Category Archives: prints and drawings

prints and drawings

Pikoenelojo Stencil (Maurice Huenún)


In the fall of 2019, protests began in Chile’s capital, Santiago, in response to an increase in the subway fares, as well as general cost of living and social inequality. Demonstrations, vandalism, and riots appeared throughout the country, bringing over a million people into the streets to protest against President Piñera, demanding his resignation.

Beverly Karno of Howard Karno Books was in Chile when the protest movement began. She was able to personally collect graphic material and ephemera relating to the demonstrations, including a striking collection by the noted street artist, Pikoenelojo Stencil. His bold stencils merge audacious political statements with gender-bending images. It is fabulous and timely.

Six months, a revolution, a pandemic, international demonstrations, and a fragile mail system later, the material finally arrived at Firestone Library and was unpacked.


Back in October, the BBC reported “Protestas en Chile: ‘Estamos en guerra,’ la frase de Piñera que se le volvió en contra en medio de las fuertes manifestaciones.” Santiago was under a curfew but a message appeared a building in Plaza Italia that read: “No estamos en Guerra” [We are not at war].

“The phrase has gone viral on social networks and has become an icon of these protests that have taken to the streets of various cities in the South American country … some with violent protests (looting of supermarkets and burning of various public spaces), but also with peaceful demonstrations through saucepans. The [phrase] is directly related to the President of Chile, Sebastián Piñera, who, on Sunday night and after the 36 most violent hours that have occurred in Chile since the return to democracy, said:
“Estamos en guerra contra un enemigo poderoso, implacable, que no respeta a nada ni a nadie, que está dispuesto a usar la violencia y la delincuencia sin ningún límite”. =
“We are at war against a powerful, implacable enemy, who respects nothing and no one, who is willing to use violence and crime without limit.”

The huge print in the Graphic Arts Collection and below, one on a Chilean building.

 

 

Take a look at Pikoenelojo Stencil (Mauricio Huenún) at work:

https://www.perrerarte.cl/pikoenelojo-me-sorprendio-que-un-candidato-de-derecha-utilizara-mi-obra/

In 2016, the artist wrote: My name is Mauricio Huenún, I work in the art of the stencil, a branch of graffiti. In the street world I call myself Pikoenelojo Stencil, a stamp with which I stamp images on public walls referring to political, religious and social situations or events (pages and notes that account for my work can be found in the Google search engine). However, as an art form away from political contingency, I also paint walls -with the same stencil technique- but which are oriented to contents that relate to the original place of the wall to intervene.

http://stencilvegacentral.blogspot.com/2016/?m=0

 

Here are a few more images:

 

Locals pose with Pikoenelojo Stencil work found on buildings in Santiago

Woodblock printed wallpapers

For those not following the BlocksPlatesStones discussion on color woodblock printed wallpaper, a video was mentioned that is worth 10 minutes of your time this week:

Originally posted in 2014 by the Zuber & Cie factory in Rixheim (Alsace), France, the video takes you into their chateau, production stations, and basement storage where 150,000 woodblocks are housed. https://www.zuber.fr/en/video.

The company has been printing wallpapers since 1797, making it the oldest surviving wallpaper manufacturer in the world. The website notes,

“Apart from the well-know scenic wallpapers, the factory created a large collection of wallpaper designs or patterns such as friezes, borders, ceiling roses and architectural trompe l’oeil. They necessitated the engraving of tens of thousands woodblocks. Today, 80 to 90% of the production is still printed using the traditional techniques an and original woodblocks.

The first scenic wallpapers appeared in France in 1804. More were printed during the French [Restoration] and production slowly declined after the Second Empire. …Between 1804 and 1860, Jean Zuber and his successors produced 25 scenes. The secret behind their success was the participation of great artists who were able to combine their talent and the technical requirements of production to produce a real mural.”

An interesting comparison to the Zuber operation is this 1963 video presenting a British wallpaper shop in Greenford, Middlesex.

Below is a wonderful example of 3D layering of color pigment to produce embossed patterns and textures on various papers. Only a brief section is posted here:

Our Graphic Arts Collection holds two sheets of woodblock printed wallpaper from the 19th century, both attributed to Zuber & Cie, the French manufacture de papier peints et tissus (Manufacturer of Painted Wallpaper and Fabrics). Zuber & Cie continues to design and print landscapes and genre views from locations around the world, so it is not surprising to see these American scenes produced in France.

