzling death of its author as for its contents Faneuil Hall, selling supplies to fellow artists and becoming of sixteen views of still-remote New I-lampshire locales. the American representative of the English firm of Winsor William Oakes (I799-I848), the portly lawyer and botanist and Newton. (Founded in I832 by "artists' colourmen who had drawn the original sketches, had drowned in William Winsor and Henry Charles Newton, the Englisli Boston harbor only days after completing his book in July enterprise was credited with having vastly improved the quill- of 1848, falling from a departing ferry with ten pounds of ity ofwatercolors.9 The latest works oflocal poets made their birdshot in his pockets in what the press suggested was suicide way to Whipple's counters, too. He was acquinted with during "an insane interval." (The Oakes family insisted the writers such as Henry Wadsworth Longfellow not only shot had been bought for sport.9 thix,ugh their active support of the visual arts in Boston, but Oakes's sketches had been completed by Isaac Sprague also through his brother, literary critic and essayist Edwin (IBII-I895), the scientific illustrator and landscape artist after Percy Whipple (IBI()-I886). The popular Percy Whipple was whom John James Audubon named "Sprague's Missouri not shy ·about supporting his older sibling's projects. 10 Lark"--Alauda Spraguet/, Aud (Sprague located the bird and Although the lives and works of Ebenezer Tappan and a nest of five eggs while traveling with Audubon near Fort Lodowick Bradford have enjoyed proper attention,11 Union on the Upper Missouri in I843·) Two more drawings Matthew James Whipple (IBI5-I880) has rem·ained a familiar in the Oakes book were contributed by Cincinnati artist but undeveloped figure in the Boston art community. Godfrey Nicholas Frankenstein (I82O--I873), who had lately Whipple provisioned Boston artists until 1869, his impri- been in Massachusetts and whose p·assion and reputation for matur on the reverse of thousands of canvases stretched for painting Niagara Falls had alre·ady begun. The firm of John his clients; his role in the adv·ancement of the arts, however, Henry Bufford (ISIo-I87O), a competitor of Tappan & has been understated. A native ofthe Massachusetts port of Bradford, lithographed the views.7 Gloucester, he bore the name of the original Whipple settler \Vhipple's series provided a clever platform for some of in America, Matthew Whipple of nearby Ipswich.12 M. J. Boston's less heralded artists, especially for the drawing Whipple's father, Matthew (I773-1820), was "a gentleman of masters who planted the seeds for the national arts education strong sense and fine social powers," descended, for better movement two decades later and for the artist-entrepreneurs or worse, from a family of "chastening, mild blandness. who would sustain the commercial engraving economy on In contrast, Whipple's mother, the former Lydia Gardiner Washington Street . New England Scenery is their unofficial (d. I842), brought inherent wit to the mix, delicately com - yearbook," a visual almanac of largely young artists and bining her own family's reputation for brains with the printmakers, plus a few of their older peers. Most of the envenorned sarcasm so peculiar" to the Gardiners, a family fifteen artists of New England Scenery views represented two of social and pc ,litical prominence in Massachusetts and in loosely sympathetic groups, the commercial engravers .ind Maine, where a town bears their name. 13 illustrators, and the teachers-the practitioners and the When the senior Matthew Whipple died of cholera in pedagogues. Their lithographs-now as many as twenty- ]]820, Lydia and her four children were burdened with as four of them-span styles, years, subjects, and levels of many debts as assets, forcing Lydia to petition the court for sophistication. Sonic are by artists whc,se works either are assistance.24 The family moved to the shipping center of rare or rarely appeared in this format. Others can be con- Salem, north of Boston, where Lydia eventually ran a store, sidered transitional, a first or a last effort in the stages of an assisted by her sons. Lydia Gardiner Whipple was "devotedly artist s career. A brief examination of the careers, relation- attac hed to her children and her plastic influence largely con- ships, and accomplishments of these men amplifies the tributed to shaping their character."15 She reared her sons chronicles of Boston's lithographic and commercial printing with a "very nice sense of the amenities oflife and Art," suc- culture; access to some of the I849 lithographs adds context cessfully developing their "taste for music, painting and lit- to the series and to the evolution ofTappan & Bradford as erature, smoothing the asperities and relieving the drudgery one of the finer lithographic firms in the city of notions, oftheir mercantile employments."1< as Boston was often called. The youngest of the Whipple boys was Percv, to whom Matthew remained close throughout his life. Iii I837, PercyThe Publishers began a decade working ·as a clerk in Boston at 39 State In late February of I849, M. J. Whipple walked from his art Street, the building where Ebenezer Tappan (IBI5-I854), supply shop on Cornhill , past the art studios on Tremont who would one day print the New England Scenery series , Row, to the nearby state district court to copyright had recently opened an engraving shop. Matthew Whipple Landscape Sketches front Actual Vt-ews of New England followed, and by I84·I was a charter member of the Boston Scenery, Part If Whipple, an amateur artist and a collector Artists ' Association . 17 Founded by several very young artists HOUSTON • WHIPPLE'S NEW ENGLAND SCENERY 29 - 1 1 r.; t.-4 00----*--s--1*23*z:Zk~i?.-·St--*---'d - ,„ %,I Ipil Iii-1 [lit~ ¤%-i~_&*LU~k~~=~-==--4-- --ziR-k-z4% .m - -'00'-I':0- " FEE© 51*l flltl "EN / / EKEES=- Le!&.1 3/1/* 261 KE-1 Z.- ~ Im [m 4 i I Al dit If*tl f-1 Rf* L.-1 •- _ _______ -1 M N m ¥ 11 If=EOTZZ m 0, t• 4 mmiEf~f M ~11 Mpe-*4 .}~ f~ E~*1 E-~Wi-'*Df} 0* E~~ mff;'LITHOLIZ.4PHY &, ENGRAYIN.y] - ~ ~WME< F~ISE! t 01*4 'E'Im~Z Ifj~-96* I-fzz.t (13- I A.F.BARTLETT 1 r-'-11 ,=min *'t AfaURBANK ILLIAM 8/RCW4 4 "*'70- 9.4 .u- 2.1 '14-16111_1- _rt" .~ **A-%22?t~Fm-tli~~11~6.3%1ttlk*Lft»zz -;MAJORS., ~LLQI1~~ - GRAPHIC COURT FIG . 2 . Tappan & Bradford's I .ithography shop, detail of Grand Panoramic View of tbe West Side oflfasbington Street, Boston, Mass., Commencing at tbe Corner of Court Street, and Extending to No. 29.5, above Winter Street,- (ileasons Pictorial Drawing Room Companion, Vol. IV, May 14, I853, p· 313· Wood engraving by Maior. The Albert and Shirley Small Special Collections I.ibrary, Universitv of- Virginia 1.ibran·. lately arrived in Boston and a handful of veterans such as early Janti·ary of 1849 the new quarters suffered "severe loss et,graver George Girdler Smith (I795-I878), the club by water when a fire broke out in the attic of their build- claimed Washington Allston (I779-I843), mentor to the ing, but 1(,sses were "nearly covered by insurance. "19 city's artists, as titular president. In April of I842, when the Tapp.in belonged to a Massachusetts family th·at I Iclub held its first exhibition of native art at Chester included one of the premier banknote engravers in the Harding's gallery on School Street, its membership num- northeast, Charles Toppan (I796-I874). Toppan, who bered forty-four, including four future New England Scenery maintained the original spelling of the family name , was artists-Richard Parrot Mallory (IBB-I890), Fr·ancis Nalder trom Newburyport, Massachusetts; the Tappans had Mitchell (IBI7-1865), William Henry Tappan (I82I-I907), grown up in nearby Manchester, a seaside town bordering and Asa Coolidge Warren (IBI9--I9O4). But by I849, after Gloucester, where the Whipples were born.m Ebenezer ye·,irs of exhibiting local art ·and operating a drawing school, Tappan operated his engraving business on State Street for the energies and finances of the club had faltered and new nearly a dec·£ide. A few years later, his younger brother, initiatives had begun. 