Imbert

Barkai he-hadash (1900), and Barkai ha-shlishi
(1904). A collection of selected writings was
published under the title Mivhar kithve Naph-
tali Hers Imber (Tel Aviv, 1929). He trans-
lated into Hebrew Fitzgerald's Rubaiyat of
Omar Khayyam under the title Ha-kos (New
York, 1905). His writings in English include
two treatises, "Education and the Talmud" and
"The Alphabet of Rabbi Akiba," which appeared
in the Report of the United States commissioner
of education for the years 1894-95 and 1895-96.

[Biography in Mhhar kithve N. H. Imber (1929) ;
Jewish Encyc. (new ed., 1925), vol. VI; Jewish Com-
ment (Baltimore), Oct. 15, 1909; Hutchins Hapgood,
The Spirit of the Ghetto (1902); Rebekah Kohut, As
I Know Them (1929) ; W. Wininger, Grosse Jiidische
National Biographic, vol. Ill (1929); Georg Herlitz
and Bruno Kirschner, Judisches Lexikon, vol. Ill
(1929); N. Y. Times, Oct. 9, n, 1909.] j. 5.

IMBERT, ANTOINE (d. c. 1835), marine
artist, lithographer, was a native of Calais,
France. During the Napoleonic wars he be-
came an officer in the French navy and on Feb.
23, 1810, was serving as first lieutenant on the
Prince Eugene, a privateer, when that vessel
was captured off Dover by the British Royalist.
He was confined as a prisoner at Chatham for
more than four years, and during the tedium of
this captivity devoted himself to drawing and
painting. He was released May 20, 1814, and
came to New York about ten years later, perhaps
on the same ship that brought Lafayette in 1824,
At any rate the familiar "Landing of Gen. Laf-
ayette at Castle Garden, New York, i6th August
1824" (reproduced as PI. 94-b in Stokes, post,
vol. Ill) bears Imbert's name as the artist. It
was a drawing which "captured the popular
fancy and came to be reproduced on every imag-
inable object of use from Staffordshire plates
to Germantown handkerchiefs" (Keyes, post, p.
205). Imbert's name appears in the New York
Directory of 1825-26, as a "painter" at 146 Ful-
ton St. In the two years that followed he had a
"lithographic office" at 79 Murray St. This,
says Dunlap (post, III, 267, footnote), was "the
first lithographic establishment [in New York]
of which I have any knowledge" and was started
"amidst many difficulties." Although this early
work with the "grease crayon" was crude, Keyes
calls Imbert "a man of special mark, for he was
not only an artist but a publisher who contrib-
uted largely to the progress of lithography in
this country" (p. 204). It was Imbert who pro-
duced the lithographic drawings for Cadwallader
D. Colden's Memoir Prepared at the Request of
the Committee of the Common Council of the
City of New York and Presented to the Mayor
0f the City at the Celebration of the Completion

Imboden

of the New York Canals (1825), a copy of which
was sent by the city government "as a tribute of
respect to the. Sovereign and People of Bavaria,"
the birthplace of lithography (Minutes of the
Common Council, 1784-1831, 1917, XVI, 515).
The Alexander J. Davis "Views of Public Build-
ings, Edifices and Monuments. In the Principal
Cities of the United States, Correctly Drawn on
Stone" (1826-28) were "Printed and Published
by Imbert" and subscriptions to the same were
received at his office. The series was never fin-
ished, but Stokes (op. cit., A. PL 12-b, vol. Ill)
reproduces the view of the Branch Bank of the
United States on Wall Street and lists eleven
other New York views (III, 603-04). Frank
Weitenkampf (American Graphic Art, 1912,
182-86) mentions artists other than Davis who
drew for Imbert, including Robertson, Catlin,
Johnston, Balch, and the two Frenchmen, Du-
ponchel and Barincou. "A new Map of the
United States, with the additional Territories on
an improved Plan. Exhibiting a View of the
Rockey Mountains surveyed by a Company of
Winnebago Indians in 1828," from Imbert's es-
tablishment, "is perhaps one of the earliest ex-
amples of the entrance into caricature of the lith-
ographic art" (Ibid., p. 253). Imbert left a
widow who in 1838 was keeping a boy's cloth-
ing shop on Canal Street (Directory, 1838-39).
[See Admiralty Registers of Prisoners of War (MS.),
Public Records Office, London; I. N. P. Stokes, The
Iconography of Manhattan Island (6 vols., 1915-28) ;
Wm. Dunlap, A Hist, of the Rise and Progress of the
Arts of Design in the U. S. (rev. ed., 3 vols., 1918), ed.
by F. W. Bayley and C. E. Goodspeed; H. E. Keyes, in
Antiques, Oct. 1925; and the other works cited above.
The N. Y. Hist. Soc. has the A. J. Davis "Views," in-
cluding one of the original hrown wrappers.] A. E. P.

IMBODEN, JOHN DANIEL (Feb. 16,1823-
Aug. 15, 1895), Confederate soldier, promoter
of mining interests, was born on the Christian
farm in Augusta County, Va., near Staunton,
the son of George William and Isabella (Wun-
derlich) Imboden. His grandfather is said to
have served in the Revolution, and his father in
the War of 1812. He attended country school
until his sixteenth year and then went to old
Washington College for two terms, 1841-42. He
taught school, studied and practised law in Staun-
ton, represented his district twice in the state
legislature, and was a defeated candidate for a
seat in the convention which passed the ordi-
nance of secession. He organized the Staunton
Artillery, and later commanded it at the capture
of Harper's Ferry by the Confederate forces.
He took an important part in the battle of Manas-
sas, July 21, 1861, supporting Bee's brigade. In
1862, as a colonel under "Stonewall" Jackson,
he organized the ist Partisan Rangers, and par-

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