We are fortunate to have an eight-foot section of French wallpaper from the panorama entitled Les vues de l’Amérique du nord. The scene required 1,690 different woodblocks and 223 colors when it was designed and first printed in 1834. One set of the complete print can be found in Washington D.C., where it “became one of the most publicized of wallpapers during the 1960s when Jacqueline Kennedy had a set, which had been taken form the Stoner house in Thurmont, Maryland, [and] put up in the White House.” (Wallpaper in America by Catherine Lynn, Graphic Arts Collection GA NK3412. L9 1980)

On the second, smaller sheet in the Graphic Arts Collection, we believe the Bunker Hill monument and the Boston State House are visible indicating the view is from Charlestown, Massachusetts, looking across the Boston harbor.

Zuber & Cie [attributed to], [One section from “Les vues de l’Amérique du nord”], no date [1834]. 97 inches long. Woodblock printed wallpaper. Graphic Arts Collection GA 2012.01732. Gift of Stuart Feld, Class of 1957.
Zuber & Cie [attributed to], View of Boston Harbor and the Bunker Hill Monument from Charlestown, Massachusetts, no date. Woodblock printed wallpaper. Graphic Arts Collection GC023. Gift of Leonard L. Milberg, Class of 1953.

Famous Wood Engravings


In the spring of 1903, Harper and Brothers offered for sale a set of wood engravings that had been commissioned by the magazine, now repackaged in portfolios of limited edition art prints. First advertised in March as Famous Wood Engravings, it’s possible the stock of outdated prints was taking up too much space in the back rooms. Most portraits in the late-19th century were produced with a technique sometimes called “photoxylography,” which involved a photograph printed directly onto the woodblock and the carvers merely copying the print with a knife. While denounced by the fine art world, these life-like portraits caught the public’s attention until they, too, were replaced by actual photographs.

It’s unclear why the promotion stopped after the second month; whether the offer was so successful the sets were sold-out or so unsuccessful, the magazine gave up. The publisher announced:

“Interest in the portraits of the great men of America was never so acute as at present. No private library is complete without these inspiring faces, and to every public library, school, and college they are necessities. During the last fifty years the portraits of nearly all the men who impressed their personality upon their time and made the history of their generation and ours were engraved for Harper’s.

The art of engraving portraits on wood in this country was largely developed in the art department of Harper & Brothers. The quality of these large portraits has never been equalled. They are works of art by famous men like Staudenbar, Butler, Kruell, Goetze, Johnson, Baude, Wolf, etc.

Weeks and months were spent by the artist on one of these portraits; and in the direction and the quality of line for form, color, and modelling they may be said to fairly equal the best work ever done. The sympathetic quality of the medium used for the portraits lends itself to textures and delicate tones, and places them absolutely in the front rank of the art of engraving.

We have printed a very limited edition of eight of these portraits on the best heavy coated paper, with wide margins for framing or for a portfolio (size 12 x 17 inches). We have ready now for delivery the portraits of Ralph Waldo Emerson, Samuel L. Clemens (Mark Twain), James Russell Lowell, Henry Wadsworth Longfellow, Walt Whitman, William Dean Howells, John Greenleaf Whittier, and Oliver Wendell Holmes.

These portraits are sold only in sets of four (any four) for $1.00 a set, or the entire eight portraits will be sent, postpaid, on receipt of $2.00. Address HARPER & BROTHERS, Franklin Square, New York City.

 

 

By the early 20th century, photographic illustrations replaced drawn or carved portraits at Harper‘s and other magazines, such as this photograph of William Dean Howells.

Print Council of America

 

The Print Council of America (PCA) has enlarged its website with additional scholarly resources you might find helpful in teaching and for personal use. The pages are freely accessible to everyone.

PCA is an incorporated non-profit organization with elected membership, officers and a board of directors. Membership in the Council is achieved through a process of nomination by existing Council members and review/approval by the board of directors at their semi-annual meetings. These pages were written by volunteers within the organization, with our thanks.

 

We are a professional organization of print specialists with a current membership of over 270 individuals most of whom represent collections of works of art on paper throughout the United States and Canada. While the organization is comprised primarily of museum curators, it also includes university professors, conservators of works on paper, and independent scholars with a strong commitment to the study of prints. Princeton currently has three members.

 

Founded in 1956 by a small group of museum curators, scholars, artists, collectors, and dealers, PCA’s mission is to “foster the creation, dissemination, and appreciation of fine prints, old and new.” Led by the legendary print collector Lessing J. Rosenwald, founders and early members of the group included individuals well-known for the roles they played in establishing public collections, mounting ground-breaking exhibitions of prints, and publishing critical studies of prints and printmakers.