18 William HenryTappan-who contributed a New England Neither Ebenezer Tappan nor Lodowick Harrington Scenery portfolio scene in I849-pened his own engraving Bradford (1820-I885), who printed the lithographs for stand (·as loc·al shops were called) on Franklin Street. But Whipple, were members of the artists' association. Partners there w·as one more Tappan to go. In the ~85os, their baby since ][848, the men occupied second-story rooms on brother, George Hooper Tappan (I833-I865), became a Washington Street at Graphic Court (fig. 2), sh·aring the partner in an engraving firm with Charles Augustus floor with a corset and embroidery shop, not far from the Knight (b. 1833), a Manchester native like the Tappans, and courthouse where Whipple registered his copyright. In veteran engraver George Girdler Smith, a man whose 30 Imprint . AUTUMN 2002 . - 94 - z .6 2 -7 - r. ---~ =34 4r- - - *Wh -4- '.. .. Z »:4?4+7--ill.·=--41. k 9 - *- 464 43. .t''t,R,Z- f - - d -~t4 -1- . - 7, 6 - ' --P I -. 1.--- 2.- -- -- ..2/" \-1-1 r - rk«- -- - •22& 1 - 12 ./ 2 -- r .. i -le--- le -< .811).4 - ir ~ =. -- - .. a.r - ·= -- I _I~-.2. - .-*-- R, ..7 - -lf--2 -:-# 2.,- I ./1 -=¥ --:gG: - JX -4. 1 -y..~. ..16¢=t -: ' - FIG. 3· Francis N. Mitchell. Saco Rive,; N.H, Plate 5 in Third Series.· New England Scenery From Nature, By Various Artists (Boston- M. 1. Whipple, 1852). I.ithograph, page size, 101/2 X I31h" (sheet). Drawn on stone by Henry Hitchings and printed by Tappan & Bradford. Courtesy of the Fine Arts Library, Harvard College Library. Note.· For image sizes, see Table I. influence touched a number of Netu England Scenery The Printmakers artists.2 New England Sceneg artists were among them. Their two In I849, Lodowick Bradford took on another partner dozen lithographs in the series printed by Tappan & when he wed Martha Brown of Gloucester and the couple Bradford summon a variety of reflections. The views by seal moved down the street from M. J. Whipple. (In I855, engraver Francis Mitchell and by Ebenezer's brother, Bradford would print a major lithographed view of William Henry Tappan, merit attention because lithographs Gloucester by another native, Fitz Hugh Lane, son of a sail by them are uncommon. Benjamin Nutting's I849 lithograph maker.F The son of a veteran Boston weigher and gauger after one of Thomas H. Hinckley's favored cow-rich land- descended from the first governors of Plymouth colony, scapes has an especially high finish, similar to Tappan's pres- Bradford had opened a solo engraving business in I845, not entation and to only a few others in the earlier series that are far from the Washington Street enterprises ofJohn Henry filled to the frame. (It is reasonable to conjecture that sever- Bufford and Ephraim Washington Bouve.23 al of the recently located lithographs, characterized by ruled- The association of Tappan and Bradford would last borders and numbering, made up one of the I849 issues, barely five years, but the team would rank high in the con- while the unbordered grouping constituted another. A stellation of nineteenth-century American lithographers, Tappan & Bradford lithograph of a mill scene by Loffier- the quality of their work "characterized by a fine, soft, with a ruled-border and titled "No. 9,"-poses the prospect almost silvery quality" and "subtle modulations in tone," in that numbers four through eight of a numbered series the words of Sally Pierce and Catherina Slautterback, remain to be identified.) Benjamin Champney's delicate authors of the important Boston Litbograpby, 182*-1880.24 sketch of the White -Mountains marks his transition into Sustained by this artistry and craftsmanship, the men com- northern New Hampshire in I85O, while Parrott Mallory's billed the fine arts with the certificates, maps, and portraits stylized medamon of the Nashua River at Lancaster recalls a that paid the rent and employed local artists. te: 5 7. HOUSTON •WHIPPLE'S NEW ENGLAND SCENERY 31 much earlier time in his life. Edward Fowle's two drawings Charitable Mechanic Associ·ation, which regularlv awarded allow comparisons of how two different lithographers treat- him the same silver medals he h.id designed fur its trienni- ed similar scenes, while O. Wallis's work on stone allows us al exhibitions ofthe inechanical trades and fine arts.28 to see his hand applied to designs by two different artists. Mitchell probably sketched his Saco River view in New Francis Nalder Mitchell was an enthusiastic Boston seal Eng/alid Scenery (fig . 3) during an I 848 tour of New engraver of Scottish heritage whose dies and impressions on I Ianipshire's White Hills with Henry Hitchings stc,ne and metal evoked reciprocal enthusiasm among (I823-Ic)02), the artist who lithographed a majority of draw- Yankees.25 The quality of Mitchell's work "would do credit ings in the series, including Mitchell's. (Table 2) The two to the most eminent European engravers," one of his men, bachelors living in the Boston suburb of Dedham, admirers observed in I84I, adding, It is a source of much traveled north in August, arriving in Conwav, New gratific·ationtofind an artist of somuch talentamong us."26 I -lampshire, via Maine. Future California lithographer In I84-5, Mitchell produced one of his most enduring seals, George Holbrook Baker (I827-I906), who had relatives in that of the newly-organized New England I Iistoric ·and Dedhani, met the pair after making an oil sketch of the Genealogical Society; the engraver was among the Boston local mountains with the Saco River in the foreground. club's first niembers.27 (The seal is still in use.) By inkl-cen- Baker remarked that Hitchings "has some fine sketches of tury, Mitchell had crafted medals for the Mass·achusetts Standish on [M·aine's] Sebago Pond, and he strongly rec- Horticultural Society as well as for the Massachusetts onimends taking that route for the beauty ofthe scenery."29 Fic.. 4· Willi,2171 1 lenry Ttppan. No. 1 3,11/-1?c, attributed t,) Fi:Lus /77 Neze Enghind: u Series of Dratoings From Nature, Bv Mirious fli·tists, Purt First (Boston:XI..1. \Vhipple, Noveinber, 1849). 1.ithograph, iol/.2 X 'll/2"(sheet), Drawn on stone by Tappan (attributed) and printed by Tappan & Bradthrd. Courtesy I)edham (Mass.) Historical Society, accession No, 00064-a. 1 - .0 'fY 0. . 4<# 4 4 '' 0. "f ' 1 'p77> ,#2/ 9 2. -X -„ !.0 ;4· f.1=n ir.,/ - 4. · ¥ . 'e '3- - 1.'It - I. 4 - t' 2 tr ..4. .4// .4 f k.~1 -*¢*.f: 4% £1 ke :.- ~ 0 38K· . f r.. C.t- 713* 4U . *, * 7: 11% d f ,•. I 3 2. * f '4 , .%.£- i.7- . 3 .. ." , f t. . El r i.-tH . , ' ' : fitp '25:.: ft, *. Z , ,ev» ._ ~ i . . . fc .1 , 444 ' I f 97. /4. I. ~. A '. -1 j. r... 1. 44_€. Vr.1.1 1 - -4, ' I ... I . 1 114 g * 0* i . 32 Imprint · AUTUMN 2002 1 ' - - .ir!= /- 'Rt.=I: Fi - -· , 11,2.I . ~ . W i - „46 2.22 1 4 -* 1 *r - 11 +4 -1=-1,1- 11,413 .A- ! 1 1... .AL . 17!%12 **~-14 - -9,4: 1 -- . ', ., 7 -4UA . tr. 1.1,31 w . 1 fI -_1 . 299 5% . -i, & I r , .11*. r- 1,1.'* f.~1 i $ --A.