Spring 2015 Volume 39 Number 4

Plan of the city and suburbs of New Orleans fromsurvey a made in 1815 by I. Tanesse surveyor. Rollinson sc, NY, 1817, AAS.

PLAN YOUR TRIP TO NEW O RLEANS: “Book in hand, now, we wander through old streets, and pause before the age stricken houses; and, strange to say, the magic past lights them up.”– Grace King quoted in French Quarter Guidebook Carré Vieux Guide (1928)

The 2015 Annual Meeting will be held in New Orleans June 24-­‐‑28, 2015.The winter issue of theNews Letter included events, information andthe registration form. The hotel for the Annual Meeting is the Hotel Monteleone. Call (504) 523-­‐‑3341 or (800) 217-­‐‑2033 to make reservationsfor the American Historical Print Society block. The rate can be extended 3-­‐‑days before or after the meeting. Please contact Chris Lane and let him know you are coming (303) 322-­‐‑4757 or lane@pps -­‐‑west.com. We look forward to seeing you there and recapping all of the events in the Summer issue! (additional Annual Meeting details on page) 2

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AHPCS News Letter Copyright © 2015

American Historical Print Collectors Society 94 Marine Street Farmingdale, NY 11735-­‐‑5605 www.ahpcs.org

Volume 39 Number 4 – Spring 2015

Robert Newman, President ANNUAL M EETING C OSTS PER PERSON: James Brust, 1st Vice President Registration: $38 James Schiele, 2nd Vice President Hotel rooms: $159 Lauren Hewes, Secretary Thursday night dinner $65 David G. Wright, Treasurer Saturday night dinner $75 Nancy Finlay, Regional Activities Chair Optional tour of the French Quarter $35 Sue Rainey, Publications Chair Optional cruise on the Natchez $25.50 John Zak, Membership Chair; Past President Optional bus tour of Houmas House Plantation & Gardens Sally Pierce, Imprint Editor Jackie Penny,News Letter Editor Brief schedule of events:

Directors: June 24 : AHPCS members arrive June 25: Board meeting, first session with talks by John Marshall Berkoff Lawrence, Sara Picard, Jason Wiese, dinner and print-­‐‑ Allen W. Bernard mart Robert Bolton June 26: Visit to Cabildo & optional tour of French Donald Bruckner Quarter, second session with talks by Robert Holland, Michael Buehler Judith B onner, William and Ellsworth Woodward, Roger Genser Cocktail party and view museum Chris Lane June 27: third session with talks by John Magill, Mike Eric Terwilliger McCue and panel discussion, cruise on the Natchez, Rosemarie Tovell dinner & auction Charles Walker June 28: (Optional) bus tour to Houmas House Plantation and Gardens

Editor’s Note: The AHPCSNews Letter is published Please note: The bus from the plantation tour is quarterly; the next deadline is July 10 to be published scheduled to get back to the hotel at 4:00. If anyone August 1. Prints of the American scene that are 100 or needs to, we will now have it swing by the airport on more years old will be considered. News items are desirable, as are articles about engravers and the way back, meaning that people should be able to lithographers, shops/tool, upcoming exhibitions, get to the airport by at least 4:00 pm. The bus has collections and publications. The editor reserves the enough room for luggage, so anyone who has a flight right to make any changes without prior approval. Send on Sunday afternoon can take their luggage with them contributions [email protected] . For members and be dropped off by 4:00. Hopefully that will allow wishing to place a classified ad, cost is $25 for 1/3 of a more people to go on the plantation tour. page and $50 for 1/2 a page. Send check/copy to: AHPCS, 94 Marine Street, Farmingdale, NY 11735. Your Above: Battle of New Orleans,hand -­‐‑colored lithograph by John ad will appear in the next issue. Landis. The Historic New Orleans Collection, 1950.25

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In Memoriam:

