https://heald.nga.gov/mediawiki/index.php?title=Frances_Palmer&feed=atom&action=historyFrances Palmer - Revision history2024-03-29T01:45:27ZRevision history for this page on the wikiMediaWiki 1.35.2https://heald.nga.gov/mediawiki/index.php?title=Frances_Palmer&diff=41959&oldid=prevM-westerby at 13:40, September 27, 20212021-09-27T13:40:50Z<p></p>
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</table>M-westerbyhttps://heald.nga.gov/mediawiki/index.php?title=Frances_Palmer&diff=41958&oldid=prevM-westerby at 13:40, September 27, 20212021-09-27T13:40:22Z<p></p>
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<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">|Alternate names=Fanny Palmer</ins></div></td></tr>
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<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">|Keywords=Cemetery/Burying ground/Burial ground; English style; Lake; Picturesque; Plot/Plat; View/Vista</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">|Other resources={{ExternalLink</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">|External link URL=http://id.loc.gov/authorities/names/nr95010133.html</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">|External link text=Library of Congress Authority File</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">}}</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">}}</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Frances (“Fanny”) Flora Bond Palmer''' (June 26, 1812–August 20, 1876) was one of the few women to work as a professional lithographer in the mid-nineteenth century United States. She created prints in the 1840s that illustrated several important botanical and architectural texts, including William H. Ranlett’s ''The Architect'' (1847). Palmer joined Nathaniel Currier’s lithography firm full-time around 1849 and became one of the company’s most prolific artists. </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>'''Frances (“Fanny”) Flora Bond Palmer''' (June 26, 1812–August 20, 1876) was one of the few women to work as a professional lithographer in the mid-nineteenth century United States. She created prints in the 1840s that illustrated several important botanical and architectural texts, including William H. Ranlett’s ''The Architect'' (1847). Palmer joined Nathaniel Currier’s lithography firm full-time around 1849 and became one of the company’s most prolific artists. </div></td></tr>
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<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del style="font-weight: bold; text-decoration: none;"></del></div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[http://lastingimpressions.winterthur.org/fannypalmer/ “Lasting Impressions: The Artists of Currier & Ives,” Winterthur Museum, Garden & Library]</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[http://lastingimpressions.winterthur.org/fannypalmer/ “Lasting Impressions: The Artists of Currier & Ives,” Winterthur Museum, Garden & Library]</div></td></tr>
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</table>M-westerbyhttps://heald.nga.gov/mediawiki/index.php?title=Frances_Palmer&diff=39698&oldid=prevV-Federici at 17:14, January 6, 20212021-01-06T17:14:21Z<p></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[File:2214.jpg|right|thumb|Fig. 6, F. & S. Palmer, “The American Flora. Vol. II“ (frontispiece), 1848, [print from 1855 edition].]]</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[File:2214.jpg|right|thumb|Fig. 6, F. & S. Palmer, “The American Flora. Vol. II“ (frontispiece), 1848, [print from 1855 edition].]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The Palmers lithographed many of the illustrations for Asa B. Strong’s ''American Flora, or History of Plants and Wildflowers'' (1848), a popular four-volume encyclopedia that advertised itself on the title page as “a book of reference for botanists, physicians, florists, gardeners, students, etc.”<ref>A. B. Strong, ''The American Flora, or History of Plants and Wild Flowers'' (New York: Green & Strong, 1848), [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/4H6QA64Q view on Zotero]. Other lithographs were completed by several different lithographers, including W. M. Moody, E. Whitefield, and F. Michelin. See Rubinstein 2018, 272, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref> Frances Palmer’s lithographs include the frontispiece for the second volume [Fig. 6], sixteen lithographs of Strong’s original botanical drawings that appear in the second and third volumes, including the ''Caper Bush'' [Fig. 7], and a portrait of the Swedish botanist Carl Linnaeus (1707–1778) that appears in the third volume.<ref>For a full list of the lithographs in Strong’s encyclopedia that were executed by the Palmers, see Rubinstein 2018, 272–74, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The Palmers lithographed many of the illustrations for Asa B. Strong’s ''American Flora, or History of Plants and Wildflowers'' (1848), a popular four-volume encyclopedia that advertised itself on the title page as “a book of reference for botanists, physicians, florists, gardeners, students, etc.”<ref>A. B. Strong, ''The American Flora, or History of Plants and Wild Flowers'' (New York: Green & Strong, 1848), [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/4H6QA64Q view on Zotero]. Other lithographs were completed by several different lithographers, including W. M. Moody, E. Whitefield, and F. Michelin. See Rubinstein 2018, 272, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref> Frances Palmer’s lithographs include the frontispiece for the second volume [Fig. 6], sixteen lithographs of Strong’s original botanical drawings that appear in the second and third volumes, including the ''Caper Bush'' [Fig. 7], and a portrait of the Swedish botanist Carl Linnaeus (1707–1778) that appears in the third volume.