¥253--71- --1 ,_'J,:6' ...0 .9 1*-t 1 -_Z 4. *·- z -11114*11, . 1......r . ....·•1 I. -4 - - '1-1.#H„~.-11 -..1 -41 W.-· · --. I.. I - - I.* - . I_. _ --% K *L - 1 - 1 ...11$, 12*1+ FIG. 5. Frederick D. Williams. View At Bella'ws Falls, Ft., Plate 4 in Tbird Series: New England Scenery From Nature, By Various Artists (Boston·. M. 3 Whipple, I852). Lithograph, Io'h x I31/z" (sheet). Drawn on stone by O Wallis and printed by Tappan 80 Bradford. Courtesy of the Fine Arts Library, Harvard College Library. Hitehings drew and lithographed a Standish scene for one canoe, shooting at a deer--William had left Boston for the of the I852 Whipple portfolios. far West. In the spring of I848 Tappan left on a "hazardous William Henry Tappan, younger brother of Ebenezer enterprise," carrying commissions to draw natural history Tappan, first appears in Boston in I839 when he submitted specimens for the museum collections in several European a crayon drawing to the second Massachusetts Charitable cities and planning to ride along the Oregon Trail with the Mechanic Association exhibition; the work was deemed Mounted Rifiemen. He crossed the Rockies "four times on "very creditable" as the "first attempt of an apprentice."%30 horseback and covered ten thousand miles in the saddle" in Tappan opened his own engraving firm in the early I84os' his life, and in July I849 would ride through the Wind River producing works ranging from an engraved card for Range with the Riftemen, the first U.S. Army regiment to Christmas and New Year's greetings ("a novelty in the pub- traverse South Pass in what is now Wyoming.·33 lishing line") to historical prints.31 But soon after Louis Benjamin Crackbone Champney's career as a Boston Agassiz (I8O7-]]873) arrived in America in late 1846, Tappan lithographer was more than a decade in the past when he signed on as a draftsman with the Swiss naturalist , who sketched MountJeferson, N. H., ·a delicate and distinct sub- "employed ...him to make drawings to illustrate his books mission to the I852 Whipple series that is one of his earliest and 1.ectures." Tappan spent nearly two years assisting the depictions of the White Mountains.34 In I849, Champney zoologist and traveling with him "through the south."·32 (IBI7-I907) was struggling with tepid public response to his By the time M. J. Whipple published William Henry panorama ofthe Rhine, the culmination of a lengthy stay in Tappan's highly finished landscape titled No. I Maine for New Europe in the I8408.35 But by I85O, he had made his first England Scenery in I849 (fig. 4)--complete with Indians in a sketching tour to northern New Hampshire, accompanied t n HOUSTON • WHIPPLE'S NEW ENGLAND SCENERY 33 3.*€- . ---I €1:.....<:-52;flt-Ze00*V £446# .*• , PH**: --4*K %111 1 -t-,1 . 7~.t ~ ' ..'.. ·.*i. - .7€ 4*.~hi 6 .t,111,4. F . 1. 3/. .. 92/'pp .-- 3*·' ~ .5 - p - - -,;,~ . 4 ... 1,11 Ii: ..lil. 11 1 . 1 . 4 ' '$ . ·~'..W'. 'll · fie>. I 7. rmed* 6- ,~...... ./Alf ·19. ·.. · ··- ·-7- -7 I. Ekl ./ - --L ... : i ·· i - .ft ' .f '2.fztz,It f. 1, . 4-9/ j .- £ 1/4. 3.. .1. -:4 94 1: 1% ..44 , 1 - 4 ..a 4 PLO 38*001 *T RUSSEN MASS FIG. 6. Edward A. Fowle. Old Briage at RUSsell, Mass., Plate 6 in 76£,7/ Series: New England Scenery From Nature, By Marious Artists (Boston. NI. j. \Vhipple, 59). Lithograph, IolA x I31/2" (sheet). Driwn on stone b\· Fienn I litchings and printed by Tappan & Bradfbrd. Courtesy of the Fine Arts 1.ibrary, Harvard College I.ibr.int. by Ji,hn Kensett, his roommate for a time in Europe. In scape artist, Frederick Dickinson Williams (I828-Iw5), at I85I, Champney and "a jolly crowd" returned to the Mountt that time a teacher at Boston Latin High School. Washington Valley Two years later, the artist bought a sum- The two contributions to Awe Ejigland Scmery by mer home in North Conway,"where from his window he can Edward Augustus Fowle (I824-I892) are both views of with one sweep take in the whole moutitainous panoraina of Russell, a town in the Berkshire hills of Mass·achusetts. the White Mountains from Choconia to Ntt.Jefferson" and One, however, was published in I849 and lithographed by where he spent part of nearly every war for the rest of his Benjamin Franklin Smith Jr., the other, in I852, drawn on long life, a pivotal member of the White Mountain school stone by future teacher I Ienry Hitchings and printed in of art that emerged later in the 185Os.-3(' sepia (fig. 6). Fowle was living at home with his father, ship's The lithographer of Ch·ampney's landscape signed his carver Isaac I Ioward Fowle (][783-after I870), when New work with the colophon "OW" and is identified as ' O . England Scenery fust appeared." While his brothers had Wallis," potentially Oscar Wallis, ·a (_:erm·an printer who already begun to follow Isa·ac's trade, Edward had turned to had arrived in New York City in 1848 at the age of twenty.37 engraving, an occupation closer to the printing tr·ade An Oscar Wallis was working in Boston in the first half of enjoyed by his cousin, Boston educational and drawing the I85osi in ][853, an O. J. Wallis of Boston submitted col- book publisher William Bentley Fowle (I795-1865)· ored drawings to a Boston exhibition, work judged as "bold Belijamin Franklin Smith Jr. (][830--I927), who put one of and effective...[although] the figures lack spirit." w Wallis 's Fowle's New England Scenery views oil stone , coursed other contribution as lithographer to the series- View At through Boston briefly but significantly in the late I84.os Bellow Falls, Vt. 6&. 5)-marks the debut of a young land- ·and the I850s . Reared in Maine, this precocious farmer's son ¥,1* 14. 34 Imprint · AUTUMN 2002 his early twenties, he advertised as designer and engraver on wood" with John Greene Chandler (IBI51879) and Edward Wright (I808-I863); he stayed in partnership with Adiqi'Libriwibill'.16,1/A= t -: 44/ Wright until the early I85O6 . 1 he output from the young firm augured Mallory's long career as a book illustrator on wood and included Rollo At Play, or, Safe Amlisements, p·Art of a children's series first published in I835.40 Mallory's second Whipple lithogr·aph, the I852 view Profile Rock At Squantion lMass.j (ftz. 8). is more character- istic of his work in the early I8.ios for the nation's first illus- tr·ated newspaper, Gleason's Pictorial Drawing-Room - Companion, later known as Ballouk Pictorial. The identical unage, now titled Squaw Rock. At Squanti,m, Mass., 1~ ••163:"lim:/5/ Il.f":21,5/1651/69"Jit:19:6417 appeared as a wood engr·aving three years later in Balloul -f-=----.639/ But this time the picture was credited to Mallory's former pupil and new partner, Samuel S. Kilburn (ISSI-I9O3), also ·a student of Abel Bowen and a draftsman ibr the illustrated weekly. Advertising itself as "The Cheapest Weekly Paper in the World" at its founding in Boston in May I85I, Gleason's presented fiction, poetry, and news , liberally laid FIG . 