Donald C. O’Brien (1938-2015) AHPCS is deeply saddened to hear of the passing of its past president – mentor, teacher, writer, Donald “Don” Carr O’Brien. Don died on January 26, 2015 in Simi Valley, California after a short battle with cancer. His family, including wife, Mary Catherine Marcero O’Brien, was at his side. Born in January 1938 in Attleboro, Massachusetts, Don graduated from Coyle High School in 1957 and served in the U.S. Army until 1959 when he was honorably discharged. He met Mary in Pasadena, California where he worked at the Jet Propulsion Laboratory; they were married in 1960. In 1964, they moved to Pontiac, Michigan, to be near her family. He earned a Bachelor'ʹs degree from Oakland University and a Master'ʹs degree from Wayne State University. Don loved history, prints, books and education. He taught for thirty years in the Waterford School District and retired from Pierce Junior High School. He also taught history for a short time at Oakland Community College. A member of the American Antiquarian Society, Don was the author of the books: Amos Doolittle: Engraver of the New Republic (published in 2008); The Engraving Trade in Early Cincinnati (published in 2012); and Sweet Elsie: A Brief History of the L.C. Smith Shotgun (co -­‐‑authored with his son-­‐‑in-­‐‑law C. Dean Rasmussen); as well as many articles for Imprint, the Proceedings of the American Antiquarian Society, and book reviews forThe History Teacher among others. Don'ʹs favorite place was Tobermory, Ontario, Canada where he and Mary have had a cottage for over forty. years T hey enjoyed walking along the Bruce Peninsula Escarpment, Dorcas Bay Road and Larry'ʹs Lake and enjoyedtime with friends. A loving father and grandfather, Don is survived by his children and grandchildren. Don assumed presidency of AHPCS following the May 2004 annual meeting. He remained president until the Spring of 2007. Don was a regular attendee at the AHPCS annual and regional meetings; his limitless enthusiasm for the organization was unparalleled and his tireless archival research should serve as a model for today’s print scholars. As board member Allen Bernard aptly stated following the news of his passing, “Don was a true Top: photo courtesy ofKathleen print connoisseur and always exhibited enthusiasm and scholarly O'ʹBrien Rasmussen. Middle: Don and Mary at the 1982 AHPCS Annual interest and inquiry in prints, he was dedicated to print research Meeting in Washington, D.C. Photo and expended time, effort, and personal expense to this end… all of courtesy of James S. Brust. Bottom: us at AHPCS were recipients of his knowledge and research…we Don and Mary at the 2008 AHPCS lost a dedicated friend, researcher, and collector.” Annual Meeting in St. Louis, MO. Photo courtesy of Gregg Walla.

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AHPCS Fellow interview: Amy Torbert, PhD candidate, art history, University of Delaware “Going Places: The Material and Imagined Geographies of PrintsAtlantic in the World, 1770-­‐‑1840”

Can you describe your project for us? I am studying thebusiness of publishing prints, specifically the firm[Robert] of Sayer & [John] Bennett in London; to this end, I am also doing an examination of the visual and material culture of the transatlantic print trade. Sayer and Bennett are colorful people – flawed and very interesting. My dissertation tracks their prints from 18th-­‐‑century London to th 19 -­‐‑century America. In addition to the publication of Tarring & Feathering during the American Revolution I am also interested in the print’s “afterlife”by those like David Claypoole Johnston (published by Pendleton).

Do you have a favorite print? Tarring & Feathering is really the central print for this project. I’ve been interested in prints and print culture since I was an undergraduate but I’m also finding archival discoveries – including bank accounts, stock catalogues, and legal records – to be extremely useful. The final chapter of my dissertation explores the 19th-­‐‑century transformation of Tarring & Feathering into an icon of American patriotism through various reappropriations. This print is really a fluid symbol of American identity at the founding of the nation and through its history.

How did this print come to be such a central image? While I was an Assistant Curator at Yale University Art Gallery, I worked on a traveling exhibition Life, Liberty, and the Pursuit of Happiness: American Art from the Yale University Artand Gallery this image, as well as a companion from the series, was part of the exhibit. At first I was worried studying prints might not be enough – but my advisor, Wendy Bellion, said there was so much research to be done. She was right!

