53. Marks, Matthew S. “The Brooklyn Bridge: Symbol of American Progress.” Vol. 8, no. 1 (Spring 1983), 26-30.
Completed in 1883, the Brooklyn Bridge became both a potent symbol of American industrial power and a favorite subject of artists and printmakers. Lithographs, steel engravings, wood engravings, and etchings were made of the Bridge. Marks provides an interesting survey of images as well as historical background on the building of the Bridge and its importance as a symbol to the American people.
54. Martinez, Katharine. “John Sartain (1808-1897): His Contribution to American Printmaking.” Vol. 8, no. 1 (Spring 1983), 1-12.
Sartain was a prolific mezzotint engraver with over one thousand prints to his credit, as well as an entrepreneur. Martinez has uncovered a substantial amount about his early training in Great Britain, his work in Philadelphia, and his style and technique. Until the panic of 1837, Sartain could rely on private commissions, which were easily available. After 1837, Sartain turned to book publishers, finding his niche in literary annuals and gift books. He also produced many “framing prints,” several of which are reproduced and discussed. Martinez’s dissertation, The Life and Career of John Sartain was completed at The George Washington University in 1986.
55. Newman, Ewell L. “The Graphic Art of Henry F. Farny.” Vol. 8, no. 1 (Spring 1983), 13-25.
Held in high esteem by Theodore Roosevelt and Joseph Pennell, Farny specialized in depictions of the West. He was a frequent contributor to Harper’s Weekly, Century Magazine, Frank Leslie’s Illustrated Newspaper and others. He also illustrated for book publishers, posters, etc. Born in France in 1847, Farny’s family fled France in 1853, settling in western Pennsylvania. They moved to Cincinnati in 1859. He began working in a lithographic firm by 1865 and soon moved to New York where he worked for Harpers’ briefly. His enthusiasm for the West developed slowly but was well in place in 1884. His interpretations of the American Indians and the West were realistic. In the 1890s he turned from book and periodical illustration to painting.
56. Will, Maureen O’Brien. “The Graphics Collection of the Chicago Historical Society.” Vol. 8, no. 1 (Spring 1983), 31-36.
This article summarizes the high points and general topics covered by prints in the graphics collection. Not necessarily focused on Chicago scenes, the collection pertains to American history in a broad way. The collection of city views is noteworthy as is that of portraits. There are some one thousand Currier & Ives lithographs and a substantial collection of broadsides, as well as fine art posters.
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