In its initial years the Print Council was devoted to raising the visibility of printmaking as a fine art medium, and it played a strong advocacy role in providing educational information about prints, in supporting artists, and in promoting the creation and enactment of legislation relating to fraudulent practices in the print marketplace. More recently Print Council has served as a professional organization for print curators and has been especially active in the publication of books and research aids intended to encourage and professionalize the preservation, administration, and study of print collections in the United States and Canada. Equally important, the Print Council now provides a forum for print curators and other specialists to meet, share ideas, debate issues, update each other on work in progress, and discuss and implement Council projects. For more than sixty years, the Print Council of America has provided an environment for good will and cooperation among professionals dealing with works of art on paper.

 

https://printcouncil.org/

Families at home together


In 1784, Thomas Rowlandson exhibited two watercolors at the Royal Academy, contrasting an Italian family with a French family, each dancing and playing music together in in their homes. Although the Italian family is poorly dressed, living in a bleak home lit only by one open window, they sing an operatic tune with great power and enjoyment. The harpsichord player doesn’t even have a table and chair but plays sitting on the floor. A mother sings while caring for the baby.

In an equally tattered room, the French family has pushed a bed against the wall to make room for dancing. Various pieces of elegant dress are worn over bare legs and torn sleeves. Even the dogs have been dressed up, while the hungry cat climbs into the cupboard looking for food,

Samuel Alken printed and hand colored reproductions of the two scenes, which were sold at his Soho shop as well as William Hinton’s printshop at Sweeting Alley in Cornhill. They must have been popular because in 1792, Samuel Fores had a second edition of the French Family published and sold from his shop, this time printed without aquatint.

 



[above] Samuel Alken (1756-1815), after a design by Thomas Rowlandson (1756-1827), An Italian family, 1785. Hand colored etching with aquatint. Graphic Arts Collection GA 2014.00798. Gift of Dickson Q. Brown, Class of 1895.
[below] Samuel Alken (1756-1815), after a design by Thomas Rowlandson (1756-1827), A French family, 1786. Hand colored etching with aquatint. Graphic Arts Collection GA 2014.00793. Gift of Dickson Q. Brown, Class of 1895.

Samuel Alken (1756-1815), after a design by Thomas Rowlandson (1756-1827), A French family, 1792. Hand colored etching. British Museum.

Need a Project, no. 11? Paper theaters identified

With enormous thanks to Alain Lecucq, actor, director, and paper theater historian writing from France, our two paper theaters have been identified: the prosceniums made in Vienna, Austria, at the beginning of the 20th century.

Theatre one in: Anna Feja Seitler and Heino Seitler, Papiertheater: die Sammlung Anna Feja Seitler und Heino Seitler, edited by Norbert Donhofer (Wien : F. Deuticke, 1992). Access: http://catalogue.bnf.fr/ark:/12148/cb356821235

Theatre two in: Katharina Siefert and Ingrid Wambsganz, Papiertheater: Die Bühne im Salon: Einblicke in den Sammlungsbestand des Germanischen Nationalmuseums: Begleitpublikation zur Ausstellung “Theaterdonner” im Germanischen Nationalmuseum, 19.12.2002-23.3.2003 (Nürnberg: Verl. des Germanischen Nationalmuseums, 2002). Access: http://swbplus.bsz-bw.de/bsz102833435inh.htm

See also:
Alain Lecucq, Le Théâtre de papier: des origines à nos jours (Epinal: Centre départemental de documentation pédagogique des Vosges, 1984).

UNIMA 2000: l’art mondial de la marionnette = The Worldwide Art of Puppetry, edited by Marek Waszkiel; Penny Francis; and Alain Lecucq ([Prague]: Union internationale de la marionnette, 2000).

http://www.papiertheatre.com/

Petite histoire du Théâtre de papier… Cette technique de manipulation de figurines plates dans une scénographie miniature naît, vrais emblablement, au début du XIX e siècle en Angleterre. C’est en 1811, qu’I.K.Green publie, à Londres, la première façade de théâtre à monter. Ces théâtres vont se composer de plusieurs éléments indispensables pour jouer un spectacle : une façade, souvent inspirée de théâtres existants, des décors et des coulisses, des personnages dans des positions variées et un texte, résumé souvent malhabile de celui d’origine. Ces feuilles seront mises en couleurs par l’imprimeur avec des techniques diérentes selon les pays – peinture à la main, au pochoir, lithographie…ou par l’acheteur lui-même. A la maison, l’heureux possesseur de ces feuilles les collera sur du carton puis les découpera, les assemblera, et présentera son spectacle à sa famille ou à ses amis.La taille de ces théâtres dépassera rarement les cinquante ou soixante centimètres. Outre l’Angleterre, on trouve des théâtres de papier en Autriche, en Allemagne, au Danemark, en Espagne, en Italie, en Moravie et en France