<ref>For a full list of the lithographs in Strong’s encyclopedia that were executed by the Palmers, see Rubinstein 2018, 272–74, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref></div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:2215.jpg|right|thumb|Fig. 7, F. & S. Palmer, Caper Bush (Plate 42), “The American Flora. Vol. II“, 1848 [print from 1855 edition]. <del class="diffchange diffchange-inline"> RB 315449 v. 2, The Huntington Library, San Marino, California.]]</del></div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:2215.jpg|right|thumb|Fig. 7, F. & S. Palmer, Caper Bush (Plate 42), “The American Flora. Vol. II“, 1848 [print from 1855 edition<ins class="diffchange diffchange-inline">]</ins>].</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[File:2216.jpg|left|thumb|Fig. 8, F. (Fanny) Palmer (artist) and Nathaniel Currier (lithographer and publisher), ''View of New York from Weehawken—North River'', 1849.]]</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[File:2216.jpg|left|thumb|Fig. 8, F. (Fanny) Palmer (artist) and Nathaniel Currier (lithographer and publisher), ''View of New York from Weehawken—North River'', 1849.]]</div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Image:2214.jpg|F. & S. Palmer, “The American Flora. Vol. II“ (frontispiece), 1848, [print from 1855 edition].</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Image:2214.jpg|F. & S. Palmer, “The American Flora. Vol. II“ (frontispiece), 1848, [print from 1855 edition].</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Image:2215.jpg|F. & S. Palmer, Caper Bush (Plate 42), “The American Flora. Vol. II“, 1848 [print from 1855 edition]<del class="diffchange diffchange-inline">. RB 315449, vol. 2</del>.</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Image:2215.jpg|F. & S. Palmer, Caper Bush (Plate 42), “The American Flora. Vol. II“, 1848 [print from 1855 edition].</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Image:0774.jpg|Frances, Palmer, Ground [[Plot/Plat|plots]] for proposed houses near Clifton, Staten Island, in William H. Ranlett, ''The Architect'' (1849), vol. 1, pl. 18.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Image:0774.jpg|Frances, Palmer, Ground [[Plot/Plat|plots]] for proposed houses near Clifton, Staten Island, in William H. Ranlett, ''The Architect'' (1849), vol. 1, pl. 18.</div></td></tr>
</table>V-Federicihttps://heald.nga.gov/mediawiki/index.php?title=Frances_Palmer&diff=39697&oldid=prevV-Federici: /* Images */2021-01-06T17:12:33Z<p><span dir="auto"><span class="autocomment">Images</span></span></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 17:12, January 6, 2021</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l55" >Line 55:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Image:2208.jpg|E. Jones, F. [Fanny] Palmer, and E. Palmer (lithographers), [[Alexander Jackson Davis]] (architect), ''Suburban Gothic Villa, Murray Hill, N.Y. City. Residence of W. C. Waddell'', n.d.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Image:2208.jpg|E. Jones, F. [Fanny] Palmer, and E. Palmer (lithographers), [[Alexander Jackson Davis]] (architect), ''Suburban Gothic Villa, Murray Hill, N.Y. City. Residence of W. C. Waddell'', n.d.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Image:2212.jpg|Frances Flora Bond Palmer, ''Old Entrance to Greenwood [[Cemetery/Burying ground/Burial ground|Cemetery]]'', in: ''The New York Drawing Book, Containing a Series of Original Designs and Sketches of American Scenery'', No. 1, 1847<del class="diffchange diffchange-inline">. Courtesy of the American Antiquarian Society</del>.</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Image:2212.jpg|Frances Flora Bond Palmer, ''Old Entrance to Greenwood [[Cemetery/Burying ground/Burial ground|Cemetery]]'', in: ''The New York Drawing Book, Containing a Series of Original Designs and Sketches of American Scenery'', No. 1, 1847.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Image:2213.jpg|Frances Flora Bond Palmer, ''Sylvan [[Lake]], Greenwood [[Cemetery/Burying ground/Burial ground|Cemetery]]'', in: ''The New York Drawing Book, Containing a Series of Original Designs and Sketches of American Scenery'', No. 2, 1847<del class="diffchange diffchange-inline">, Metropolitan Museum of Art. Harris Brisbane Dick Fund, 1954</del>.</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Image:2213.jpg|Frances Flora Bond Palmer, ''Sylvan [[Lake]], Greenwood [[Cemetery/Burying ground/Burial ground|Cemetery]]'', in: ''The New York Drawing Book, Containing a Series of Original Designs and Sketches of American Scenery'', No. 2, 1847.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Image:2214.jpg|F. & S. Palmer, “The American Flora. Vol. II“ (frontispiece), 1848, [print from 1855 edition]<del class="diffchange diffchange-inline">, Biodiversity Heritage Library</del>.</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Image:2214.jpg|F. & S. Palmer, “The American Flora. Vol. II“ (frontispiece), 1848, [print from 1855 edition].</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Image:2215.jpg|F. & S. Palmer, Caper Bush (Plate 42), “The American Flora. Vol. II“, 1848 [print from 1855 edition]. RB 315449 <del class="diffchange diffchange-inline">v</del>. 2<del class="diffchange diffchange-inline">, The Huntington Library, San Marino, California</del>.</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Image:2215.jpg|F. & S. Palmer, Caper Bush (Plate 42), “The American Flora. Vol. II“, 1848 [print from 1855 edition]. RB 315449<ins class="diffchange diffchange-inline">, vol</ins>. 2.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Image:0774.jpg|Frances, Palmer, Ground [[Plot/Plat|plots]] for proposed houses near Clifton, Staten Island, in William H. Ranlett, ''The Architect'' (1849), vol 1, pl. 18<del class="diffchange diffchange-inline">. Library of Congress, Washington, D.C</del>.</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Image:0774.jpg|Frances, Palmer, Ground [[Plot/Plat|plots]] for proposed houses near Clifton, Staten Island, in William H. Ranlett, ''The Architect'' (1849), vol<ins class="diffchange diffchange-inline">. </ins>1, pl. 18.