How do you find some of these reappropriations? What are your most effective search strategies? A lot of my research has been looking through collections.I found my first reappropriation at theChapin Rare Book Library at Williams College while an intern there and thought, “I’ve seen this image before!” While at the British Museum for Paul the Mellon Centre for Studies in British Art, I spent a luxurious amount of time looking through boxes of mezzotints trying to get a sense of how they were created. But there is no way I could have found all these images withoutthe use of digital catalogs from different institutions. Sometimes I would have fifteen of them open at once!

You’re currently a fellow-­‐‑in-­‐‑residence at the American Antiquarian Society. What other institutions have you? visited In addition to my work in London, I’ve been a fellow at the Lewis Walpole Library and the National Portrait Gallery in Washington, D.C. where my advisor was Wendy Wick Reaves. For 2015, I have fellowships at the Huntington Library, the John Carter Brown Library and at the Winterthur Museum.

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It sounds like you’ve been really thorough! Are there any sources you haven’t consulted? I’ve found eight objects between 1830-­‐‑1900 which arereappropriations and I’m actively on the huntmore. for I would love the opportunity to talk to any AHPCS members who know of any! One population I haven’t worked with are dealers – art, book, print, auction– they would likely know of more variations of this image.Editor’s note: Amy can be contacted at [email protected]

Right: The Bostonian'ʹs paying the excise-­‐‑man, or tarring & feathering. London: Printed for Robt. Sayer & J. Bennett, Map & Printseller, No. 53, Fleet Street as the Act directs, 1774 Octr. 31. Mezzotint. Fourth state. Library of Congress.Previous page: Torbert on fellowship at the American Antiquarian Society examining a copy of The Bostonians paying the exciseman, or, Tarring and feathering. New York : Printed & Published by H.R. Robinson, 52 Courtlandt Street, [ca. 1837-­‐‑1842] : Snooke. Lithograph.

NURSING THE YOUNG REPUBLIC: Images of breastfeeding in visual culture ca. 1773-­‐‑1880 By Jackie Penny

Earlier this year social media giant, Facebook, liberalized its standards on acceptable images to “allow photos of women actively engaged in breastfeeding…also paintings, sculpture, and other art that depicts nude figures.” This can be seen as a progressive move away from characterizing such imagery as sexual, and allowing the very common and important act of breastfeeding to be shown in a natural fashion. Yet illustrations of breastfeeding were not always controversial, and appeared in book illustrations, engravings, and lithographs, as well as historical, religious, political and social history prints in the past. This piece will show a number of such images from the 18th and 19th centuries. Our first example appears in a cartouche at the upper left of the “Plan of the City and Suburbs of New Orleans,” which is on the cover

of this issue of the News Letter Figure 1 (figure 1). It depicts a Native American couple, the woman sitting on the ground breastfeeding an infant. Another image of this motif of the nursing Native American mother is in the lithograph, “William Penn’s Treaty with the Indians,” published by Nathaniel Currier, which shows a woman breastfeeding a child who is strapped to a cradleboard in the left foreground (figure 2). Figure 2

