The Metropolitan Museum of Art Bulletin, v. 37, no. 4

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THOMAS EMMES Increase Mather, 1701 The earliest publication of books and prints in English-speaking North America occurred in the Puritan colony of Massachusetts. It is appropriate that the Mather family provided subjects for the three milestones of American printmaking produced in that theocratic society. John Foster's woodcut of Richard Mather thirty years later, Emmes engraved a likeness of Increase Mather for use as a frontispiece in three of the clergyman's religious tracts. The Museum's impression is bound in a copy of his Blessed Hope, published in 1702. Even though it appears that the plate was battered and worn at the time of printing, the engraved line shows a curls contrast with the flat pattern of the torso and crosshatched background. While the portraits of Richard and Increase Mather display a marked provinciality, Pelham's mezzotint of Cotton Mather competes favorably with English prints of the period. Soon after emigrating to Boston, Pelham, trained as a mezzotint
a lisiS xy,MDCi ' PETER PELHAM Cotton Mather, 1728 ^ "*5 +.^^- ^.^ ,4; :^&s ". - ** -;; *. '' eminent theologians in the colony as an advertisement of his skills. In this, probably the first mezzotint produced in America, he has created a lifelike, sophisticated representation of Mather's proud visage. During the years of his activity in America, Pelham completed several more mezzotints, mainly of Puritan divines and other Some fifty years after the publication of Pelham's Cotton Mather, portraiture continued to be the mainstay of a printmaker's production. Few painters had the skill and versatility of Charles Willson Peale in capturing the painted likeness on the copperplate (see p. 2). As early as 1777, he proposed a series of mezzotints of the until 1787 that the first examples were issued: Benjamin Franklin, General Lafayette, George Washington, and the Reverend Pilmore from Philadelphia. Peale's realistic and straightforward images, set within oval frames, have an unaffected naturalism, in contrast to the grand manner of portraiture he learned in
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Page 3 and 4: GERALD M. THAYER Male Ruffed Grouse
Page 5 and 6: so much as a guardian of standards
Page 7: t Publishers with a keen business s
Page 11 and 12: n BERNARD ROMANS An Exact View of t
Page 13 and 14: k a rCi~L L r " -: ,. \, ( J. S. CO
Page 15 and 16: JOHN VANDERLYN Sarah Russell Church
Page 17 and 18: ASHER BROWN DURAND Ariadne, 1835 ED
Page 19 and 20: 3 There is simultaneously an enigma
Page 21 and 22: J. R. SMITH Shop and Warehouse of D
Page 23 and 24: JOHAN HENRICH OTTO Fraktur Motifs,
Page 25 and 26: D. W. KELLOGG & CO. Memorial Print,
Page 27 and 28: JOHN HILL after WALL The Palisades,
Page 29 and 30: .'"" / . JOHN E KENSETT Birch Tree,
Page 31 and 32: H. PAPPRILL after J. W HILL .. . --
Page 33 and 34: THOMAS NAST "Let Us Prey," 1871 EDW
Page 35 and 36: WILLIAM TROST RICHARDS Lake Squam f
Page 37 and 38: C I~ rv~~~~~~~~~~1 E P P %.........
Page 39 and 40: WINSLOW HOMER Inside the Bar, Tynem
Page 41 and 42: THOMAS EAKINS The Gross Clinic, 187
Page 43 and 44: world liberated the body, Eakins's
Page 45 and 46: CHARLES ABEL CORWIN Portrait of Whi
Page 47 and 48: MARY CASSATT The Fitting, 1891 form
Page 49 and 50: 'p. K K ' ' ' \ K ...K. KK ' ..' '
Page 51 and 52: JOHN SINGER SARGENT The Escutcheon
Page 53 and 54: ............:::_:':--::~i::::: ::_:
Page 55 and 56: HENRY MARSH Moth and Beetles, 1862

The Metropolitan Museum of Art Bulletin, v. 37, no. 4

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