7. Richard Parrott Mallory. View on the Nasbua At Lancaster, Plate otit with wood engravings of both domestic and foreign i m Fourtb Series: Nets England Scenery From Nature, By Various Artists (Boston: M..1. Whipple, I852). Lithograph. Drawn on stone by Richard locales and personalities, "printed on new type and the P Mallory and printed by Tappan & Bradford. Courtesy of the Fine fnest paper." The cost of each wood engraving was $62- Arts Library, Harvard College Library. $2 farr the wood, SI5 for a dr·awing; $40 for engraving the block,.ind $5 li,r electrotyping it-but once finished, it was the youngest of the four "Smith brothers," publishers of could be used for thousands of impressions. By I855, ·a highly-praised series of city views, some of them executed Bostonians observed that the success ofthis "and other pub- by the energetic Beniamin.40 Collabor·ating initially with city lications where wood engravings are required as illustra- view pioneer Edwin \*hitefield (IBI6-1892), the brothers tic,ns...h·as brought into requisition much excellent talent published a Boston view in I848, the year Benj·amin drew th·at would otherwise have remained unemployed. " 47 perhaps the most highly-praised lithograph published by Among the artists of"excellent talent"joining M·allory at Tappan & Bradford , Viezo of tbe Water Celebratioli, O,1 the newspaper was Asa Coolidge Warren , whose occupa- Boston Common, October 25tb, 1848. 41 (Boston\·aus had we\- tion, amusingly was listed in the I850 census as "none." The comed a five-million-dollar water system with a capacity of son of Asa Warren (I794-I860), a musician who was also a one-hundred-million gallons by watching the first spurt rise miniaturist and portrait painter, the junior Warren's ties to eighty feet from the Frog Pond on Boston Common.)42 the Boston engraving establishment began with George Smith went on to teach school briefly iii I850 and travel to Girdler Smith, a mainstay of the Boston Artists' New Orleans in I852, but he would return to Boston in I853, Association.48 Like Mallon; Warren had worked for Joseph with big pl .ins. Andrews, and, in I84O, established himself as an engraver in In the 64.os, Edward Fowle had engraved .1 drawing by the same building as Ebenezer Tappan, with whom he soon Richard Parrott Mallory, a wood engraver who both collaborated on an engraving of William Henn· Harrison designed and lithographed two views in the Whipple series, (I773-IS.*I).49 Two years later, in I842, Warren and William one with a biographical cast to itt.43 Mallory's stylized, orn·a- Henry Tappan shared the same address at 13 Franklin mental medallion of a scene in Lancaster, Massachusetts Street . At least one of his lithographs , Sprague 's Pond and ( fig. 7), memorializes his days working there two decades Mt. Monadnock, Dublin, N. H. 64· 9)-and possibly Saco earlier for engraver Joseph Andrews (I806-1873) and raises River, Kim·sarge (sic) and Alt. Washington, From Conway, the question of how many \Vhipple views were drawn on NH-appeared in the I849 Whipple series. He both drew paper, if not on stone, much earlier than I852. 44 and lithographed another-Cld in tbe Bear Mountains, Like Andrews and many other artists practicing in Waterford, ME.-kn the final portfolio in I852 Boston at mid-centurv, Mallorv first studied with artist and wood engraver Abel Bowen (1790-1850). He worked in The Teachers Lancaster, west of Boston , sometime after I82 ;7, and The five teachers represented in New England Scenery emerges as an ·artist in the city around I835, when he paint- remained friends throughout their very long lives, and, ed Cofagration in Charlestoqun, IBM.-4< The next year, still iii although all held credentials suitable for a variety of other HOUSTON · WHIPPLE'S NEW ENGLAND SCENERY 35 ./ ....6 0 P#1...1 .9. 0. 4 402*-'; f·=f-y:-i" " . ·· * . ..1-1 '.1:.1,/..„!*-v,11,-Im--1----/**= *- ·?'AFF-f·,2-- 02· 16-me.1 . -*04. . .1 . . . .1 ..1 - - iIi I. ...112'Z==Z.j 'lIEVI. 41 : .....2.-'4,76 1 ./ 4/ FIG. 8. Richard Parrott Mallory. Pi-*7, Rock, Squantwn lMass./, Plate 6 in Foilitb Series: N,zo England St-enery From Nature. Bv Various Artists (Boston: M. J. Whipple, ]852). Lithograph, Io'/ix I3 1 "" (sheet). Drawn on stone by Richard R A lallory and printed by Tapp.in & Bradford. Courtesy of the Fine Arts Library, Harvard College Library. artistic classificatic,ns, their roles as educators set them apart Seager's student Frederick D. Williams, designer of the from the others who helped create Netu England Scenery. Bellows Falls scene lithographed by Wallis for the fourth The patriarch among them was British-born Edw·ard Whipple volume, was the cerebral youngest son of a pros- Seager (I8O9=886), a former draftsman at the U.S. Patent perous Boston merchant. Williams had been Seager's pupil Office who left behind one of the few examples of his from I843 to I846 at the Boston English High School, and lithography in his I849 Whipple series contributionH in I85o lie assumed Seager's place at both the English and Seager's Fie·zo On 1-,ake George, drawn in 1849 , is a soft, styl- Latin schools, winning the posts over veteran Boston illus- ized landscape that emphasizes Seager's love for the pencil trator D·avid Claypoole Johnston (]]799-I865)·'3 (fig. 10); the ·artist had exhibited two other Lake George In 1857, William N. Bartholomew (1822-I9O7), another scenes at the Boston Athenacum the year before. Seager View.f artist and lithographer, succeeded Williams at the was drawing master not only for two of Boston's premier high schools. Bartholomew, a self-taught lithographer and high schools, but also for the Boston Artists' Association's watercolorist, had surmounted his family's reservations drawing school, where his job was to te·ach drawing to "any about a career in art and followed the artistic inclinations of young man, proposed by a member, and approved by the his older half-brother, Truman Bartholomew (I809-I867).54 Council" using the models in the association's gallery.51 In Truman, a former lithographer for \Villiam Pendleton, had addition, he had issued his first instructional book just as achieved a reputation as a scenic artist, ornamental painter, the first Whipple series appeared.John Henry Bufford pub- and panoramist, known best for his panorama of Bunker lished Seager 's Progressive Studies in Landscape, ·a book of I Iill , which made its Boston debut in I838 and traveled graduated drawings, mostly landsc·apes, "got up expressh throughout the east coast for the next twenty years.55 His for the use of Schools and Academics."~2 younger brother William mav liave visited California in 36 Imprint · AUTUMN 2002 Table I I849 New England Scenery Views (Tappan & Bradford) Bordered Lithographs Iol/2 X I31/," Portfolio Title Artist Lithographer/Credit Image Size i . No. I 1\laine* WH... Tappan ( IliI- Ic)07) W. H. Tappan+ 57./u~3f/.f' z. No. 2 Swift River, Conway, N. H . Henry Hiti ·kings (I823-I902) Hihhings+ 57/10 X 71/2" 1 . No. 3 , Old Willows, Roxbury, Mass . 1 /,·-6 /,inf Ilitcbings+ 57.19 .3 71/ 2 ,1 . 4 · [ Landscape with Cows]* Afte.r Hinckley (I8~-ISg6) B. F Nutting. ( 7804--I887) f49379/€ 5. No. 9 [Mill 1- Loftler Tappan & Bradford 77/io x 59/m" Unbordered Lithographs Io'/2 X I3 lh" Portfolic, Title Artist Lithographer/Credit Image Size i . Brook At I {adley Hit®inf. (Hinhing,)+ 5 1 /5 x 81/10 2 . Old R „:id- Russell, Mass* EdwardForule ( I8241892 ) B . E Smith Jr. (I83O-I927) ¢/10 x 87/19" 3. View on Lake George* Edt}ard S. eager.(i.%*.-1886).. (Seager)+ . 