Spring 2015 6 Volume 39 Number 4 The earliest example for this study, a masonic certificate printed and engraved by Paul Revere in 1773, features allegorical figures Faith and Hope on pedestals, and a cloaked Charity beneath, nursing a baby with two other children at her feet (figure 3). Another example of allegorical Charity is on an engraving by artist J. Stone printed ca. 1800-­‐‑50. This hand colored engraving also shows the three allegorical women, but is set in a religious context with a signed marriage prayer beneath (figure 4). Revere’s image is an early example of this national mother figure depicted allegorically. Nora Doyle in her article on breastfeeding and the sentimental maternal ideal finds “the image of the chaste,d tender an dutiful mother proliferated … emphasizing the sentimental familial bonds that could be forged by a good mother and strengthened by the act of nursing.” (961). Gift books and annuals offered an opportunity to display illustrations of private moments; the images and prints destined for a mostly white middle class audience. An example is the engraving “Domestic Bliss” by David G. Johnson, which shows an exterior scene with a man being embraced by his young children. A mother sits on a bench breastfeeding an infant while gesturing towards the man. The image was published as an accompaniment to the poem "ʺDomestic happiness"ʺ by William Cowper in the Gift of Affectionin 1852 (figure 5). Another Nathaniel Currier hand colored lithograph, “The Harvest Field,” conveys the natural quality of breastfeeding as part this pastoral domestic scene (figure 6). An adult woman and three children gather hay while a second woman nurses an infant-­‐‑-­‐‑-­‐‑ a totally non-­‐‑sexual image showing that a nursing mother could not be far from her family. Hence breastfeeding might take places in public as readily as in private. However, images such as these were on the decline with the widespread employment of women outside the home after the 1850s, making artificial feeding of babies by bottle more common. No survey would be complete without an examination of racially charged images. Black and white breastfeeding became visual ammunition for racial discussions. Pictures of interracial nursing played up miscegenation fears through years of Civil the War. “The Fruits of Amalgamation,” a lithograph by Edward Williams Clay, published by John Childs in 1839, is one such example (figure). 7 Sitting on the sofa underneath a print of Shakespeare’s Othello & Desdemona is a white woman nursing an African American child; her husband sits beside her reading a newspaper, The Emancipator. Unlike the previous images, this one features an interior scene where a private, cherished moment is politicized, and subject to our gaze. Clay attempted to use a naturallationship re between mother and child to stimulate racist feelings. The same was true for Civil War envelopes and other ephemera which featured images of African Americans nursing white babies (figure 8). Published in Philadelphia, “An Institution of theS.A.’ ‘C. Cotton States Aristocracy” envelope features the text, “Though now unconscious on Ma Ma’s breast, Glorious destiny awaits the high born babe; A Knight, A Baron, A Duke. A Royal crest May yet upon his diadem wave.” Figure 3

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Figure 6

Figure 4

Figure 7

Figure 5 Figure 8

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In her text Our Own Snug Fireside:Images of the New England Home, author Jane Nylaner says, “Women who were pregnant or nursing babies did not have to have special garments, but adjusted the waistlines of their gowns, let out the drawstrings of their petticoats, adjusted a handkerchiefr ove the bosom, and pinned it all together with long, strong, common pins” (158). The women’s clothing industry eventually responded as the advertising print for “Ball’s Corsets” shows. This chromolithographed print by Shober & Carqueville Lithography Company was published ca. 1880 for the Chicago Corset Company and promises “solid comfort” for those breastfeeding (figure 9). Pictured on the right portion of the advertisement is a mother facing the viewer and watching her nursing child. The infant is successfully breastfeeding due to the ease and support of the corset. The image evokes classified ads placed in newspapers published a century earlier soliciting the services of wet nurses. Doyle, in her aforementioned article, comments on the critics who linked, “the refusal to breastfeed to fashion and wealth” (960), and yet, with something as fashionable and comfortable as Ball’s Corset, you could essentially have your cake and eat it too. Examining these varied visual representations of breastfeeding, as explored in gift book illustrations, separately published prints including engravings, lithographs, genre scenes, Figure 9 ephemera, and chromolithographed advertisements, offers a cross section of 19th-­‐‑century American life. It is an area to consider for those ng researchi in women, gender, African American or Native American studies. Perhaps we will see a renaissance of breastfeeding images with the recent loosening of visual taboos. Though it is a contentious theme today, it appeared frequently and in varyinge ways in th young republic.