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Image:0921.jpg|Frances Palmer, “[[English_style|English]] Cottage Style,” in William H. Ranlett, ''The Architect'' (1849), vol. 1, pl. 27, design VIII<del class="diffchange diffchange-inline">. Library of Congress, Washington, D.C</del>. </div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Image:0921.jpg|Frances Palmer, “[[English_style|English]] Cottage Style,” in William H. Ranlett, ''The Architect'' (1849), vol. 1, pl. 27, design VIII.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Image:2216.jpg|F. (Fanny) Palmer (artist) and Nathaniel Currier (lithographer and publisher), ''[[View]] of New York from Weehawken—North River'', 1849<del class="diffchange diffchange-inline">, Miriam and Ira D. Wallach Division of Art, Prints, and Photographs: Print Collection, the New York Public Library, https://digitalcollections.nypl.org/items/5e66b3e8-de04-d471-e040-e00a180654d7</del>. </div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Image:2216.jpg|F. (Fanny) Palmer (artist) and Nathaniel Currier (lithographer and publisher), ''[[View]] of New York from Weehawken—North River'', 1849.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Image:0790.jpg|Frances Palmer, "Design for a Vinery & Green House," in William H. Ranlett, ''The Architect'' (1851), vol. 2, pl. 43<del class="diffchange diffchange-inline">. Library of Congress, Washington, D.C</del>.</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Image:0790.jpg|Frances Palmer, "Design for a Vinery & Green House," in William H. Ranlett, ''The Architect'' (1851), vol. 2, pl. 43.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Image:2217.jpg|Mrs. Frances Flora (Bond) Palmer, 185-?. Harriet Endicott Waite research material concerning Currier & Ives, 1923-1956<del class="diffchange diffchange-inline">. Archives of American Art, Smithsonian Institution</del>.</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Image:2217.jpg|Mrs. Frances Flora (Bond) Palmer, 185-?. Harriet Endicott Waite research material concerning Currier & Ives, 1923-1956.</div></td></tr>
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</table>V-Federicihttps://heald.nga.gov/mediawiki/index.php?title=Frances_Palmer&diff=39611&oldid=prevV-Federici: /* Images */2020-12-17T14:14:34Z<p><span dir="auto"><span class="autocomment">Images</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Image:2208.jpg|E. Jones, F. [Fanny] Palmer, and E. Palmer (lithographers), [[Alexander Jackson Davis]] (architect), ''Suburban Gothic Villa, Murray Hill, N.Y. City. Residence of W. C. Waddell<del class="diffchange diffchange-inline">, Esq. 5th [[Avenue]], Between 37 & 38th Street. Below, Plans of First and Second Floors</del>'', n.d.</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Image:2208.jpg|E. Jones, F. [Fanny] Palmer, and E. Palmer (lithographers), [[Alexander Jackson Davis]] (architect), ''Suburban Gothic Villa, Murray Hill, N.Y. City. Residence of W. C. Waddell'', n.d.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Image:2212.jpg|Frances Flora Bond Palmer, ''Old Entrance to Greenwood [[Cemetery/Burying ground/Burial ground|Cemetery]]'', in: ''The New York Drawing Book, Containing a Series of Original Designs and Sketches of American Scenery'', No. 1, 1847. Courtesy of the American Antiquarian Society.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Image:2212.jpg|Frances Flora Bond Palmer, ''Old Entrance to Greenwood [[Cemetery/Burying ground/Burial ground|Cemetery]]'', in: ''The New York Drawing Book, Containing a Series of Original Designs and Sketches of American Scenery'', No. 1, 1847. Courtesy of the American Antiquarian Society.</div></td></tr>
</table>V-Federicihttps://heald.nga.gov/mediawiki/index.php?title=Frances_Palmer&diff=39601&oldid=prevV-Federici at 13:50, December 17, 20202020-12-17T13:50:04Z<p></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Image:2215.jpg|F. & S. Palmer, Caper Bush (Plate 42), “The American Flora. Vol. II“, 1848 [print from 1855 edition]. RB 315449 v. 2, The Huntington Library, San Marino, California.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Image:2215.jpg|F. & S. Palmer, Caper Bush (Plate 42), “The American Flora. Vol. II“, 1848 [print from 1855 edition]. RB 315449 v. 2, The Huntington Library, San Marino, California.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Image:0774.jpg|Ground [[Plot/Plat|plots]] for proposed houses near Clifton, Staten Island, in William H. Ranlett, ''The Architect'' (1849), vol 1, pl. 18. Library of Congress, Washington, D.C.</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Image:0774.jpg|<ins class="diffchange diffchange-inline">Frances, Palmer, </ins>Ground [[Plot/Plat|plots]] for proposed houses near Clifton, Staten Island, in William H. Ranlett, ''The Architect'' (1849), vol 1, pl. 18. Library of Congress, Washington, D.C.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Image:0921.jpg|Frances Palmer, “[[English_style|English]] Cottage Style,” in William H. Ranlett, ''The Architect'' (1849), vol. 1, pl. 27, design VIII. Library of Congress, Washington, D.C. </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Image:0921.jpg|Frances Palmer, “[[English_style|English]] Cottage Style,” in William H. Ranlett, ''The Architect'' (1849), vol. 1, pl. 27, design VIII. Library of Congress, Washington, D.C. </div></td></tr>
