The Graphic Art of Thomas Buford Meteyard
The graphic art of Thomas Buford Meteyard The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Finlay, Nancy. 1990. The graphic art of Thomas Buford Meteyard. Harvard Library Bulletin 1 (2), Summer 1990: 50-66. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42661198 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA 50 The Graphic Art of Thomas Buford Meteyard Nancy Finlay "Late at night, by a fire of apple logs on the brick hearth, in a little room with pale green walls and white doors, the wood-engraver sits at his table, carving an initial for the Salt Marsh Press, while the lamp lights up his studious forehead and thin hands ... " (CourrierInnocent, No. VII, Spring, 1897) he little room described above, and depicted in a wood-engraving (figure 1) T by Thomas Buford Meteyard (1865-1928), was located in Testudo, Meteyard's seaside home in Scituate, Massachusetts. The print, which depicts Meteyard's friend the architect Bertram Grosvenor Goodhue, appeared in a little journal known as the CourrierInnocent. The text was written by Bliss Carman, a well-known Cana- dian poet; other literary contributors included the American poet Richard Hovey, and Goodhue's architectural partner, Ralph Adams Cram. Both Goodhue and another friend, the English expatriate artist Dawson Dawson-Watson, also contributed wood- cuts to the publication.
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