7 x. 9 - 4 . Sprague 's Pond and Asa fibrre,7 (IBI9-I9O4) Tappan & Bradford (Warren)+ 5 x 81/2" Mt. Monadnock. Dublin, N.H. 5. Saco River, Kiarsarge and Mt. Warren Tappan & Bradford f Warren)+ 5i/2 X 10" A It. Washington, From Conway N.H 6 . Old Saw Mill , Dedham Hitcbings Tappan & Bradford (Hitcbings)+ 442" xf (Hitibi,ze,)+7 Untitled Falls flitibings F'/9 x BV2" Note : Italics = Boston Artists' Association member. * Indicated by Peters as being in November 1849 Nequ England Scenery portfolio. Peters mentioned eight lithographs in the issue he saw, but two ofthe artists (Flitchings and Warren) have more than one lithograph i„ the Dedham and Peabody Essex collections of bound (oronce bound) Tappan & Bradford prints tied to 1849· The first four bordered lithographs and the first four unbordered ones appear to be those most likely to have been in the November issue if Peters's count is correct. " Possible candidate in this family ofprints. located at American Antiquarian Society. + Likely lithographer. Table 2 I852 Series: New England Scenery From Nature, By Various Artists September i852 I03/8 X I31/4" Pcirtfolio Title Artist I.ithographer/Credit Image Size I. Mount Jefferson, N.1 1. &'idamin C'ba.mpnel (IBIp·-Ic)07) Walli < 6/8 x )1/1.1" 2. Conway Corner, N . H . Hitchings Hit,-hings .60 x 8 5/4 3· Rustic Road Wm. Bartholomew (I822-I9O7) Bartholomew 81/Sn X I03/," 4. View at Bellows Falls, Vt. Fred. D. Williams (I828-IgIS) Ff-1.6 65/16 x 9" s . Saco River, N .H. Francik N Mih®ell (I8Ip-I865 ) Hitcbings 64x 95/f Hitcbings6 . Old Bridge At Russell , Mass Foule 61/16 X 913~16" Hitibings7 · Cover Hitcbings IO -3/8 x 01/4 " October I852 Iol/2 X I31h" Portfolio Title Artist Lithographer/Credit Image Size I . Tiew on the .Fashua [River] R. R Mallory 080-I890) Mallory 6 x 515/16" At Lancaster Hitchings ./z . Standish Corner ME Hit,·bings ... .- 71/16 X 105/121 3. Ascutney Mt. Bartholomew 11.trtholomew 798 X IO 1/41 4. High Bridge Rutland Vt. Thos . W. Wood ( I82379O3) Hitcbings 7'/16. x IO " i. Cleft in Bear Mountain, Waterford Ate fibrren HOrren 616 x 97/8" 6 . Profile Rock at Squantum Mallorv .6. 15/.2 x f/2,Mallory 7 . Pleasant Brook Me Hitchings Ilitcbings 6s/16 x 81/4" 1-litchingx8 . Cover Hitrbings IO ·98 X I31/4 " Note : Italic = Bc, ston Artists' Association ine„,ber. Copies of these 1852 lithographs are in the collect„,m of tile American Antiquarian S„cietv, the 13oston ]'„blic I ibrary, I larvard Unhrersity, and the New Ytirk Public Librar·y. Thanks to R. Eugene Zepp at the Boston Public Library Rare Books and Manuscripts Department Rir measurements of the I852 series Images. HOUSTON • WHIPPLE'S NEW ENGLAND SCENERY 37 4\0* f t, - 41.- ti.a~ff * R.f m='12, Vi 41 . I .ir/mt4, ;/- , 6 1.-e.. , 34*, 1 ...~0.4. .645* .- .... 1.1 191*% 1*. -1 8, fls:/2..¥. , -Dr . - . I.·: 45. 2 4%24 - v,44*tilla h_- t ~ ~* , f.* 1:*¥f. 0-1,/: 6 ==*t 3, Ip 2 !' HAPATE R Pri .L .41 1 D M ! ?01' r -1 DUP:AN.N H FIG. 9. Asa Coohdge \N·men. Spragi,e'.s Pond mid Mt. Mowdnock, Dublin, N H., ·attr-ibuted to Views in New England: a Series of Drawings From Nature, By Farious Artists, Part First (Boston: M. J. Whipple, November, I849)· Lithograph, rolh x I31/2" (sheet). Draw11 023 st,me bi- \Varren anti printed by Tappan & Bradford. Courtesy Dedham (Mass.) Historical Societv, accession No. 00064-f. I85O; in I852, William, along with Truman and several other Henry Hitchings, another protdgE of Seager, made his artists-including Alonzo Chappel ( I828- I887) of published debut as both artist and lithographer in New Brooklyn--painted a panorama of California and the England Scenety while working as a clerk in the art emporium Oregon Trail, using daguerreotypes brought east by Illinois of M. J. Whipple's competitor, stationer N. -Davies Cotton native J. Wesley Jones (I826-I9O5), a flamboy:int writer and (IBI7-1899).58 Hitchings was ·an early tr·aveler in the White dilettante. This meli,drama of tlie frontier unfolded tc) general Mountains, with his Swift River drawing for Whipple acclaim late in I852, described as a "painting...elaborately got dated I848, the time of his trip with Francis N. Mitchell. Of up and very finely executed...Mr. Joness accompany[ing] the twenty-four Tappan & Bradford views potentially in lecture is very entertaining."56 Around this time , tile New England Scenery array, at least thirteen (and two Bartholomew contributed two landscapes to New England covers) were lithographed by Hitchings.59 Scenery 's third and fourth series, lithographing at least one of The oldest contributor in the series, Benjamin Franklin his own sketches. Nutting (I804-I887), left a fruitful legacy as a printmaker and But William Bartholomew's calling ·as a teacher was painter, but was a teacher to the core. Nutting hailed from already fixed. In 1852, Tappan & Bradford copyrighted his Portsmouth, New Hampshire, but returned to Boston in Dratuing Lessons No. I, the first of several dozen instruction- time to attend Boston Latin School in the company ofsuch al drawing books and devices by Bartholomew, some writ- future notables as poet and editor Nathaniel Parker Willis ten later in collaboration with Henry Hitchings. and statesman Charles Francis Adams.6° Nutting was a veter- Bartholomew's twenty-year effort to develop standard pro- ·an of Boston's early lithogr·aphic shops, from the Pendleton cedures for te·aching drawing in all Boston public schools- brothers' training ground that molded so many Boston techniques eventually copied in other cities ·around the ·artists beginning in the mid--I82OS, to Annin & Smith, the nation-had begun.57 shop established by George Girdler Smith.61 Nutting's sole 38 Imprint · AUTUMN 2002 - ] --s: .f- -2. ..u, i -* =1- .-5 ., + g 0"Z I -I 6-,?49-/-1 -f - 1.----- . f .'.. -t* -qi 4.- Jf - >'9®-,0. -$*-,f -Z-:- ..yed«? 40/-4 - 1-- .-EL *-1 -. til -i .Ft-,~§39,- ~32' :-- -: ft@*, =- 4*J - ' . i ' . '- -1 1/1 I. ill·-1-3/ 7-!-1.45 1 :- : f i ' 4 /4,2- 4 1,a. . r* -f 2 ./.1 .5--- ..3-:*9*7.1 -391.-- ..' -5-4 f . +0 • FIG. Io. Edward Seager. View On Lake George, attributed to Pieces in New England: a Series of Drawings From Nature, By Various Artists, Part First (Boston: M, J. Whipple, November, I849)· Lithograph, Io'/2 x I31/2" (sheet). Drawn on stone by Edward Seager (attributed) and printed by Tappan & Bradford. Courtesy Dedham (Mass.) Historical Society, accession No. 00064-e. role in the Whipple portfolios was to lithograph a farm Seth Frost (]]825--I9O2), who ran the company at Cornhill for- scene by Thomas Hewes Hinckley (IBI31896) (fig. II), a more than thirty years. Matthew J. Whipple died in Boston painter who favored a farmhouse environment, one where in the spring of I880, his occupation listed as "artist. " 65 he was known to shepherd his animal subjects directly into Ebenezer Tappan died from "brain disease" in I854· 66 his ground-floor studio "to sit for their portraits."62 Lodowick Bradford continued in lithography; he soon expanded his interests to the cutting edge ofphotolithography The Outcomes and was credited in 1857 with devising "a very ingenious, yet After serving as the dedicated secretary and clerk of the simple and easy expedient" by which "the engraver can copy Boston Artists' Association from May of I843 until early I85O, at his leisure with a fidelity never before accomplished."67 M. J. Whipple retreated from holding office, but never Bradford died at sixty-five of a heart attack, alone in a flagged in his support of his clients and friends. In the spring Boston boarding house; his wife was in Gloucester, where of ]]852, when the studios of a number of artists burned in the Bradford spent weekends and summers.68 Tremont Temple fire in Boston, Whipple spearheaded a relief A longer life accrued to many New England Scenery fund for Benjamin Champney, lithographer John White artists, however; most of them taught, p·ainted, and produced Allen Scott (IBI5-1]907), sculptor John Crookshanks King prints until they drew their last breaths, Nestors of their (I806=882), and others.63 When the city's artists held a sale crafts. Some, such as Francis Mitchell, Edward Seager, and, of paintings in I867 after the untimely death of Merrill eventually, Asa Warren, made lives elsewhere; so did Greene Wheelock (I822-I866)-watercolorist, architect, and a William Henry Tappan and Benjamin E Smith, who, like founder of the Boston Art Club- Whipple donated a num- Henry Hitchings, made their mark in the American frontier. ber of Wheelock's works from his personal art collection.64 Francis Nalder Mitchell, "sometime of Boston," died a Whipple sold his business in I869 to Boston artist Francis fairly wealthy man in Scotland in I865, not far from Glasgow HOUSTON · WHIPPLE'S NEW ENGLAND SCENERY 39 7~)Ii.