Figure 1: Plan of the city and suburbs of New Orleans from an actual survey made in 1815 by I. Tanesse city surveyor. Rollinson, William, engraver. New York: Published by Charles del Vecchio of New York and by P. Maspero of New Orleans, 1817. Figure 2: William Penn'ʹs treaty with the Indians when he founded the Province of Pennsa., 1661. New York: Lith. & pub. by N. Currier. ca. 1838-­‐‑56. Figure 3: Masonic certificate for William Peirce. “These do certify that the bearer hereof...” Boston, Engraved and printed by Paul Revere, ca. 1773. Figure 4: The Solemnity of a wedding and brilliancy of a married life when lived according to Christian examples our Saviour. Jaques, E., engraver, ca. 1800. Figure 5: “Domestic Bliss.” Johnson, David G. engraver. illustration in Gift of affection, for 1852. Figure 6: The Harvest Field. New York: Lith. & pub. by N. Currier. ca. 1838-­‐‑56. Figure 7: The Fruits of Amalgamation. Edward Williams Clay, lithographer. New York: Published by John Childs, ca. 1839. Figure 8: An institution of the "ʺC.S.A."ʺ-­‐‑cotton states aristocracy. Civil War Envelope. Philadelphia: Harbach & Bro., Philadelphia. ca. 1861-­‐‑65. Figure 9: Ball'ʹs corsets: Manufactured by the Chicago Corset Co: Shober & Carqueville Lith. Co., ca. 1880. Images Courtesy, American Antiquarian Society.

Works Cited: Doyle, Nora. “ ‘The Highest Pleasure of Which Woman’s Nature is Capable’: Breastfeeding and the Sentimental Maternal Ideal in America 1750-­‐‑1860.” Journal of American History (2011) 97 (4): 958-­‐‑973. Facebook Community Standards.https://www.facebook.com/communitystandards accessed 31 March 2015. Nylander, Jane C.Our Own Snug Fireside: Images of the New England Home, 1760-­‐‑1860. New York: Knopf, 1993.

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SAVE THED ATE!

Wilmarth S. Lewis was one of the foremost print and book collectors of the twentieth century, with a special interest in the British connoisseur Horace Walpole (1717-­‐‑1797). The Lewis Walpole Library, housed on a fourteen-­‐‑acre campus in Farmington, Connecticut, has been a department of Yale University Library since 1980 and is an internationally recognized center for eighteenth-­‐‑century studies. On Friday August 21st, members of the American Historical Print Collectors Society will have a special opportunity to tour the library and view British prints relating to America and a small collection of Currier & Ives prints that once hung in Lewis’sprivate home. Weather permitting, lunch will be a picnic on the grounds. For more information, contact Nancy Finlay, Chair of Regional Meetings at [email protected].

NEW PUBLICATIONS OF N OTE TOM EMBERS North Carolina Regional

Meeting Celebrates The Illustrated Imprints of Isaiah Viviparous Quadrupeds Thomas By Barbara E. Lacey, American Philosophical Society, 2014. An informal regional get-­‐‑together Lacey offers a sampling of the illustrated took place in Tryon, N.C. on March publications of Thomas to show the great 14. New members Gene & Wyndy variety of American imprints that used Morehead hosted a dinner party that images to enhance or modify the meaning of included AHPCS members Mike the text. McCue and Bob & Judy Bolton, as well as interested Tryon residents Soldier, engraver, forger: Richard Brunton'ʹs Drs. Jeri & Warren Board. Since both life on the fringe in America'ʹs new republic. the Boltons and the Moreheads own By Deborah M. Child, New England similar bound three-­‐‑volume hand-­‐‑ Historic Genealogical Society, 2015. colored sets of Audubon'ʹsViviparous In thisillustrated biography, Child follows Quadrupeds of North America, the the career of Richard Brunton, a British cocktail hour featured dialogue about grenadier who fought in the American Revolution before deserting in 1779. A these important historical prints, trained engraver and diesinker, his primitive but charming focusing on the Morehead set which works include some of the earliest pre-­‐‑printed family includes early imageslithographed registers in America. by Nagel & Weingaertner. Mr. Bolton related that these prints were At the November 2014 Board Meeting originally issued in fascicles. in New York, Robert Newman Audubon'ʹs Carolina Grey Squirrel and showed attendees a four-­‐‑sheet his Carolina Shrew were toasted at lithograph of Pittsburgh published in dinner, along with the gracious host 1859 by G.F. Schuchman & Benjamin and hostess. Singerly. It was quite a treat!

