Notes
331 331 Notes 1. EARLY LIFE IN ENGLAND AND NEW YORK 1. James Henry Moser, “Art Topics,” Washington Post, June 30, 1901. 2. S. G. W. Benjamin, Art in America: A Critical and Historical Sketch (New York: Harper & Brothers , 1880), 172. 3. Lowell to J. T. Fields, 1868, quoted in Letters of James Russell Lowell, ed. Charles Eliot Norton (New York: Harper & Brothers, 1894), 1:398. 4. Amy Kaplan, The Social Construction of American Realism (Chicago: University of Chicago Press, 1988), quoted in Sarah Burns, Inventing the Modern Artist: Art and Culture in Gilded Age America (New Haven: Yale University Press, 1996), 13. 5. Lyman Abbott, “The Cradle of Christianity,” Christian Union, January 19, 1882. 6. F. Hopkinson Smith, American Illustrators (New York: Charles Scribner’s Sons, 1892), 62. 7. C. M. Fairbanks, “Illustration and Our Illustrators,” Chautauquan: A Weekly Newsmagazine 13, no. 5 (August 1891): 599. Fairbanks wrote, “In a recent lecture before the Art Students’ League in New York upon the subject of illustration, Mr. W. Lewis Frazer [sic] [of the Century] said that there were practically but three profitable fields of work open to the younger American artists of to-day—portraiture, illustration, and teaching—and of these he thought there was no doubt that illustration presented the most promising field. For in two years past, he said, the American publishers had paid twice as much for illustration as had been paid for paintings in all the American art galleries. Mr. Frazer is in a situation to know what he is talking about.” 8. See Michele H. Bogart, Artists, Advertising, and the Borders of Art (Chicago: University of Chicago Press, 1995), chap. 1. 9. The New-York Historical Society owns Storm King & Crow’s Nest, New York, probably from ca. 1870. At least two other oils are in private collections. 10. Catalogues of exhibitions including works by Fenn include The American Personality: The ArtistIllustrator in the Life of the United States, 1860–1930 (Los Angeles: Grunwald Center for the Graphic Arts, University of California at Los Angeles, 1976); Battles and Leaders of the Civil War: Drawings from the American Heritage Century Collection (New York: National Academy of Design, 1982); American Watercolors from the Metropolitan Museum of Art (New York: American Federation of Arts in association with Harry N. Abrams, 1991); and Lines of Thought: American Works on Paper from a Private Collection (Old Lyme, Conn.: Florence Griswold Museum, 1996). 11. My 1994 study of Fenn’s role, as well as that of the other contributing artists and writers, in the production of Picturesque America filled in a portion of his story, as did my 2005 article on Picturesque Palestine, Sinai and Egypt; see Creating “Picturesque America”: Monument to the Natural and Cultural Landscape (Nashville, Tenn.: Vanderbilt University Press, 1994); and “Illustration ‘Urgently Required’: The Picturesque Palestine Project, 1878–83,” Prospects 30 (2005): 181–260. See also Sue Rainey, “Images of the South in Picturesque America and The Great South,” in Graphic Arts & the South: Proceedings of the 1990 North American Print Conference, ed. Judy L. Larson 332 notes to pages 5–11 (Fayetteville: University of Arkansas Press, 1993), 185–215; and Sue Rainey, “Harry Fenn,” in Dictionary of Literary Biography, vol. 188: American Book and Magazine Illustrators to 1920, ed. Steven E. Smith, Catherine A. Hastedt, and Donald H. Dyal (Detroit: Gale, 1998), 95–104. 12. The Historical and Archaeological Section of the Richmond Society, introduction to Richmond, Surrey, As It Was (Hendon Mill, Nelson, Eng.: Hendon Publishing, 1976), 2. Fenn’s birth date is often given as 1845; however, the baptismal records of the Parish of Richmond, County of Surrey , record that Henry, son of James and Eliza Fenn, was born September 14, 1837, and baptized October 15, 1837. 13. According to the artist’s son Walter J. Fenn, his brother James became a merchant in Richmond; Walter J. Fenn, “Biographical Sketch of the Life of Harry Fenn,” manuscript, Fenn family papers, 7. 14. An account of Fenn’s life in the family’s records, likely written by his daughter (it is typed on stationery marked “Hilda Fenn van Antwerp, Interior Decorator”), states that he “was educated in the school of his native town” and received “the conventional instruction” in art “from a local teacher.” The brief biography of Fenn in The M. & M. Karolik Collection of American Water Color Drawings: 1800–1875 (Boston: Museum of Fine Arts, 1962) states that he was “educated at Isleworth and Richmond, England” (1:156). 15. Sketchbook is owned by the family...
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