-; 1992£~/£19€'*4¥,5.1 ¢,6: · f , %1.t jjimm#Allt, "Edwin Percy Whipple, A Biography (IHI(>-1886) (Ph. D. diss., Is Jan , I849 , p· 2, and Asa Gray, "\Villiam Oakes," American Journal 4 Pennsylvania State College, The Graduate School, I)epartment of Science and/lrts (Second Series), Volume VII (May [849), pp· I38-142. linglish L.iterature, August, 1942), p. 2 and Appendix I, pp. 276-278 7. Boston publishers Crosbv & Nichols issued the Oakes book iii This dissertation provides an esl'ecially well-documented account of 1)ecember of I848, with proceeds from the limited edition intended for the boyhood of the Whipples and the context of their family life. Oakes's widow in Ipswich , Mass . A contemporary edition of Oakes's 15. Loring, Tbe I-lundred Boston Orators, p. 66%. €,ews is Scene·y of tbe White Mountains. Witb Sixteen Plates From I6. "Mr. Whipple The Reviewer," Boston Ageniny Ti-anscrpt, 20 August Drawings Bv Isaac Sprague (Somersworth, N.1 1.: New Hampshire n I85O, p· 4, citing the O.xquego (New York) Comme,-cial 77,nes. Publishing Co., I97O). 42 Imprint · AUTUMN 2002 7. M.J. Whipple first appears in the Boston city directory in I84ii. His 23I, and "The Early Years of the Register," New England /1/storic other brothers were Augustus William \Vhipple (b. ISIO) and George Genealogical Soriety Register, vol. 45 QJUW Igl)0, p. 114· Washington Whipple (b. IBII). 28. Francis X litchell's first A lassachusetts Horticultural Society medal was probably struck in the mid-184es. (One of the Horticultural Society ,%. Boston Artists' Associafion, Tbe Consitituion of tbe Boston Artists' medals is at the Massachusetts Historical Society in Boston.) One side Association witb a Catalogue oftbe First Public Exhibition of Paintings at or another of Mitchell's dies was used for the Massachusetts Charitable Hardinis Gallery (Boston : John H . Eastb , irn , I842 ), p. 6 . Three B„stori Aleclianic Association's silver and bronze medals into the I89O6. The Artists' Association exhibition catalogs are in the collection of the Fine association's gold medal had been engraved bv Christian Gobreclit, Arts Department of the Boston Public Library. The club's minutes are chief engraver at the U.S. Mint in the first half of the 18406, starting in the collection of the library's Rare Books and Manuscripts with the group's first triennial exhibition in I837· R. W. Julian , Medals Department. For an excellent summary of the associationk history, see of tbe U. S. Mint. Tbe First Century 1792--1892 W.\ Caltin, Ca. Token & Leah Lipton, "Boston Artists' Association, I84.I--I851," 732 American Medal Society, I977), pp· 294-298. Thanks to Anne Bentley, registrar of Art journal (Autumn 1983)· the Massachusetts Historical Sociens and Jane L . Colvard of the I9. I ' lres , Boston Evening Transcript, STan. I849 . p . 2 . American Numismatic Association in Colorado Springs , Colorado, tcir their direction in the Mitchell research.20. 1 lerbert l appan, "The Toppan (Or Tappan) Genealogy," New /0,glanil Historic GeneWogical Society Register, vol. 34 8'anuary 1%%6, pp. 48-57*, 29. "George Holbrook Baker Diary, vol. 4, A Iarch 30-Dec 7, I848, 27 Aug. Daniel L . Tappan , Tappan Genealogy, typescript, author 's collection ; I848, pp . 57-58. Courtesy of the Socien · of California Pioneers, San " Charles Toppan . 1796-r874" in Robert Noxon Toppan , Brief Francisco. Baker, a student at Boston Latin when Newv England Scenery Biograpbical Sketrbes (Newburvport: Historical Society of Old artist Edward Seager taught drawing there , was living in New York. I Ie Newbury, I885), pp· 60-63, and b. E Lan-~son, Ilistory of-th' Town 6/ left in January I849 ti,r Calit-6rnia. Harry T. Peters, Cal#brnia On Stone Manchester, Essex County, Massachusetts, ;645--I895 (Nlanchester, Ma.. (Garden City, N .Y.: Dolibleday, 1 )oran & Company, I935), PP· 47-54 Town of Manchester , I895), PP · 33I--332 30 . Massachusetts Charitable Mechanic Association , Second Exhibition of tbe Massachusetts Charitable Mechanic Association, at Quincy Hall, in tbe21. William Henn Tappan first appears in the city directories in I842, City of Boston, September 23, 1839 (Boston: Isaac Butts , I839), p· 22 .when he is boarding on Harrison Avenue witli his brother, Eben. Tappan's submission was No. 232. George Hooper Tappan joined his other surviving brothers and several cousins in Colorado, becoming a merchant in both Colorado Springs 3I. The 3 x 4" card had a border of historical buildings in Boston, including Faneuil Hall and the Green 1)ragon Tavern. "Auld Lang Sync," Bostonand I)enver, where he died at only JI of kidney disease. Massachusetts State Archives, jllassarbusetts Deatb Index, I865, vol. 183:225. Knight is Evening Transcript, 6 Dec. 1845, P· 2. Working in I842 at I; Franklin listed as an engraver in a city directory published I Juty I854· William Street, Tappan is identified as ·an "historical engraver," a descriptor used by Joseph Andrews also. William Henry worked with Andrews1-]enry Tappan has been confused with George Hooper l'appan as George Girdler Smith's later partner. (1806187.3), producing, thr example, an engraving of evangelist and religious poet William Bingham Tappan (I794-I849), after John Neagle22. Lane's first notable Gloucester view had been printed twenty years (1796=865)· A copy of this engraving is in the Charles S. Nutterearlier. John Wilmerding, Fitz Hugb Lane (New York: Praeger Photograph Collection at the Boston University Theological SchoolPublishers, Ig7I), pp. 22-23· archives. 23 John Bradford (I79O1865) began a career as a weigher of hay and gauger of "wood brought by land" for the City of Boston when he was 32. Agassiz had been given funding for a two-vear stav in the United States, and was offered a stipend to lecture in Boston. He won the city'sa young man, continuing until he died. (Similar city jobs included hearts and st.iyed in America. City directories indicate that Tippanmeasuring wood brought by water, culling dry fish, inspecting lime, maintained his quarters at 66 State Street in I846 and ~847. "Hon.and viewing fences.) Lodowick Bradford's mother, Plic:be Harrington, IVilliani I knry Tappan Dead," Manchester (Mass.) Cricket, 26 Jan. 1907,had been born in Nova Scotia around I795 · Excellent summaries ot and Edward l .uric , Louis Agassiz, A Life In Science ( Chkago: UniversityBradford's life are found in Norton, "Tappan & Bradford," pp I5I-I52; of Chicago Press, Ig60), pp. II6--I52.and Pierce and Slautterback, Boston Lribog,-aphy, 1825-1880, pp. I2--g· 33 · "Hon . William HenryTappan Dead," Manchester Cricket. 