Currier ives dating prints
As such, this rare compilation bears painful, vivid testimony of the racial attitudes of white, middle class Americans during this time.
That the series was one of Currier & Ives' - "Printmakers to the People" - most popular speaks reams.
While most of the seventy-five prints in the series - Black Americans at the racetrack, playing football, baseball, as firemen, etc., are unsigned, enough are (and stylistically similar to unsigned) to reasonably conclude that Thomas Worth and John Cameron were the artists responsible for the designs to all plates here collected."Thomas Worth (1834-1917), a New York artist, took his first drawing at the age of twenty to Nathaniel Currier and was compensated five dollars...
This was the beginning of a long line of work which T. He is mostly credited for his Darktown Series which was one of the firm's most prolific and profitable series.
Portrayed as mentally slow, physically grotesque, and morally inept, African Americans became comical figures to the primarily white consumers of Currier and Ives prints.
True to the period's nativist overtones, the Darktown series was accompanied by similar prints lampooning Irish and Italian immigrants, as well as Roman Catholics.
Great Oyster Eating Match between the Dark Town Cormorant and the Blackville Buster.
27)."John Cameron (1829-1862), although he died at the early age of 33, contributed many great prints to the Currier & Ives firm.
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Scottish by birth, he emigrated to this country and while still a young adult he was quickly recognized for his artistic talents" (Ibid, p. Currier and Ives did not publish their lithographs in albums.
The prints were sold singly, through wholesalers and retailers, including pushcart vendors and door-to-door salesmen, that covered the entire nation down to each home; James Merrit Ives was a management and marketing genius.