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Currier ives dating prints

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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.

How could anyone guess that beneath the gloss of high-steppin' uninhibited, de-light, inchoate rage, hopelessness, and grief stirred an abyss of centuries-old degradation? The Plates (w/Conningham #, date, and artist where signed): 1.

The Darktown Fire Brigade - Hook And Ladder Gymnastics. Nathaniel worked a series of odd jobs to support the family and, at fifteen, he started what became a lifelong career when he apprenticed in the Boston lithography shop of William and John Pendleton.Currier's early lithographs were issued under the name of Stodart & Currier, a result of the partnership that he created in 1834 with a local New York printmaker named Stodart.His parents Nathaniel and Hannah Currier were distant cousins who lived a humble and spartan life.Tragedy struck when Nathaniel was eight years old, when his father unexpectedly died, leaving Nathaniel and his eleven-year-old brother Lorenzo to provide for the family: six-year-old sister Elizabeth and two-year-old brother Charles, as well as their mother.Popular prints were made to satisfy popular demand; as such, this series bears a painfully vivid testament to the racial attitudes of white, middle-class Americans of the late nineteenth century" (Images of Blacks by Currier and Ives).