ton. As a result of investigating early Boston lithographers, I found the Mr. Scott already referred to, and it was he who gave me many of the most interesting facts. Mr. Scott says that William S. Pendleton came to Boston from Canada with Alexander MacKenzie, a copper plate engraver, who had failed in business in Montreal. This was about 1819 or 1820 MacKenzie went into partnership with Abel Bowen in 1821, and presumably William S. Pendleton worked for them, and the next we hear of Pendleton was when he was in partnership with Bowen on Harvard Place in 1825.

STODART & CURRIER

In 1831 William S. Pendleton had four lithograph presses and four copper plate presses, and among his apprentices were Benjamin F. Nutting and Nathaniel Currier (born in Roxbury). The latter afterward started in business in New York in the early 1830's. He went into business with a man named Stodart forming the firm of Stodart & Currier, located at 137 Broadway in 1832. John H. Bufford worked for them as an artist. Mr. Currier's business relations with his partner were not of the happiest, and the partnership was dissolved very shortly, and Mr. Currier went into business for himself continuing as Nathaniel Currier, and then as Currier & Ives until 1890.

ANTHONY IMBERT

After Barnet & Doolittle, the first lithographer in New York, of whom we have evidence, was Anthony Imbert, whose work appears apparently for the first time in Cadwallader D. Colden's "Memoir of the Celebration of the Completion of the New York Canals, which was published in 1825. On page 349 of this book appears the following:

LITHOGRAPHICAL DEPARTMENT

As a considerable number of the printed plates of this work are in Lithography, that is literally, Drawing on Stone; it will

not perhaps be unacceptable, at the present moment, to give some very concise remarks on the history, and manner of operation, of this new art; particularly as these impressions are from the very first press, which on this side of the Atlantic, has been put into effectual operation, many abortive attempts having been made prior to Mr. Imbert's successful one. We shall be but brief in our notice on the subject as he is preparing a publication on the essential parts and uses of the Art of Lithography, which he is about to lay before the public with all convenient despatch.

In this age of discoveries not the least admirable is the Art of Lithography; it was the result of a regular and skillful series of well-planned experiments by Mr. Alois Senefelder, of Munich the capital of Bavaria. The era of discovery cannot be confined to a day or a year; he began his experiments upon Bavarian stone, from economical principles, with a view to save the expense of copper or tin plates; with a mind gifted by nature and from competent education, furnished with a good acquaintance with the mechanic powers, but chiefly with chemistry, he prosecuted his experiments to the eventual results we now witness.

The improvements on this art, since the first publication of his course of experiments, have been very rapid; in the earlier part it was chiefly applied to the more common purposes of life, by the principle of Transfer, to writings, lettering, music, &c.; but for the higher purposes of pictorial subjects, its progress has been comparatively more slow, until within a few years, say six or eight, since which in Germany, France, Italy, England, &c., it has already rivalled the best of lineal chalk and wood engravings, and upon the principle of Transfer, it is equal at least to the finest engraving that ever was or can be executed on copper, &c.

Artists, at present, chiefly practice it in the chalk, the pen and ink, or with the brush manners-or in the art of transferring drawings, writings, &c. done on transfer paper, to the stone, by which a limitless number of fac-similies may be printed.

At the first view of this art, and its peculiar mode of impress, most persons have imagined it to be the easiest and most simple thing in the world to be a Lithographer; but experience has taught the many, many thousands, who have attempted it, that nothing less than the utmost care and experience can accomplish the operation; the manipulating of the drawings is easy enough, and looks perfect on the stone, but the chemical principles, on which all the success of printing depend, cannot produce a good impression if the draughtsman, however good an artist, does not execute the work with the necessary pre

caution. The artist must not only be a good designer, but a good chemist, and a good painter. The art does not depend so much on mechanical as chemical principles.

The leading point in this new art is through the medium of Soap, to make the repulsion of oil to water produce the curious effect of printing drawings upon stone of a certain texture.

