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Show 151 The states listed in the following catalog are based upon examination of collections at the University of Utah, Joslyn Museum, and various other locations. Additional data have been included, based upon information provided by the Baltimore Museum of Art. I have not personally examined their collection of Bodmer prints; therefore, image changes have not been verified and additional states described are based solely upon inscription information. However, this information provides such insight into the description of the prints that I believe it must be included, even though any conclusions based upon this information must remain tentative until the collection is actually examined. 1. Methodology. Changes in inscription information were used as markers and it appears that image changes often accompanied changes in the inscription. It is likely that image changes also occurred without changes in inscription; some of these may have been missed. I began the documentation by examining the collection at the University of Utah; comparisons were possible because there are three impressions of each vignette and two of each tableau, as well as some duplicates. Image and inscription information were recorded and then compared with the collections at Joslyn Museum, where Maximilian's personal collection of the prints is housed. The combined information was then compared with other collections, both physically examined and only described, over the next few years. It is evident to me that there are many states-especially proof states-that have not yet been located. My designation of states for a particular print does not imply that no other states exist. In some cases, it was logic that determined which state preceeded that of another; adjustments must be made as further examinations are completed. I believe that the majority of the variations in the prints have been noted, especially since Joslyn Museum's collection is so extensive and varied. However, this collection was examined early in the investigation; a re-examination of the Joslyn collection, comparing it with subsequent information, would do much to clarify state information, omit possible errors, etc. 2. Inscription format at the top of each description is based upon the information that appears on the most complete state for each of the prints. Additional information regarding blind stamping of the prints and Bodmer's numbering system has been omitted. Bodmer used two different blind stamps, one approximately 1/2" wide, and another somewhat larger, to verify authenticity and that the number of prints produced not exceed the agreed number for the various editions. This stamp is a blind-embossed panel with the words "C. Bodmer Direct." However, this stamp was not consistently used. Many original aquatints do not have this stamp, so it cannot be used exclusively to determine a print's authencity. In some cases, Bodmer's method of numbering the prints can indicate earlier impressions. Vignettes were numbered in Roman numerals. For earlier tableaus he also used Roman numbers; this was soon changed to Arabic numerals, presumably at the time the English titles were included in the inscription information. Tracing these changes became too obscure, so the information |