Montelius, who lived from 1791 to 1859, printed broadsides in the German language, many with graphic images. He taught and printed in Reamstown from about 1810 to 1813 and again from 1818 to 1823, before moving to Union and later Northumberland counties, Pennsylvania.Although most of Montelius's print work was created in Northumberland County, PA, the broadsides from his years in Reamstown, PA, show the most variety and charm, according to the authors. They suggest he was printing for classroom instruction rather than commercially.Consequently, most editions of his broadsides are rare, as he printed small numbers of each. [from Lancasteronline.com]
Campbell and Rogers genealogy : some of the ancestry of Charles Henry Campbell Jr., of Logansport, Indiana, with the ancestry of his wife, Margaret Rogers, and their descendants
xv, 400 p., [8] p. of plates : ill. (some col.) ; 27 cm.
Series
Early American studies
Notes
Includes bibliographical references (p. [335]-377) and index.
Contents
Painters and patrons -- The village enlightenment -- Cosmopolitan communities -- Itinerants and inventors -- A tale of two chairmaking towns -- Provincial portraits -- Daguerreotypes : the industrial image.
Summary
In the middle of the nineteenth century, middle-class Americans embraced a new culture of domestic consumption, one that centered on chairs and clocks as well as family portraits and books. How did that new world of goods, represented by Victorian parlors filled with overstuffed furniture and daguerreotype portraits, come into being? This work highlights the significant role of provincial artisans in four crafts in the northeastern United States, chairmaking, clockmaking, portrait painting, and book publishing, to explain the shift from preindustrial society to an entirely new configuration of work, commodities, and culture. As a whole, the book proposes an innovative analysis of early nineteenth century industrialization and the development of a middle class consumer culture. It relies on many of the objects beloved by decorative arts scholars and collectors to evoke the vitality of village craft production and culture in the decades after the War of Independence. It grounds its broad narrative of cultural change in case studies of artisans, consumers, and specific artifacts. Each chapter opens with an "object lesson" and weaves an object-based analysis together with the richness of individual lives. The path that such craftspeople and consumers took was not inevitable; on the contrary, as the author, a historian demonstrates, it was strewn with alternative outcomes, such as decentralized production with specialized makers. The book offers a collective biography of the post-Revolutionary generation, gathering together the case studies of producers and consumers who embraced these changes, those who opposed them, or, most significantly, those who fashioned the myriad small changes that coalesced into a new Victorian cultural order that none of them had envisioned or entirely appreciated.