</table>V-Federicihttps://heald.nga.gov/mediawiki/index.php?title=Frances_Palmer&diff=38760&oldid=prevV-Federici at 09:07, August 6, 20202020-08-06T09:07:38Z<p></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>*<div id="Leicester"></div>Review of Frances Palmer’s and Edmund Palmer’s lithographs, July 1, 1842, published in the ''Leicester Journal'' (quoted in Rubinstein 2018: 16)<ref name="Rubinstein_2018"></ref></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>*<div id="Leicester"></div>Review of Frances Palmer’s and Edmund Palmer’s lithographs, July 1, 1842, published in the ''Leicester Journal'' (quoted in Rubinstein 2018: 16)<ref name="Rubinstein_2018"></ref></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>:“SKETCHES IN LEICESTERSHIRE—We take the earliest opportunity of recommending this very promising work, the first number of which has just appeared to the notice of our readers. The [[view]]s. . . ''The Hanging Rock; St. Mary’s Church, Leicester, from the S.W.''; and that most [[picturesque]] and interesting of all the heights included in this extensive range of the Charnwood, Beacon Hill. Each is managed with great artistic effect; and the manner in which the lithographer has fulfilled his [''sic''] task is deserving of every commendation<del class="diffchange diffchange-inline">. </del>. . . The [[view]] of Beacon Hill is in Mrs. Palmer’s most tasteful and successful style, and is distinguished by a boldness and freedom not often exhibited by a female pencil<del class="diffchange diffchange-inline">. </del>. . . The tint delicately thrown upon the sky moreover, (apparently a soft and tranquil autumnal heaven,) is the very finish required as a contrast to the stern features of the rugged landscape which frowns beneath it<del class="diffchange diffchange-inline">. </del>. . . We cordially recommend Mrs. Palmer’s work to the notice, not only of all attached to our local scenery, but of all interested (as who in these days is not!) in the general progress and advancement of the graphic art.” [[#Leicester_cite|back up to History]]</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>:“SKETCHES IN LEICESTERSHIRE—We take the earliest opportunity of recommending this very promising work, the first number of which has just appeared to the notice of our readers. The [[view]]s. . . ''The Hanging Rock; St. Mary’s Church, Leicester, from the S.W.''; and that most [[picturesque]] and interesting of all the heights included in this extensive range of the Charnwood, Beacon Hill. Each is managed with great artistic effect; and the manner in which the lithographer has fulfilled his [''sic''] task is deserving of every commendation. . . The [[view]] of Beacon Hill is in Mrs. Palmer’s most tasteful and successful style, and is distinguished by a boldness and freedom not often exhibited by a female pencil. . . The tint delicately thrown upon the sky moreover, (apparently a soft and tranquil autumnal heaven,) is the very finish required as a contrast to the stern features of the rugged landscape which frowns beneath it. . . We cordially recommend Mrs. Palmer’s work to the notice, not only of all attached to our local scenery, but of all interested (as who in these days is not!) in the general progress and advancement of the graphic art.” [[#Leicester_cite|back up to History]]</div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>*<div id="Ranlett"></div>Ranlett, William H., describing Frances Palmer’s work (Ranlett 1847 1:1)<ref>William H. Ranlett, ''The Architect: A Series of Original Designs, for Domestic and Ornametnal Cottages and Villas, Connected with Landscape Gardening, Adapted to the United States…'' (New York: Dewitt & Davenport, 1847), [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/K98PVCSJ view on Zotero].</ref></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>*<div id="Ranlett"></div>Ranlett, William H., describing Frances Palmer’s work (Ranlett 1847 1:1)<ref>William H. Ranlett, ''The Architect: A Series of Original Designs, for Domestic and Ornametnal Cottages and Villas, Connected with Landscape Gardening, Adapted to the United States…'' (New York: Dewitt & Davenport, 1847), [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/K98PVCSJ view on Zotero].</ref></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>:“The volume contains 60 plates—19 of them tinted in a style of lithography which will commend itself to every judge of art. The most difficult of them being executed on the stones by Mrs. F. PALMER, who stands at the head of the art<del class="diffchange diffchange-inline">. </del>. . . The plates are from the well-known lithographic press-room of Messrs. PALMER.” [[#Ranlett_cite|back up to History]]</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>:“The volume contains 60 plates—19 of them tinted in a style of lithography which will commend itself to every judge of art. The most difficult of them being executed on the stones by Mrs. F. PALMER, who stands at the head of the art. . . The plates are from the well-known lithographic press-room of Messrs. PALMER.” [[#Ranlett_cite|back up to History]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>*<div id="Penny"></div>Penny, Virginia, describing Frances Palmer’s career and working process (Penny 1863: 69)<ref>Virginia Penny, ''The Employments of Women: A Cyclopaedia of Woman’s Work'' (Boston: Walker, Wise, & Company, 1863), [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/ZWTA35IG view on Zotero].</ref></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>*<div id="Penny"></div>Penny, Virginia, describing Frances Palmer’s career and working process (Penny 1863: 69)<ref>Virginia Penny, ''The Employments of Women: A Cyclopaedia of Woman’s Work'' (Boston: Walker, Wise, & Company, 1863), [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/ZWTA35IG view on Zotero].</ref></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>:“Mrs. P., Brooklyn, an English lady, learned to draw when eight years old, and studied lithography with a distinguished artist of London, who executed entirely with his left hand, having lost three fingers on his right when he was a child. She has spent twenty-two years in lithographing—seventeen of them in this county. She is probably the only lady professionally engaged in this business in the United States. She has earned almost constantly, I was told, from $12 to $30 a week<del class="diffchange diffchange-inline">. </del>. . . Mrs. P. excels in architectural drawing. She thinks one must have the talent of an artist, and great practice with the pencil, to succeed. She has given instruction to several youths, but never to one of her own sex. One must be articled, and pass through a regular course of advancement, to follow it advantageously. To an apprentice, after two or three years’ practice, a small premium is paid. She had one youth to learn of her, who, after four years’ time, received $7 a week from her for his work. She thinks there will be employment to a few well qualified. She has always kept busy.” [[#Penny_cite|back up to History]]</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>:“Mrs. P., Brooklyn, an English lady, learned to draw when eight years old, and studied lithography with a distinguished artist of London, who executed entirely with his left hand, having lost three fingers on his right when he was a child. She has spent twenty-two years in lithographing—seventeen of them in this county. She is probably the only lady professionally engaged in this business in the United States. She has earned almost constantly, I was told, from $12 to $30 a week. . . Mrs. P. excels in architectural drawing. She thinks one must have the talent of an artist, and great practice with the pencil, to succeed. She has given instruction to several youths, but never to one of her own sex. One must be articled, and pass through a regular course of advancement, to follow it advantageously. To an apprentice, after two or three years’ practice, a small premium is paid. She had one youth to learn of her, who, after four years’ time, received $7 a week from her for his work. She thinks there will be employment to a few well qualified. She has always kept busy.” [[#Penny_cite|back up to History]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><hr></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><hr></div></td></tr>
<tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l53" >Line 53:</td>
<td colspan="2" class="diff-lineno">Line 53:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><gallery widths="170px" heights="170px" perrow="7"></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div><gallery widths="170px" heights="170px" perrow="7"></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Image:2208.jpg|E. Jones, F. [Fanny] Palmer, and E. Palmer (lithographers), [[Alexander Jackson Davis]] (architect), ''Suburban Gothic Villa, Murray Hill, N.Y. City. Residence of W. C. Waddell, Esq. 5th Avenue, Between 37 & 38th Street. Below, Plans of First and Second Floors'', n.d.</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Image:2208.jpg|E. Jones, F. [Fanny] Palmer, and E. Palmer (lithographers), [[Alexander Jackson Davis]] (architect), ''Suburban Gothic Villa, Murray Hill, N.Y. City. Residence of W. C. Waddell, Esq. 5th <ins class="diffchange diffchange-inline">[[</ins>Avenue<ins class="diffchange diffchange-inline">]]</ins>, Between 37 & 38th Street. Below, Plans of First and Second Floors'', n.d.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Image:2212.jpg|Frances Flora Bond Palmer, ''Old Entrance to Greenwood Cemetery'', in: ''The New York Drawing Book, Containing a Series of Original Designs and Sketches of American Scenery'', No. 1, 1847. Courtesy of the American Antiquarian Society.</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Image:2212.jpg|Frances Flora Bond Palmer, ''Old Entrance to Greenwood <ins class="diffchange diffchange-inline">[[</ins>Cemetery<ins class="diffchange diffchange-inline">/Burying ground/Burial ground|Cemetery]]</ins>'', in: ''The New York Drawing Book, Containing a Series of Original Designs and Sketches of American Scenery'', No. 1, 1847. Courtesy of the American Antiquarian Society.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Image:2213.jpg|Frances Flora Bond Palmer, ''Sylvan Lake, Greenwood Cemetery'', in: ''The New York Drawing Book, Containing a Series of Original Designs and Sketches of American Scenery'', No. 2, 1847, Metropolitan Museum of Art. Harris Brisbane Dick Fund, 1954.</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Image:2213.jpg|Frances Flora Bond Palmer, ''Sylvan <ins class="diffchange diffchange-inline">[[</ins>Lake<ins class="diffchange diffchange-inline">]]</ins>, Greenwood <ins class="diffchange diffchange-inline">[[</ins>Cemetery<ins class="diffchange diffchange-inline">/Burying ground/Burial ground|Cemetery]]</ins>'', in: ''The New York Drawing Book, Containing a Series of Original Designs and Sketches of American Scenery'', No. 2, 1847, Metropolitan Museum of Art. Harris Brisbane Dick Fund, 1954.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Image:2214.jpg|F. & S. Palmer, “The American Flora. Vol. II“ (frontispiece), 1848, [print from 1855 edition], Biodiversity Heritage Library.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Image:2214.jpg|F. & S. Palmer, “The American Flora. Vol. II“ (frontispiece), 1848, [print from 1855 edition], Biodiversity Heritage Library.</div></td></tr>
<tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l63" >Line 63:</td>
<td colspan="2" class="diff-lineno">Line 63:</td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Image:2215.jpg|F. & S. Palmer, Caper Bush (Plate 42), “The American Flora. Vol. II“, 1848 [print from 1855 edition]. RB 315449 v. 2, The Huntington Library, San Marino, California.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Image:2215.jpg|F. & S. Palmer, Caper Bush (Plate 42), “The American Flora. Vol. II“, 1848 [print from 1855 edition]. RB 315449 v. 2, The Huntington Library, San Marino, California.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Image:0774.jpg|Ground plots for proposed houses near Clifton, Staten Island, in William H. Ranlett, ''The Architect'' (1849), vol 1, pl. 18. Library of Congress, Washington, D.C.</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Image:0774.jpg|Ground <ins class="diffchange diffchange-inline">[[Plot/Plat|</ins>plots<ins class="diffchange diffchange-inline">]] </ins>for proposed houses near Clifton, Staten Island, in William H. Ranlett, ''The Architect'' (1849), vol 1, pl. 18. Library of Congress, Washington, D.C.