A little history of the Paper Theater … This technique of handling flat figurines in a miniature scenography was born, most probably, at the beginning of the 19th century in England. It was in 1811 that I. K. Green published the first theater facade to be erected in London. These theaters will consist of several elements essential to play a show: a facade, often inspired by existing theaters, sets and backstage, characters in various positions and a text, often clumsy summary of the original one. These sheets will be colored by the printer with different techniques depending on the country–hand painting, stenciling, lithography–or by the buyer himself. At home, the happy owner of these sheets will stick them on cardboard and then cut them, assemble them, and present his show to his family or friends. The size of these theaters will rarely exceed fifty or sixty centimeters. Besides England, there are paper theaters in Austria, Germany, Denmark, Spain, Italy, Moravia and France

Antoine Le Pautre

Robert Nanteuil (1623-1678), Antoine Le Pautre, architecte et ingenieur, 1652. Engraving. Graphic Arts Collection 2005.01080. Dumesnil no. 127. Gift of John Douglas Gordon, Class of 1905. Permanent Link: http://arks.princeton.edu/ark:/88435/r781wg115

 

Princeton University Library does not hold a copy of Antoine Le Pautre’s Desseins de plusieurs palais plans & éléuations en perspective géometrique, ensemble les profiles éleuez sur les plans, le tout dessiné et inventez par Anthoine le Pautre architecte, et ingenieur ordinaire des bastimens du Roy, first published in Paris, 1652 (=Drawings of several palaces, plans, and elevations in geometric perspective, together with the high profiles on the plans, all drawn and invented by Antoine Lepautre, architect and engineer of the King’s buildings).

A complete copy can be seen at: https://plume.epfl.ch/viewer/1452/?offset=#page=7&viewer=picture&o=info&n=0&q=

The Graphic Arts Collection does have a beautiful impression of the title page engraved by Robert Nanteuil (1623-1678), with a putti designer and architect on either side of the title frame. The print also appears in the later Les Œuvres d’architecture d’Anthoine Le Paultre, Architecte ordinaire du Roy (Paris: Lombert, 1653)

 

The younger brother of Jean Lepautre 1618-1682), Antoine grew up in a family of architects and designers. He was appointed architect of the king’s buildings in 1644 and in 1654 designed the Hôtel de Beauvais in Paris for Pierre de Beauvais, which is noted for “his ingenious irregular construction, with an original and interesting planimetric distribution, where no side of the building is parallel to the other.”

Here is a view of the courtyard, showing its unusual oval shape:

To distinguish the members of this prolific family, see Stéphane Loire, “Antoine Lepautre, Jacques Lepautre et Jean Lepautre,” in The Burlington Magazine 138, no. 1116 (1996): 198.

See also: Robert W. Berger, Antoine Le Pautre: A French Architect of the Era of Louis XIV. New York: New York University Press. OCLC 121942.

 

 

 

Checking the provenance of John Foster’s 1670 woodcut

Have you checked to bottom of your sewing basket recently for rare prints?

For many years, an impression of the first woodcut portrait printed in colonial America laid in the bottom of the work-basket of Sarah Catherine Mather (1840-1924) before it was discovered. The rare print was passed down to her nephew Frank Jewett Mather Jr. (1868-1953), former art history profession at Princeton University and a direct descendant of the subject of the print, Reverend Richard Mather (1596-1669). In 1957, the woodcut was given to the Princeton University Library, in memory of Frank Jewett Mather, Jr., by his wife, son, Frank Jewett Mather III, and daughter, Mrs. Louis A. Turner.

 

Sinclair Hamilton wrote,

“This cut is not only the first woodcut portrait produced in what is now the United States, it is also our first portrait print. Indeed, it is the first print of any significance to be made in this country, in any medium or of any kind, and may be said to mark the beginning of engraving, using that word broadly to embrace all types of cuts, in North America. … It is further reported by a good friend of his that, when the cut finally came into [Frank Mather’s] possession, he hung it near the front door so that, in case of fire, it would be the first object to be rescued, even before his Giorgione painting, which, a gift from him shortly before his death, now hangs in Princeton’s Art Museum”.

