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This study for a WPA mural, now lost but probably executed somewhere in Michigan (George Fisher was a longtime resident of Detroit), was donated to the Palmer Museum in the condition as it is seen here. The adhesive residue that surrounds—and at…

The great elm tree depicted here by George Lehman supposedly marked the location where William Penn negotiated a treaty in the early 1680s with Tamanend, chief of the Lenape clan that inhabited the area where Philadelphia was established. The tree…

This bucolic view of Bethlehem captures the still relatively small town just after the Lehigh Canal was constructed, though the canal is virtually impossible to detect from this vantage point. In the foreground, the group of three people converse on…

George Lehman, a talented landscape painter who was also trained in printmaking, came to this country from his native Switzerland in 1824. He produced lithographs and engravings as early as 1827 for the Philadelphia publisher Cephas G. Childs, and by…

Gerardo Belfiore’s Watts Street was transferred to the Palmer Museum in June 1994 from the College of Engineering, where it likely had been hanging in an office, exposed day in and day out to natural as well as artificial light, for nearly sixty…

The coloring of this engraving by Giorgio Ghisi represents a conundrum for the museum. The painting of prints—often by artists trained specifically for the purpose—became a common and perfectly acceptable practice as early as the fifteenth…

Located along the North Branch of the Susquehanna River, between Scranton and Wilkes-Barre, West Pittston (not surprisingly, due west of Pittston, just across the Susquehanna) lies at the heart of Wyoming Valley, a broad, crescent shaped lowland in…

In 1935, after a twelve-year association with Hervey White’s Maverick art colony in Woodstock, New York, Harry Gottlieb moved to New York City to work for the Graphic Arts Division of the WPA’s Federal Art Project. Three years later he was…

The complex burn pattern playing out across the margins of Martiniquaise indicates the etching was rematted on several occasions; unfortunately, in each instance with acidic materials. The paper itself is of fairly high quality, so normally we might…

Henry Wellge was another artist who, like Herman Brosius, worked a great deal in the Midwest and Canada, and often in association with the publisher Joseph Stoner. Starting in 1880, he drew about forty views for Stoner through 1884, when Stoner…