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Image:0921.jpg|Frances Palmer, <del class="diffchange diffchange-inline">“English </del>Cottage Style,” in William H. Ranlett, ''The Architect'' (1849), vol. 1, pl. 27, design VIII. Library of Congress, Washington, D.C. </div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Image:0921.jpg|Frances Palmer, <ins class="diffchange diffchange-inline">“[[English_style|English]] </ins>Cottage Style,” in William H. Ranlett, ''The Architect'' (1849), vol. 1, pl. 27, design VIII. Library of Congress, Washington, D.C. </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>Image:2216.jpg|F. (Fanny) Palmer (artist) and Nathaniel Currier (lithographer and publisher), ''View of New York from Weehawken—North River'', 1849, Miriam and Ira D. Wallach Division of Art, Prints, and Photographs: Print Collection, the New York Public Library, https://digitalcollections.nypl.org/items/5e66b3e8-de04-d471-e040-e00a180654d7. </div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>Image:2216.jpg|F. (Fanny) Palmer (artist) and Nathaniel Currier (lithographer and publisher), ''<ins class="diffchange diffchange-inline">[[</ins>View<ins class="diffchange diffchange-inline">]] </ins>of New York from Weehawken—North River'', 1849, Miriam and Ira D. Wallach Division of Art, Prints, and Photographs: Print Collection, the New York Public Library, https://digitalcollections.nypl.org/items/5e66b3e8-de04-d471-e040-e00a180654d7. </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Image:0790.jpg|Frances Palmer, "Design for a Vinery & Green House," in William H. Ranlett, ''The Architect'' (1851), vol. 2, pl. 43. Library of Congress, Washington, D.C.</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Image:0790.jpg|Frances Palmer, "Design for a Vinery & Green House," in William H. Ranlett, ''The Architect'' (1851), vol. 2, pl. 43. Library of Congress, Washington, D.C.</div></td></tr>
</table>V-Federicihttps://heald.nga.gov/mediawiki/index.php?title=Frances_Palmer&diff=36870&oldid=prevA-Whitlock at 14:21, January 6, 20202020-01-06T14:21:01Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 14:21, January 6, 2020</td>
</tr><tr><td colspan="2" class="diff-lineno" id="mw-diff-left-l15" >Line 15:</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[File:2212.jpg|left|thumb|Fig. 4, Frances Flora Bond Palmer, ''Old Entrance to Greenwood Cemetery'', in: ''The New York Drawing Book, Containing a Series of Original Designs and Sketches of American Scenery'', No. 1, 1847.]]</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[File:2212.jpg|left|thumb|Fig. 4, Frances Flora Bond Palmer, ''Old Entrance to Greenwood Cemetery'', in: ''The New York Drawing Book, Containing a Series of Original Designs and Sketches of American Scenery'', No. 1, 1847.]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In 1847 the Palmers also published some of Frances’s original landscape views in ''The New York Drawing Book'', a series of two four-page booklets that featured original compositions for art students to copy. Two of the lithographs feature scenes from Brooklyn’s Green-Wood Cemetery. ''Old Entrance to Greenwood Cemetery'' [Fig. 4] depicts a road curving past a [[gateway]] and [[fence]] into a wooded landscape with a [[view]] of boats on the Gowanus Bay visible in the background. ''Sylvan Lake, Greenwood Cemetery'' shows a woman and young child taking in a [[picturesque]] [[view]] of one of the cemetery’s placid, tree-lined [[lake]]s [Fig. 5].</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In 1847 the Palmers also published some of Frances’s original landscape views in ''The New York Drawing Book'', a series of two four-page booklets that featured original compositions for art students to copy. Two of the lithographs feature scenes from Brooklyn’s Green-Wood Cemetery. ''Old Entrance to Greenwood Cemetery'' [Fig. 4] depicts a road curving past a [[gateway]] and [[fence]] into a wooded landscape with a [[view]] of boats on the Gowanus Bay visible in the background. ''Sylvan Lake, Greenwood Cemetery'' shows a woman and young child taking in a [[picturesque]] [[view]] of one of the cemetery’s placid, tree-lined [[lake]]s [Fig. 5].</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:2213.jpg|<del class="diffchange diffchange-inline">right</del>|thumb|Fig. 5, Frances Flora Bond Palmer, ''Sylvan Lake, Greenwood Cemetery'', in: ''The New York Drawing Book, Containing a Series of Original Designs and Sketches of American Scenery'', No. 2, 1847.]]</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:2213.jpg|<ins class="diffchange diffchange-inline">left</ins>|thumb|Fig. 5, Frances Flora Bond Palmer, ''Sylvan Lake, Greenwood Cemetery'', in: ''The New York Drawing Book, Containing a Series of Original Designs and Sketches of American Scenery'', No. 2, 1847.]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:2214.jpg|<del class="diffchange diffchange-inline">left</del>|thumb|Fig. 6, F. & S. Palmer, “The American Flora. Vol. II“ (frontispiece), 1848, [print from 1855 edition].]]</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:2214.jpg|<ins class="diffchange diffchange-inline">right</ins>|thumb|Fig. 6, F. & S. Palmer, “The American Flora. Vol. II“ (frontispiece), 1848, [print from 1855 edition].]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The Palmers lithographed many of the illustrations for Asa B. Strong’s ''American Flora, or History of Plants and Wildflowers'' (1848), a popular four-volume encyclopedia that advertised itself on the title page as “a book of reference for botanists, physicians, florists, gardeners, students, etc.”<ref>A. B. Strong, ''The American Flora, or History of Plants and Wild Flowers'' (New York: Green & Strong, 1848), [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/4H6QA64Q view on Zotero]. Other lithographs were completed by several different lithographers, including W. M. Moody, E. Whitefield, and F. Michelin. See Rubinstein 2018, 272, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref> Frances Palmer’s lithographs include the frontispiece for the second volume [Fig. 6], sixteen lithographs of Strong’s original botanical drawings that appear in the second and third volumes, including the ''Caper Bush'' [Fig. 7], and a portrait of the Swedish botanist Carl Linnaeus (1707–1778) that appears in the third volume.