26 jan. I907;24. Pierce and Slautterback, Boston Litbograpby, 182y-/880, p I55 Norton, "Scielitific Expedition," Boston Evening Transcr*, 23 May 1848, p. 2,"Tappan & Bradford," p. 157, described the Tappan & Bradford output citing the St. Louis Rtpubhcan of II A lay I848; Raymond W. Settle, ed.,as "soft and ordered handling." Thanks to Bettina Norton for sh, tring March of tbe Mounted Rifemen (Glendale , Ca.: Arthur H. Clark andher reflections on her Tappan & Bradford research and to Catharina Company, I94O). pp· 6--16 and 27-29, and Louise Rasmussen, 'ArtistsSlautterback for providing frequent insights into the lives and works ot of the Explorations Overland , I84O-1860," Orego,1 Historical QuarterN,the Whipple series artists. Vol. XI.11 I (March w42), pp. 60-61. Tappan's museum commissions 4. The I85O census indicates that Mitchell was a native of Scotland; a brief were from the Royal X luseum in Paris, the Roval Societv of Berlin, and biographical notice of the seal engraver says he was born in the Museum of Neufchatel, where Agassiz had established a collection. Philadelphia . Pete Smith , American Numismatic Biographies Tappan's recently-published diary from I848 indicates that he left (Minneapolis: Remy Bourne-Ramm Communications, c. I992), p. 165· Boston iii late April and by 20 May was in St.Joseph, Mo., the jump- ing-oftpoint for the Oregon Trail. Tappan traveled with the Missouri26. Massachusetts Charitable Mechanic Association, Third Exhibition of Mounted Volunteers intithe fall. See Ellen E Tappan and Richard E.tbe Massachusetts Charitable MerbanicAssociation (Boston·.T. R. Marvin, Jensen, eds., William Henry Tappan, "A Fort Childs Diary, I848,"I840, p. 89. The Massachusetts Charitable Mechanic Association, organized in I795 as a source of information and support for those in Nebraska /*story (Fall 2000, pp. go--nI. All these sources confirm that Tappan did not, as has been suggested, travel with Agassiz to Lakethe mechanical trades, held triennial fall exhibitions of the fine and mechanical arts from the 18;os throughout the nineteenth century. Superior in 1848, a trip where future Boston architect J. Elliot Cabot Mitchell had won the silver medal for his submission of a case ofseal acted as landscape artist. Another artist who drew for Agassiz on the impressions and embossed papers and cards. 1 le continued to submit Like Superior trip was Antoine Sonrel (d. I879), who had been his work to the association's exliibitions, routinely winning silver employed by Agassiz in Switzerland and whose lithographs of speci- medals through I856. mens from the Lake Superior trip were published by Tappan & Bradford. Louis Agassiz and J. Elliot Cabot, Lake Superior.· Its Physical27 The seal cut by Mitchell and still in use today was said to have been C.baracter, Vegetation, and Animals ( Boston : Gould , Kendall anddesigned by Horatio Gates Somerby (7805-I872), a commercial painter Lincoln, Itio).and, later, a professional gencalogist whose flithfulness to Nicts was eventually questioned. "Seal of the Historic-Gencalogical Socien·," 34· Tappan & Bradford did publish a lithograph of Champney's home New England Historic Gencalogical Society Register, vol. 17 (juh' 1%63), p town of New Ipswich, N. I I., that included the home of Champney's grandfather, Judge Ebenezer Champney, a Harvard-educated Tory judge. View in tbe Central Village, inchiding tbe residence oftbe late Judge HOUSTON • WHIPPLE'S NEW ENGLAND SCENERY 43 Champney now J. 171 ·eston E.,4. Residence of tbe late Charles Barrett lisq and Slautterback, Boston Lithography, 18*-7880, p. I77. Pierce and Now George Bari ·ctt Esq. -is two plates on one sheet . Slautterbuck cite unpublished notes in the Boston Athenaeurn manu- 35· On the day that the fire at Tappan & Bradford's shop was reported, a script collection by former Athenacum librarian Charleq K. Bolton, headline on the sanie page read, "Champnev's Panor·ama," and asked, "Workers With Line and Color in New England, I620-1870, 'Are our citizens aware that the Rhine is flowing in our midst?" Biographical Notices on Artists and Art Craftsmen Born Before I845," Attendance at Horticultural Hall was poor, and Champney later con- 3 Boxes, Box 2:Iw. Mallory's watercolorofthe fire, dated 25 August ~835 ce·(led that tile Rhine panorania proved "a hotirce of anxiety" to him and measuring 6 x 9", 1: at the Bostonian Society. ~'from the moment ofits being put on exhibit." It burned With tile sup- 46. Mallory appears in business in Boston first ;is a partner from I836 t{) posedly fireproot- Crystal Palace in I858. Beitjamin Champney, Sixty I839 with Wright and Chandler, who had both practiced at 9 State M'ars'Memories firt andArtists (Woburn, Mass.: c. 1899), p. 98. Street iii i 835· In I84O, Chandler is believed to have anonymously pub- lished the first American version ofthe chbdren's book, Cbicken Little.36. Champney, Sixty Years' M:mories of Art and Artists, pp. too-107, and For his biography, see ] Ierliert 1 ]<,smer, ed.,/obn Greene Chandler. TbiBoston Ei,ening Transcript, 4 Nov- 1%57, P. 2. Remarkable Historv of Chicken Little, 1840-1940, (South Lancaster,37. Immigration records indicate that a printer named Oscar \Vallis, not Mass.: The College Press, [19401), PP· 29-45, and Pierce andquite twenty-one years old, arrived in the bark Euclid from Bremen, Slautterback, Boston Litbogi·*by, 1825--INNO, p. I)2. Edward Wright wasGermanv, on 8 julv I848. District 0/ New-York, Port of'New-york, List y La native of South I I.idley, Mass., and lived in Billerica, Mass.M,iniftst of-/Ill tbe Passengers Taken on Board tbe B,irk Eudid...From Birmen, F Ju/v 18,8 in Ship's Passenger Lists, National Archives and 47· Kilburn contributed to the weekh· until it folded in 1859, even after he Ree{) rds Administration , Washington , D.C . An artist cif that naine and Mallory opened shop. "Death of S. S . Kilburn ," Nerwton (Mass.) appears in Boston directories trom 1850 to 1855. Thanks to Georgia Grapbic, 13 March, 1901, Courtesy of Susan Abele, Newton Historical Barnhill of the American Antiquarian Society for identitring an Oscar Society; "Gleason's Pictorial Drawing- Room Companion, Bostoig Evening Thinscript, 26 April INSI, p. 2, Harry L. Katz, "Love, lies andWallis in Boston in those years and for her unflagging willingness to answer a variety of qiiestions during this research. Wood Engravings: Alf-red Waud in Boston , I856-i860," linprint, V01 . 22 , No. 2 (Autumn I997)' pp. 2-10 ; 'Cost of our Engravings , ' (.leason 's38. W.illis's entrr was made up of"Diagrams tori.ectures." Massachusetts „Pictorial, Vol . 4, No. 3 , 6 Jan . 1853 , P· 45; "Sketching and Designing,Charitable Mechanic Association , Seventh Exhibition of /be n .Boston 1 1·anscrpt, 27 Alarch I855, P· 2; and Frank I.uther Mott, AMassachusetts Charitable Mechanic Association (Hoston: 13·amral & ///stog ?fAmeriran Magazines, 4 vols (Cambridge: 1 [arvard UniversitvMoore and George Coolidge,I853), p. IOI. Press, 08-68), 1 1:409-4I2. The Squantum wood engraving appeared 39 . Edward Fowle's father, Isaac, was born in Medtord, Mass., to Henry -in Ballou\, Vol . g , No. 5, 4 Aug. I855 , P· 72 . Fowle, a tailor, and his second wife. Rebecca. Isaac's sister, Alarv, mar- ried into the Skillin family of Boston ship carvers and Isaac became 48 . "A . Coolidge Warren," David NI. Neely Statiffer, Amenean E,Igni'ce?