Post submitted by Russell Potter, a contributor to the development of the Arctic Visions exhibition and this microsite. He teaches at Rhode Island College, where he is editor of the Arctic Book Review. His books include Arctic Spectacles: The Frozen North in Visual Culture, 1818-1875 (2007), and most recently a novel, Pyg: The Memoirs of a Learned Pig (2011).
The distinctive scrapbook employed by William Bradford, and later by his family, to showcase newspaper clippings of his expeditions, paintings, and related topics, is marked by the three columns of dark amber glue, which look to have once been wetted in order to stick the clippings in. The unusual design — the glue apparently came prepared in dry form upon every page — identifies it as one of Mark Twain’s patent Scrap-Books, a system the famous author actually did invent himself, and one of the few of his many brain-storms (other than literary ones) that actually proved profitable.
On occasion, Twain received letters from the users of these scrap-books, some praising and some complaining of their adhesive qualities. Among the best was one which opened thusly:
“I am a plain minister of the gospel, and I wish to say, I never swore any more in my life than I have today. Certainly your Scrap Book with nothing but gummed lines is a very funny book – probably the funniest book you ever made, but, my dear Twain, why didn’t you tell folks not to moisten your gummed lines with their fingers. I got stuck to those gummed lines! Why didn’t you tell people how to handle the dangerous thing? I have a an engagement to lecture to-morrow night and, unless I break loose, I shall have to carry this product of your wicked brain with me to the very platform.”
Twain, keeping the jesting tone, wrote in reply “Sh! Don’t say a word — let others get “stuck” I’ll tell you privately to use a wet rag or brush–but let us leave the others to get into trouble with their fingers. Then they will abuse the Scrap Book everywhere, and straightway everybody will buy one to give to his enemy, and that will make a great sale for the Inventor, who will go to Europe and have a good time.”
Happily, William Bradford seemed to have no such difficulties with his scrap-book, and indeed his family continued to use it after his death — his obituary is there, neatly cut and pasted onto the pre-gummed bars of the backing.
In Arctic Regions, William Bradford chronicled his 1869 voyage to the Arctic along Greenland’s coast, & cites two books that initially inspired his exploration for art’s sake: Lord Dufferin’s Letters from High Places and Elisha Kent Kane’s Arctic Explorations in the years of 1853, ’54, ’55.
At least one other book would have caught Bradford’s attention and imagination: Rev. L. L. Noble’s After Icebergs with a Painter, published in 1861. Noble described his 1859 voyage searching for icebergs–for art’s sake–which he made with the great American landscape artist, Frederic E. Church. As Richard Kugler stated: “Although Bradford makes no mention of it, it is likely that he was…familiar with Louis Legrand Noble’s After Icebergs with a Painter…, an account of an 1859 trip made with Church, who provided illustrations for the volume. A copy of the book was also on board the schooner Benjamin S Wright during Bradford’s 1864 voyage to Labrador…”
Interestingly throughout After Icebergs…, Noble refers to Church only as “C_____”; but, as Kugler said: “many of its readers would have instantly recognized him as Frederic E. Church, whose enormous painting The Icebergs caused a sensation when put on view in New York in 1861.” It would seem likely, then, “that Bradford was inspired by…The Icebergs, which…was hailed by the New York Tribune as the ‘most splendid work of art that has yet been produced in this country.’ Bradford would surely have seen The Icebergs in late 1861 in New York, or at least in 1862, when it was exhibited in Boston.
We also know that Church was a friend of Dr. Isaac Israel Hayes, who accompanied Bradford on the 1869 voyage. Church had, in fact, given artistic counsel to Dr. Hayes, as Hayes desired to make sketches of scientific interest. In return, Hayes gave Church one of his sketches: “a scene that would become the basis for Church’s second Arctic painting, The Aurora Borealis (Smithsonian Museum of American Art).”
In Bradford’s scrapbook of news clippings, several articles refer to Church, often comparing his artistic work with Bradford’s.
“ARCTIC PICTURES,” written in London: kudos to Bradford, Church, Bierstadt…to personally observe natural phenomenons..”the sincerety and hardihood” of which “appeal to English feeling.”
Yet in another of Bradford’s scrapbooks–a very special piece of evidence of Bradford’s and Church’s connection with each other is Church’s signature: “Yours sincerely Frederic E Church.” (#A-288)
With the various connections between Bradford and Church, it seems fitting to share Church’s 1859 voyage with followers of Bradford and the Arctic Visions exhibit. As we are fortunate to have Bradford’s and Hayes’s accounts of their 1869 voyage, we are also fortunate to have Noble’s account of Church’s 1859 voyage in his After Icebergs with a Painter: again, for art’s sake.