<ref>For a full list of the lithographs in Strong’s encyclopedia that were executed by the Palmers, see Rubinstein 2018, 272–74, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The Palmers lithographed many of the illustrations for Asa B. Strong’s ''American Flora, or History of Plants and Wildflowers'' (1848), a popular four-volume encyclopedia that advertised itself on the title page as “a book of reference for botanists, physicians, florists, gardeners, students, etc.”<ref>A. B. Strong, ''The American Flora, or History of Plants and Wild Flowers'' (New York: Green & Strong, 1848), [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/4H6QA64Q view on Zotero]. Other lithographs were completed by several different lithographers, including W. M. Moody, E. Whitefield, and F. Michelin. See Rubinstein 2018, 272, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref> Frances Palmer’s lithographs include the frontispiece for the second volume [Fig. 6], sixteen lithographs of Strong’s original botanical drawings that appear in the second and third volumes, including the ''Caper Bush'' [Fig. 7], and a portrait of the Swedish botanist Carl Linnaeus (1707–1778) that appears in the third volume.<ref>For a full list of the lithographs in Strong’s encyclopedia that were executed by the Palmers, see Rubinstein 2018, 272–74, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref></div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:2215.jpg|<del class="diffchange diffchange-inline">left</del>|thumb|Fig. 7, F. & S. Palmer, Caper Bush (Plate 42), “The American Flora. Vol. II“, 1848 [print from 1855 edition]. RB 315449 v. 2, The Huntington Library, San Marino, California.]]</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:2215.jpg|<ins class="diffchange diffchange-inline">right</ins>|thumb|Fig. 7, F. & S. Palmer, Caper Bush (Plate 42), “The American Flora. Vol. II“, 1848 [print from 1855 edition]. RB 315449 v. 2, The Huntington Library, San Marino, California.]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:2216.jpg|<del class="diffchange diffchange-inline">right</del>|thumb|Fig. 8, F. (Fanny) Palmer (artist) and Nathaniel Currier (lithographer and publisher), ''View of New York from Weehawken—North River'', 1849.]]</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:2216.jpg|<ins class="diffchange diffchange-inline">left</ins>|thumb|Fig. 8, F. (Fanny) Palmer (artist) and Nathaniel Currier (lithographer and publisher), ''View of New York from Weehawken—North River'', 1849.]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Palmer soon began to publish prints under her own name—no longer “F. & S. Palmer”—and at a new address, indicating that the professional partnership with her husband had come to an end, likely due, at least in part, to financial challenges. By 1849, the well-known New York City lithographer Nathaniel Currier (1813–1888) began to use Palmer’s work regularly as the basis for prints published by his firm, although initially he did not include her name below the images. However, by the end of the year, he printed Palmer’s name (“F. F. Palmer”) on two prints, ''View of New York. From Brooklyn Heights and View of New York. From Weehawken—North River'' [Fig. 8], a rare recognition for the period as most artists working for Currier remained anonymous. With her new full-time position at the N. Currier lithography firm (renamed Currier & Ives in 1857), Palmer became the primary earner for her family.<ref>By the 1850 federal census, Seymour Palmer’s occupation was listed as a tavern keeper and he seems to have abandoned work in the printing trade from this point on. By 1855 Edmund Palmer no longer appeared in the city’s business directories and was described by at least one contemporary acquaintance as “a ne’er-do-well.” Rubinstein 2018, 46, 50, 52, 55, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref> <span id="Penny_cite"></span> In her early days with N. Currier, Palmer sometimes traveled out to Long Island in Currier’s carriage to sketch with pencil background material—farmhouses and barns, [[fence]]s, etc.—to serve as source material for the firm’s large staff.<ref>Rubinstein 2018, 90, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref> While working for N. Currier, she produced approximately two hundred prints depicting a wide variety of subjects, including city and suburban [[view]]s, marine subjects, farm scenes, suburban and country homes, western landscapes, and still lifes, among others. She also took on freelance work with the assistance of male apprentices that she trained and paid to assist her ([[#Penny|view text]]). Palmer worked for Currier & Ives until 1868 and remained in the United States until her death from tuberculosis in 1876.<ref>According to Rubinstein, no prints by Palmer produced after 1868 have been located and confirmed. Rubinstein 2018, 174. For a list of prints by (or attributed to) Palmer published by Currier & Ives, see Appendix 3 and 3A in Rubinstein 2018, 281–338, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Palmer soon began to publish prints under her own name—no longer “F. & S. Palmer”—and at a new address, indicating that the professional partnership with her husband had come to an end, likely due, at least in part, to financial challenges. By 1849, the well-known New York City lithographer Nathaniel Currier (1813–1888) began to use Palmer’s work regularly as the basis for prints published by his firm, although initially he did not include her name below the images. However, by the end of the year, he printed Palmer’s name (“F. F. Palmer”) on two prints, ''View of New York. From Brooklyn Heights and View of New York. From Weehawken—North River'' [Fig. 8], a rare recognition for the period as most artists working for Currier remained anonymous. With her new full-time position at the N. Currier lithography firm (renamed Currier & Ives in 1857), Palmer became the primary earner for her family.