There are four other extant impressions from Foster’s woodblock. The first to be given to a public institution was presented in 1807 to the Massachusetts Historical Society by Arthur Maynard Walter, a descendant of Richard Mather.

William Bentley, another descendant of Mather, willed his copy of the print to the American Antiquarian Society, who acquired it in 1819. Green compared this copy with the one at the Massachusetts Historical Society, saying “A similar engraving, in which the two parts fit, is owned by the American Antiquarian Society at Worcester. Evidently this is a later impression from the same block, as the two parts fit; and furthermore, the left arm has been considerably pared off.”

According to Gillett Griffin in his 1959 article in PaGA, “The Harvard copy alone has a satisfactory seventeenth-century provenance. The handwriting of William Adams of Dedham, who died in 1685 and the fact that the print also belonged to his son, Eliphalet Adams of New London, who had it ‘bound in 1701-2’, provide the means of establishing its record.” This copy in the Houghton Library was not purchased individually but found, according to Samuel A. Green, “pre fixed to a copy of Increase Mather’s The Life and Death of That Reverend Man of God, Mr. Richard Mather, Cambridge, 1670, which in turn was bound up with a number of other pamphlets. Except for this one instance, nothing has been recorded which would indicate that the cut was originally intended for use as a frontispiece.” No date of the discovery is given.

In 1935 Tracy William McGregor (1869-1936) acquired the best collection in private hands of books and manuscripts written by or relating to the Mathers. Formed by William Gwinn Mather of Cleveland, Ohio, the collection numbered over 2,100 items, including John Foster’s woodcut of Richard Mather. Three years later, the trustees of the McGregor Fund donated the collection to the University of Virginia, beautifully housed today in the Tracy W. McGregor Library of American History.

Circle of Giorgione, Infant Paris Abandoned on Mount Ida, ca. 1510. Oil on wood panel. Gift of Frank Jewett Mather Jr., y1948-65

Reminder of digital graphic arts collections

Over the years a number of materials in the Graphic Arts Collection have been digitized. Some are connected to the online catalogue and some are not. Some are in the newer site DPUL and some in the older PUDL and some just online somewhere. Here is a list of the ones I can confirm, in case they are helpful to your research:

Antonio Martorell. Las Antillas Letradas https://dpul.princeton.edu/wa/catalog/nz8063470

Brother Jonathan Jubilee Pictorial newspapers http://pudl.princeton.edu/objects/9z903261b

Early Soviet Illustrated Sheet Music https://dpul.princeton.edu/catalog?f%5Breadonly_collections_ssim%5D%5B%5D=Early+Soviet+Illustrated+Sheet+Music&q=+Early+Soviet+Illustrated+Sheet+Music&search_field=all_fields

Franklin McMahon. Signing the Israeli/Egyptian Peace Accord, 17 September 1978 https://dpul.princeton.edu/wa/catalog/5138jj65g

Franz Freiherr von Wertheim’s Manuel de l’outillage des arts et métiers http://pudl.princeton.edu/objects/qr46r156v

Franz Hogenberg Engravings http://pudl.princeton.edu/collections/pudl0051

George Humphrey’s The Attorney-General’s Charges Against the Late Queen (50 caricatures) http://arks.princeton.edu/ark:/88435/dj52w599c

Gillett G. Griffin Japanese Woodblock Prints http://pudl.princeton.edu/collections/pudl0026

Giovanni Ottaviani after frescoes designed by Raphael. Loggie di Rafaele nel Vaticano https://dpul.princeton.edu/wa/catalog/5d86p388v

James Gillray Caricatures http://pudl.princeton.edu/collections/pudl0015

Jie zi yuan hua zhuan (Mustard Seed Garden Manual of Painting): http://arks.princeton.edu/ark:/88435/9z9031252
http://arks.princeton.edu/ark:/88435/kh04dr094
http://arks.princeton.edu/ark:/88435/fq977w17w

John Baptist Jackson Chiaroscuro Woodcuts http://pudl.princeton.edu/collections/pudl0031

Lorenzo Homar prints, drawings, and blocks http://pudl.princeton.edu/collections/pudl0033