·s Upon Copper a lid Steel, (New York: Grolier, I ()07), 3 1 '(> ls ., I : 285-286 . their apprentice. Is·aac and a partner later assumed control of tile Danvers native Smith, who, like Mallorv, Joseph Andrews, and so Skillins's business, and three of Isaac's sons-George Fowle (b. 1823), many others, trained under Abel Bowen, had founded Annin & Smith T\'illiain Herinf FO,Vle (ISIS-IKE2). aiid .14,lin 1). Fowle (iNoc)-~8,)I) in Boston in I819.1 le was an active club man-a fervid Mason, presi-became carvers , too. Henrv Fowle , 73, Autobiography of 1 lenrv Fowle of dent ofthe Massachusetts Charitaole „ le:hanic Association from 1845 Boston (Bowie, &11 ): 1 Ieritage Books , Ic)91 ), pp. IJ7--I42 , Ig , and to I847, on the Boston Artists' Assoc 'iation council , and a member of Eilgeric Chalmers Fowle, Dem'm/,ints of Geo,-* Fowle (Boston : New the city 's school committee . "George Girdler Smith," New Enulantl England Historic Gencalogical Society, I{)90), pp. 86-89, II.:t--n6. The l/istoric Genealogical Society Re@te,; vol. 3.3 (April I879), p· 256. Itio census lists Edward as .1 "carver" despite his presence as an 49. The single sheet engriving "by E. Tappan and A. C. Warren" wasengraver at 66 State Streetjust prior to the count. copyrighted in the clerk's office of the District Court of Massachusetts 40·\N -mbam f. 1 \·irtfori\. Benjamij, Franhlin Smith, A Biograpby q One of in 640· The 6 x 4 · 7" engraving is in tlic book, Abst,-m·t oftbe Public Maim'k (freal Men (New York: Writer's Pless Association, 1925), p. 5, Scruires of William Henry Harrison...laccoum of bis rareed...Surb is tbe and .lohn \V. Reps , lit'·ICS ,ind l'iewmakers of Urban America: inan, who...is now summoned...to guide tbe councils oftbe nation (Boston: Litbograpbs o.! Towns and Cities in fbe United States and Canada, Notes 184-¤)on tbe Artists and Ptiblisbers, and a Union Catalog oftbrir Works, 1825-1925 (Columbia: 1 Iniversity of Missouri Press, I984), Pp. 206-208, 215-216. 50. Information on Seager's tenure at the U.S. Patent Office courtesy Col. Meri Moore. A number of draftsmen, including Seager, were hired after 41. Hartford, Benjainin Franklin Smith, A Biograpby oj One g-Maille'N Great a fire that destroyed Patent Office records and drawings in December Men, pp. 1-6; Beniamin Franklin Smith, Re'miniscences.· Th,' fbllowing of 1%16. Gustavus A. Weber, Tbe Patent Office, Its Hi,torv, Acti·-cities and nan-ative oferents I bate never before pzdblisbed, and I noruu do so to pirserve Organization (lialtimore : Johns Hopkins Press, 1924), pp. II-I2 . tbe story ( Boston , Mass.: A.T. Bliss & Co., 1926), p. 15 , and Benjamin E Smith , A Maine Family ofSmitbs ( Priv·ately Printed , I922), pp . 32-34· 51 . "Artists' Association," Boston Eve,img Transcript, 23 Oct . I849 , p· 2 42 . The new supply ofwater came froin Like Cochituate in Framingham . 52 . "Seager's P c ,gressive [) rawing Bc ,ok, Boston Evening Transcript, 21 Saimiel \Vorcester 14852, destroying the gold fields *with five two-horse wagons loaded with valuable goods forart collection ofentrepreneurThomas Thompson (d I86g) and the stu- the miners." Benjamin Franklin Snilth, Reminiscences, Pl)· 9-IO, I)-4,dios of Champney, King, Scott, and portrait painter Wellman 23' and I larttord, Bewamin Franklin Smitb, pp. 6-8.Morrison (IBIS-1857), among „thers. The city's artists gathered the next day above Leonard s auction house on Tremont Row to organize assis - 75. "Hon . Willi ·ain 1 lenry Tappan Dead," Mancbester Cricket. 26 jan. I907. tance for the affected artists . " Great Fire This Morning," Bosto ,1 76 . Can)line Bancroft, (;zilcb ofGold ( Sage Press, I958), p . 230 · Eve,zing Transcript, 31 March 1852 , p. 2 , and "Artists (sic) Relief Fund ," 77· E.benezer and William H. Tappan's father, Col. libenezer TappanBoston £*ening Tramer*, 22 April I852, p. 2, 0799-I873), had been a state legislator in the I84O6, as had their grand- 64 . "Catalog," Boston Evening Transcript, 26 February I867, p · 2 father in IWIT . "Williarn Henry Tappan ," Blograpbical Rruiequ Champney, E D. \Villiams, and Benjamin Nutting also donated works. Containing Lijl' Sketches of Leading Citizens of Essex County, M. J. Whipple's art collection also included works by Champney and Massacbusetts (Boston : Biographical Review Publishing Co., I898), ppWilliams. Robert F Perkins Jr. and William J. Gavin 111, Tbe Boston r38-I .39 , and \Villiani Henry Tappan , Minority Report of tbe Committee Atbenaeum Art Exhibition Index, I827-1874 (Boston: Ubrary of the on Woman Siffrage in Opposition to tbe Bill Reported to tbe MassachusettsBoston Athenaeum, 1980), p. 227 1.egislature of188.5 (Boston : I885)· 65. Massachusetts Death Index, I880 , Boston, Massachusetts , vol . 32I:67· 78. Stauffer, Anzerican Engravers Upon Copper and Steel, I:285-186. Nme 66. Massachusetts Death Index, I854, Manchester, Massachusetts, vol. 84:52. city views bir \Yarren aplieared in Picture.gue America (I874)· Tappan, who was unmarried, died on 25 .lan. 1854· 79 . "Death of S . S . Kilburn , Nrwton (Mass.) Graphic, 13 March, I9O3 · 67. "New Work on Natural History and Important Improvement In Ho . Preface in William N. Bartholomew, Bartbolome«s drawing lessonsColor-Printing, lee LivingAge. vol. 53 (30 Alay 1857), p. 559 desigized jb,- tbe use 01 -, cbools mid borne i,istructzon No. f (Boston·. Tapp·an 68. The lithographer checked into Robinson's boarding house in Boston & Bradti,rd, 22I Washington, I852). on Sundav, n December, and was found dead on Mondav amid initial KI . "The Athen ieum Gallery " Boston Saturday Evening Gazette. 15 April uncertainty about how he died. since he left a note for his cousin, 1857, p. IBoston hardware merchant Martin I.. Bradford. He was buried in 82 . "The Fire Among the Artists , Boston Evening Transcript, 9 Dec,Gloucester after an autopsy confirmed "longstanding" heart disease. Massachusetts Deatb Index, I885 , Boston, vol. 366 : 340, and Gloucester, 1872, Supplement 2 :.3 . Several other artists in the building also lost e\·erything.vol. 364:207; "Sudden Death," CapeAnn Adverti.fri; IE Dec. 1885; anel Tatham, "The Photolithographs of L. H, Bradford," pp. IO5, I[32, The 83· The exercises were laid out on sixteen cards, a common device at the Bc,ston press also covered Bradford's death. tline. 69. A copy of the I854 Perry medal is ;it the Massachusetts Historical 84. The New England Art Union had been incorporated in the spring of Society. "Obituary-Henry Mitchell, Engraver," 7'be Numismatist vol. 1848' but did not take shape until early I85ii. Boston Evening Transcr#>t 22 (November ~09), p. 310 "New England Art Union," zo January I85I, p. 2. "New England Art Union," 4 Feb I854 p. 2; "New England Art Union," II Feb I852, p. 2;70· Mitchell died in Cardross Parish, in I)umbarton County, Scotland, on 25 April I865· He had married Mary Macallum Siddell in r862. I lenry "New England Art Union," Io April 1852, p. 2, and "To The Subscribers of the New England Art Union," 5 Alay I852, p. 2. The lottery conceptMitchell and lawyer Joseph H. Cotton were executors of his Boston of the art union was under challenge in New York, where in Octoberestate, which was valued at more than $40,000. Will and Letters Isp, the American Art Union lost its appeal in court and, inTestamentary of Francis N. Mitchell, Suffolk County, Massachusetts I)ecember, liquidated its holdings.Probate Court, I4 August r869, Rec. vol. i:355, \Vill Vol. I63:51, Docket No· 46425 "Mass·achusetts Aeademv of Fine Arts," Boston Evening Transcript, 24 85 . "14' ine Arts," Boston Evening Transcript, 2 June I852 , p. 2 , and 71. Henry Mitchell executed a number of other state and government June 1852, p. 2. 86. Champney, Sixty Years' Memories ofArt and Artists, p. 170· alli~F: 4.,1.- --%94 4 1. ' 0 ., I r#./9*~ " I / I-/ ../IVE... - J. 6, 4 ¢ :A D -4,;27-C ~ ~~~·Al i ¥ 1 47€*efee·.... .-f i /6 L. 1 - ..I. i e .... . f , ./ ..a .. i ./ E -- 22 . .et . Ff-**W... ' .:2 .1 - *. ..00#fl . :1 /4,0~

Jourdan Moore Houston | M. J. Whipple's New England Scenery From Nature Series: A 'Yearbook' of Tappan & Bradford Artists, I849-I852 | 2002

Publication

Tides Institute & Museum of Art

Name/Title