So, to share with everyone the passion of Church’s voyage–which also inspired Bradford’s–William Bradford @WmBradford_NBWM will soon “tweet” to his followers passages of After Icebergs…! Please stay with us as the voyage continues….
 Frederic E. Church (May 4, 1826 – April 7, 1900) was a central figure in the Hudson River School of American landscape painters, http://www.metmuseum.org/toah/hd/chur/hd_chur.htm, by Kevin J. Avery.
 Richard C. Kugler: William Bradford–Sailing Ships & Arctic Seas,New Bedford, Mass.: New Bedford Whaling Museum, 2003, p84 n2
 D. A. Wasson, ‘Ice and Esquimaux,’ in Atlantic Monthly 7 (January 1865), 46.
 Kugler, William Bradford, Sailing Ships & Arctic Seas, p. 17
 Ibid, p84n2
 Ibid, p. 26
 The last four words of Church’s note to Bradford can be seen: “…at the Studio Building,” which may have referenced a studio building in NYC where both Bradford and Church had presences.
Joanne Seymour is a New Bedford Whaling Museum volunteer in its Research Library. As such, she has contributed to the Arctic Visions exhibit: in part, her contributions have included transcription of entries in the three Bradford scrapbooks, and “tweeting” as William Bradford from Arctic Regions and as Dr. Isaac Israel Hayes from his Land of Desolation.
William Bradford dedicated Arctic Regions to the memory of businessman and financier LeGrand Lockwood. Bradford stating that Lockwood was “widely known for his generous patronage of the arts and for his acts of unselfish benevolence.”
Lockwood was, as described by Steve Lubar in a talk delivered at the Lockwood-Mathews Mansion Museum, an enthusiastic adopter of the new technologies. Bradford’s use of photography to aid in his creative process, and in the end his painting, may have been influenced through his connection to Lockwood. Unfortunately for Bradford Lockwood’s financial support didn’t materialize, Bradford was left to cover the expenses from the 1869 voyage on his own less the amount contributed by other passengers. 
 Kugler, Richard C. William Bradford: Sailing Ships and Arctic Seas. New Bedford, Mass.: New Bedford Whaling Museum, 2003
Among the lesser-known signatures in the Bradford scrapbooks is that of Lucette E. Barker, an artist in her own right, whose connections with other London artists and writers were considerable. Her brother-in-law, Tom Taylor, was the editor of Punch, as well as (somewhat less fortunately) the playwright whose play, “Our American Cousin,” was being presented at Ford’s Theatre when Lincoln was assassinated. Lucette, though described in some sources as an “amateur” artist, achieved considerable success in her day; she provided the frontispiece for Mrs. Alfred Gatty’s popular The Fairy Godmothers (1851), and counted among her admirers Anthony Trollope, to whom she sent several of her drawings. She also regularly provided illustrations for George Bell’s annual Poetry of the Year series.
Another little-known signer was Rosa E. Beaufort, who was the sister of Emily A. Beaufort, at the time a well known “lady traveller” whose Egyptian Sepluchres and Syrian Shrines (London: 1874) was dedicated to Rosa, “who shared in every scene depicted in these pages, and with whose kind assistance they were written.” The book was handsomely printed, and included a full-color fold-out frontispiece, “Panorama of Tadmor” (shown above). The Beaufort sisters were the daughters of W. Morris Beaufort, an active member of the Royal Geographical Society, who also signed the scrapbook (but no relation, apparently, to Sir Francis Beaufort after whom the Beaufort Sea was named).
One last group of signers of the Bradford scrapbook, though their individual names may not be familiar today, played a significant role in African-American musical history. These were the Fisk Jubilee Singers, a group just founded in 1871 and embarked upon a European tour. Six of the group’s nine original members — Benjamin Holmes, Thomas Rutling, Minnie Tate, Jennie Jackson, and Ella Sheppard, along with their director George White, signed their names. Their singing, including a command performance before Queen Victoria, elicited universal praise. When the group departed on their return trip to America, one member — Rutling — decided to remain in England, where he continued to perform and teach music until his death in 1915. The Jubilee Singers have carried on through the generations, and in October of 2014 will mark their 144th year.
The cross-section of those who were drawn to Bradford’s studio is remarkable for its diversity; clearly men and women of every walk of life were fascinated by his Arctic canvasses, and as we continue to search for the stories behind the names, I have every expectation that there will be yet more surprises.