Middle Eastern Film Posters http://pudl.princeton.edu/collections/pudl0100

Pathé Baby French silent movies https://library.princeton.edu/pathebaby/films

Photography album documenting the Morant Bay Rebellion in Jamaica (1865), the Indian Northwest Frontier Hazara Campaign (1867-1870), views of Malta, etc., 1860-1880 https://catalog.princeton.edu/catalog/5954033#view

Pencil of Nature by William Henry Fox Talbot https://catalog.princeton.edu/catalog/3696558#view

Princeton Print Club scrapbooks http://pudl.princeton.edu/objects/td96k526s

Richard Willats early photography album http://pudl.princeton.edu/objects/k930bx11x

Robert Nanteuil Engravings http://pudl.princeton.edu/collections/pudl0010

Sinclair Hamilton Collection of American Illustrated Books miniatures (1/4 done) https://dpul.princeton.edu/ga_treasures/catalog/v979v657w And other titles

Société Engelmann père et fils (3 vols. Chromolithography). http://pudl.princeton.edu/objects/3484zk471

Specimens of paper with different water marks, 1377-1840 http://pudl.princeton.edu/objects/k930bz393

Taller de Gráfica Popular http://pudl.princeton.edu/collections/pudl0012

Thomas Nast drawings and wood engravings http://pudl.princeton.edu/collections/pudl0039

Thomas Rowlandson prints and drawings http://pudl.princeton.edu/collections/pudl0130

Treasures of the Graphic Arts Collection  https://dpul.princeton.edu/ga_treasures

Versailles on Paper, Books and Engravings
http://pudl.princeton.edu/collections/pudl0083
http://pudl.princeton.edu/collections/versailles2
http://pudl.princeton.edu/collections/versailles3

Need a Project, no. 9? Money

Questions:
1. Whose portrait is hidden in the $20 note?
2. How many number 5’s are on the $5 note?
3. Which bill cannot be redesigned, thanks to a recurring provision in the annual Financial Services and General Government Appropriations Act?
4. Which denomination came first?
5. What happened to the Harriet Tubman $20?

https://www.uscurrency.gov/denominations/5

Since 1929, United States has attempted to standardize the design of its paper currency while still allowing denominations to have their own icons, portraits, and security features as well as a distinct character in colors, textures, and watermarks.

Did you know there are two sides to the Great Seal on the $1 note? One side, the reverse, features the pyramid and the floating eye, called the Eye of Providence. This design is located on the left of the banknote. The other side of the Great Seal features the bald eagle holding the olive branch and exactly 13 arrows. And there are thirteen vertical stripes on the shield and thirteen stars in the constellation above the eagle. President Franklin D. Roosevelt switched the placement of elements, so he is responsible for putting the unfinished pyramid (with 13 steps) on the left side of the banknote.

© =Federal law permits color illustrations of U.S. currency only under the following conditions:
The illustration is of a size less than three-fourths or more than one and one-half, in linear dimension, of each part of the item illustrated; the illustration is one-sided; and all negatives, plates, etc. are destroyed and/or deleted after their final use.

The phrase Novus ordo seclorum (= New order of the ages) is the second of two mottos that appear on the reverse of the Great Seal of the United States. The first motto is Annuit cœptis (= Providence favors our undertakings or Providence has favored our undertakings)

 



 


Answers:
No. 1: In 2003, the $20 note was redesigned to include an embedded security thread that glows green when illuminated by UV light. In addition, a portrait watermark of President Jackson is visible from both sides of the note. Finally, the note includes a color-shifting numeral 20 in the lower right corner of the note. An Alexander Hamilton portrait watermark is visible on the $10 note. The portrait of Lincoln was removed from the watermark of the $5 note.

No. 2: Not counting digits in the changing serial numbers, there are 10. Be sure to count the three 5’s watermarked in a vertical pattern on the left and one large 5 embedded in the paper on the right.

No. 3: The $1 note remains the same since the note was issued in 1963. “The United States government redesigns Federal Reserve notes primarily for security reasons: to stay ahead of counterfeiting threats and keep counterfeiting levels low. Because the $1 note is infrequently counterfeited, the government has no plans to redesign this note. In addition, there is a recurring provision in the annual Financial Services and General Government Appropriations Act that prohibits the redesign of the $1 note.”

No. 4: On June 25, 1776, the Continental Congress authorized issuance of the $2 denominations in “bills of credit” for the defense of America.

No. 5: All plans are on hold. Read the whole story here: https://www.thedailybeast.com/what-happened-to-the-plan-to-put-harriet-tubman-on-the-dollar20-bill

See also $100 note: https://graphicarts.princeton.edu/2013/10/08/100/