Spring 2015 10 Volume 39 Number 4 Fun Time Had By All at Saint Louis Regional Meeting

Twelve AHPCS members enjoyed an educational experience at the Society’s regional meeting at the St. Louis Art Museum (SLAM) on March 27, 2015. The event was sponsored by AHPCS Vice President Jim Schiele of St. Louis. SLAM Print Curator Elizabeth Wyckoff (an AHPCS member) organized a terrific behind-­‐‑the-­‐‑scenes view of the Museum for the morning session, beginning with her presentation on important American historical prints in the Museum’s collection. For the remainder of the morning, the group moved from gallery to gallery to see special exhibitions on George Caleb Bingham and the Mississippi River (including not only his paintings, but also examples of his preliminary drawings and the original etched plates for the prints based on the paintings); the Hudson River Portfolio (aquatints by John Hill); and the original paintings and prints of Thomas Cole’s famous “Voyage of Life” series. The group then moved on to the Paper Conservation Lab where we had a fascinating session on the conservation of prints and other works on paper. St Louis AHPCS member Bruce Feldacker, a SLAM docent, kept the group moving along on schedule so that there was time for a tour of each exhibition and an opportunity to ask questions of the curators. Following the morning program at SLAM, members drove a quick short distance to attend a buffet luncheon hosted by Jim Schiele at the Whittemore House, the Washington University Faculty Club. From there they walked across the University campus to the Wanted – items for the Annual Benefit Auction Edison Library, where they had a chance to see Jim’s Each year at the AHPCS annual meeting we wonderful collection of prints and other works on hold a benefit auction. Items donated for the paper pertaining to the American Civil War and the sale are tax deductible based on the selling Reconstruction Era. Jim gave an enlightening price at the sale. 100% of the proceeds go to the presentation on the collection’s significance as it benefit of the AHPCS and its many related to this important period of American history. programs. Best selling items in the past have Finally, most of the attendees drove on to Bruce been books about historical prints, unusual Feldacker’s nearby law office to see his art collection historical prints, and maps. The items can be pertaining to labor and industrial culture. brought to the meeting in New Orleans June 25-­‐‑ Those attending, besides Jim, Elizabeth and 27 or shipped to The Historic New Orleans Bruce, were John and Lucia Hollister (Illinois); Larry Collection; Attn: John Lawrence; 410 Chartres Allen (Tennessee.); Bob Bolton (South Carolina); Street; New Orleans, LA 70130. If shipping Charles Walker (Tennesee); Warren and Julie Payne your donation please ship to arrive between (Kentucky); and Judith and Paul Haudrich (Missouri). June 15 and June 25. If special arrangements In addition to Elizabeth, Jim, and Bruce, special thanks are needed please contact Chris Lane at go to participating SLAM curators Janeen Turk, lane@pps-­‐‑west.com. Include your name Melissa Wolf, Eric Luitz, and Nancy Heugh. address phone number and email in the package with the items to receive your tax-­‐‑ Right: AHPCS members view a print by George Caleb Bingham deductible receipt. in the SLAM paper conservation lab

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Save the Date! Regional meeting at the Boston Public Library