The instruments for this kind of drawing are first, inks similar to China or Indian ink, to be drawn on the stone with a steel pen or brush; secondly-Lithographic chalk, similar to, and worked like common black French chalk, on the stone; thirdly-transfer ink, whereby any drawing or writing made on transfer paper, is transferred positively to the stone, and may be multiplied 'ad infinitum', which in all probability will turn out to be the most useful part of the art, whereby confidential and circular letters of any description may be multiplied with the utmost despatch; as was universally practiced by both parties during the Revolutionary War in Europe, and is still exercised by every one of these Governments, as well as by men of business, thereby saving the expense of copying clerks, or transcribers; and, morevoer, in the cheapest, most expeditious, and confidential manner.

Every gentleman ought to be provided with a sufficient quantity of this transfer paper and its ink, which he can use with equal facility as common ink, by only rubbing it down with rain water; if this writing is sent to a Lithographic press, a hundred or more fac similies, identical with the original manuscript may be had in a few hours at a very small expense.

Such being the history and nature of the art of Lithography every candid eye, which views these very interesting first essays of the art executed in America, but will allow, that neither Germany, France or England, could show equal specimens executed during the first six months after its introduction into these countries.

On page 353 it says:

For the annexed diagram of the Fleet, we have been obligingly favored by C. Rhind, Esq., the Commandant of the aquatic fete. This Plan was the first test of Mr. Imbert's talents as a Lithographer, and Lithographic Printer.

On page 358 it says:

Moreover, to show the full extent of our good fortune, Mr. Imbert, the Lithographer, is professionally a Marine Artist; originally he was a French Naval Officer. but long a prisoner in England, where he devoted this time of leisure, to the improvement of his talents, in the study of drawing and painting,

under a first rate emigrant artist, as a useful as well as agreeable amusement during the tedium of captivity.

Imbert was located at no. 79 Murray Street, New York, in 1825, and continued his work of lithographic publication until 1831. William Dunlap, in his History of the Arts of Design," 1837, p. 454, says:

"

Lithography or drawing on stone, and taking impressions by the aid of acids, transferring innumerable copies to paper, is a very useful invention, and tends to multiply pictures, many of them of a character which diffuses taste and facilitates the progress of art. When practiced by a good designer its use is obvious. To be a good draughtsman on stone, requires the same study as to draw well on paper. It is a very pleasant occupation for females, and I have seen specimens from two young ladies, the daughters of Mr. Peter Maverick, deceased, which I thought ought to command for them an employment that would make them independent with common application. The first lithographic establishment of which I have any knowledge was made amidst many difficulties by Mr. Imbert, of New York. They are now almost innumerable throughout the United States. But however beautiful or perfect the plates are, the credit is transferred to the master of the establishment, and the artist is sunk. This must change. The artist must be announced, and must be the Master.

BIBLIOGRAPHY OF

AMERICAN NEWSPAPERS, 1690-1820.

PART XIII: PENNSYLVANIA (PHILADELPHIA)

COMPILED BY CLARENCE S. BRIGHAM

The following bibliography attempts, first, to present a historical sketch of every newspaper printed in the United States from 1690 to 1820; secondly, to locate all files found in the various libraries of the country; and thirdly, to give a complete check list of the issues in the library of the American Antiquarian Society.

The historical sketch of each paper gives the title, the date of establishment, the name of the editor or publisher, the frequency of issue and the date of discontinuance. It also attempts to give the exact date of issue when a change in title or name of publisher or frequency of publication occurs.

In locating files to be found in various libraries, no attempt is made to list every issue. In the case of common papers which are to be found in many libraries, only the longer files are noted, with a description of their completeness. Rare newspapers, which are known by only a few scattered issues, are minutely listed.

The check list of the issues in the library of the American Antiquarian Society follows the style of the Library of Congress "Check List of Eighteenth Century Newspapers," and records all supplements, missing issues and mutilations.

The arrangement is alphabetical by States and towns. Towns are placed according to their present State location. For convenience of alphabetization, the initial "The" in the titles of papers is disregarded. Papers are considered to be of folio size, unless otherwise stated. There are no abbreviations