II - An American Portfolio

This section presents a group of fifteen prints dealing with American architecture. It begins with Herbert Sanborn's "Cathedral," a lithographic study of the soaring lines of the interior space of Washington's National Cathedral. It is followed by two prints of Pittsburgh, Ernest Wilson Boyer's rendering of the Westinghouse Memorial Bridge, and Earl Horter's portrayal of a steel mill's blast furnace stoves with their workers' houses clinging to an adjacent hillside.

The architecture of New York is the subject of the next three prints, beginning with Howard Cook's splendid aquatint, "Soaring New York," a panoramic view of the city's skyline in 1932. The second print is Frederick Mershimer's "Ascension," a 1993 color mezzotint of St. Bartholomew's Church in a sea of taxis against a backdrop of surrounding skyscrapers. The third is Chester B. Price's "Two Towers, Manhattan," a 1931 rendering of Trinity Church and a nearby skyscraper.
 

These are followed by Richard Florsheim's "Shoreline," a lithograph of architectural forms parading along Chicago's waterfront. Below this is Aline Fruhauf's "Georgetown House" of 1959, a Victorian landmark on R Street, N.W. not far from the University. To our left is Benson Bond Moore's "Georgetown University Over Key Bridge," and on our right, Reynold Weidenaar's "Connecticut Avenue Bridge" in Washington, D.C.
 

The next print is Charles Mielatz' 1899 etching of New York City's once proud and former landmark, "Naval Arch," the nation's tribute to its Navy and its Admiral Dewey at the end of the Spanish American War.
 

To our right is John Taylor Arms' etching of "Battle Wagon: USS Alabama," a feat of WW-II naval architecture of its day. Below it is Salvator Pinto's wood engraving entitled "Factory," a celebration of the clean lines of its industrial architects.
 

Then comes "Mount Vernon Place - Baltimore," a cooperative venture in etching by two artists: Andrew Karoly who contributed the park, its Washington Monument and surrounding buildings including the Walters Art Gallery on the left, and the Peabody Institute on the right; and Louis Szanto who added the seventeen pedestrians.
 

The last print is Syd Browne's "Along the Canal - Georgetown," a lithograph of 1943, with the University's towers rising serenely above the bustle.