On September 24 Curator Ronald Grim of the Norman B. Leventhal Map Center at the Boston Public Library will host the AHPCS at We Are One: Mapping America’s Road from RevolutionIndependence. to This spectacular exhibition of maps of the American Revolution opens on May 2 and will commemorate the 250th anniversary of American colonial resistance to Britain’s 1765 Stamp Act. Among the treasures on view will be unique manuscript maps; items from the British Library'ʹs King George III collection not previously seen in America; the first Congressional Medal, given to General Washington after the British Evacuation of Boston; and Paul Revere'ʹs hand-­‐‑drawn sketch of the Boston massacre. For more information about the exhibit, visitwww.maps.bpl.org/content/tour -­‐‑we-­‐‑are-­‐‑one#tour Our tour will begin at 10:30 am on Thursday, September 24, followed by lunch at the Library’s terrific Courtyard Restaurant.For more information or to sign up for the tour, contact AHPCS member Michael Buehler at (413) 527-­‐‑4020 or [email protected].

Left: Cartouche from Wallis, John. The United States of America Laid Down from the Best Authorities: Agreeable to the Peace of 1783. London,1783.

Meat Extract and Chromolithography By Chris Lane

A rather unusual juxtaposition of subjects, but one which is delightfully represented in a set of six cards issued by the Liebig Meat Extract Company in the late nineteenth century. Baron Justus von Liebig was a German chemist of considerable note, regarded as one of the founders of organic chemistry. Hoping to provide inexpensive nutrition for Europe’s poor, he invented a method for producing extract from cattle carcasses, supposedly preserving the flavors and nutrients of the beef. The cost for this process in Europe proved to be too expensive to be practical, but a young Belgian, George Christian Giebert, came up with a feasible plan to produce the extract in Uruguay, where land and cattle were plentiful. In 1865, Liebig and Giebert formed the Liebig Meat Extract Company, which went on to great success. Not only did the company make its meat extract a popular item for kitchens throughout the world, but it also later introduced bothbeef Oxo stock cubes and Marmite.In 1872, the company started to issue promotional trading cards on all sorts of subjects, usually issued in sets of six cards on one topic. They were produced initially in lithography, then chromolithography, and finally offset printing. These cards were hugely popular and by the time Liebig stopped producing them in 1975, they had produced over 10,000 different cards! The early chromolithographed cards are the most collectible and I was surprised and delighted when I came across a set of the Liebig cards on the subject of chromolithography. Chromolithography is a printmaking process, developed by the late 1830s, where a colored subject was produced by using multiple lithographic stones, each using a different color ink. The Liebig set, “Les Phases de laFabrication d’un Chromo Liebig,” shows all the steps in making such a Liebig trading card set. Included on each card is a wonderful demonstration of the process, showing the development of a portrait of Liebig through six stages of production, from an image made with just two stones to the finished portrait having used twelve stones.

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Card 1: The first card shows the artist composing the subject in his studio. He is drawing with watercolor onto a sheet of paper, carefully working on an image the exact size of the intended print. The portrait of Liebig is printed in gold and yellow and is barely visible.

Card 2: This card shows the quarrying of limestone to be used for making the prints. Though many different stones were tested, it was limestone from Solnhofen in Bavaria which proved to be the best. The portrait of Liebig now has had red and blue ink added, and the visage is beginning to appear more distinctly.

Card 3: This card shows the process of transferring the image to the multiple lithographic stones to be used. Information on the verso explains that after each stone has been polished with pumice powder, an inverted image is outlined on each That part of the imagecorresponding to the color for each matrix is then added to be carried by each stone (for a total of twelve stones). Leibig'ʹs portrait is now quite visible, having been printed with six colors.

Card 4: This card shows the testing of the stones.Each stone is cleaned with nitric acid, so that the ink will not adhere to the matrix except where the image has been drawn on it. Then the stones are tested, and the different colors combined on to sample images in sequence, working from the lightest to the darkest ink colors. Leibig'ʹs portrait now appears with eight colors having been printed.

Card 5: Once the test stones are perfected, the images are printed on a rotaryand press, the printed copies are compared with the test images. Other than the placing of the paper, this process is all automated. The portrait of Liebig is now almost finished, with ten colors having been used.

Card 6: This shows the cards being cut from the larger sheets and then packed. The portrait, with twelve stones used, is complete.