<ref>By the 1850 federal census, Seymour Palmer’s occupation was listed as a tavern keeper and he seems to have abandoned work in the printing trade from this point on. By 1855 Edmund Palmer no longer appeared in the city’s business directories and was described by at least one contemporary acquaintance as “a ne’er-do-well.” Rubinstein 2018, 46, 50, 52, 55, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref> <span id="Penny_cite"></span> In her early days with N. Currier, Palmer sometimes traveled out to Long Island in Currier’s carriage to sketch with pencil background material—farmhouses and barns, [[fence]]s, etc.—to serve as source material for the firm’s large staff.<ref>Rubinstein 2018, 90, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref> While working for N. Currier, she produced approximately two hundred prints depicting a wide variety of subjects, including city and suburban [[view]]s, marine subjects, farm scenes, suburban and country homes, western landscapes, and still lifes, among others. She also took on freelance work with the assistance of male apprentices that she trained and paid to assist her ([[#Penny|view text]]). Palmer worked for Currier & Ives until 1868 and remained in the United States until her death from tuberculosis in 1876.<ref>According to Rubinstein, no prints by Palmer produced after 1868 have been located and confirmed. Rubinstein 2018, 174. For a list of prints by (or attributed to) Palmer published by Currier & Ives, see Appendix 3 and 3A in Rubinstein 2018, 281–338, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref></div></td></tr>
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</table>A-Whitlockhttps://heald.nga.gov/mediawiki/index.php?title=Frances_Palmer&diff=36805&oldid=prevA-Whitlock at 18:05, January 2, 20202020-01-02T18:05:58Z<p></p>
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<td colspan="2" style="background-color: #fff; color: #202122; text-align: center;">Revision as of 18:05, January 2, 2020</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==History==</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>==History==</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:2217.jpg|right|thumb|Fig. 1, Mrs. Frances Flora (Bond) Palmer, 185-?<del class="diffchange diffchange-inline">. Harriet Endicott Waite research material concerning Currier & Ives, 1923-1956. Archives of American Art, Smithsonian Institution</del>.]]</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:2217.jpg|right|thumb|Fig. 1, Mrs. Frances Flora (Bond) Palmer, 185-?.]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The artist and lithographer Frances Palmer [Fig. 1] emigrated from her birthplace of Leicester, England, to the United States in 1843 with her husband, Edmund Seymour Palmer (1809–1859), their children, and her younger siblings Maria Bond (b. 1815) and Robert Bond Jr. (b. 1821). She became well known as a professional lithographer during the 1840s–1860s while working in New York City. In the early part of her career in New York, Palmer designed and printed illustrations for several important botanical and architectural texts. Sometime around 1849 she joined the staff as a full-time artist at the N. Currier lithography firm (later known as Currier & Ives). </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The artist and lithographer Frances Palmer [Fig. 1] emigrated from her birthplace of Leicester, England, to the United States in 1843 with her husband, Edmund Seymour Palmer (1809–1859), their children, and her younger siblings Maria Bond (b. 1815) and Robert Bond Jr. (b. 1821). She became well known as a professional lithographer during the 1840s–1860s while working in New York City. In the early part of her career in New York, Palmer designed and printed illustrations for several important botanical and architectural texts. Sometime around 1849 she joined the staff as a full-time artist at the N. Currier lithography firm (later known as Currier & Ives). </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Soon after arriving in New York City in 1843 the Palmers partnered with the established lithographer Edward Jones, but by 1846 they had started their own firm under the name “F. & S. Palmer.” During this period, Frances Palmer also began to show her watercolor landscapes at exhibitions in New York City, including the 1844 annual exhibition at the National Academy of Design.<ref>Rubinstein 2018, 23–24, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero]. See also Mary Bartlett Cowdrey, "Fanny Palmer, an American Lithographer," in ''Prints: Thirteen Illustrated Essays on the Art of the Print'', ed. Carl Zigrosser (New York: Holt, Reinhart, and Winston, 1962), 217–34, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/5MMW3M62 view on Zotero].</ref> According to the scholar Charlotte Streifer Rubinstein, Palmer experimented with an even wider variety of subjects in New York than she had in England: “Whereas in England Palmer had restricted herself largely to [[picturesque]] local and historic sites, she now drew ships, battle scenes, botanicals, landscapes, architecture, sheet-music covers, cartoons, and magazine illustrations.”<ref>Rubinstein 2018, 27, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref> </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Soon after arriving in New York City in 1843 the Palmers partnered with the established lithographer Edward Jones, but by 1846 they had started their own firm under the name “F. & S. Palmer.” During this period, Frances Palmer also began to show her watercolor landscapes at exhibitions in New York City, including the 1844 annual exhibition at the National Academy of Design.<ref>Rubinstein 2018, 23–24, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero]. See also Mary Bartlett Cowdrey, "Fanny Palmer, an American Lithographer," in ''Prints: Thirteen Illustrated Essays on the Art of the Print'', ed. Carl Zigrosser (New York: Holt, Reinhart, and Winston, 1962), 217–34, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/5MMW3M62 view on Zotero].</ref> According to the scholar Charlotte Streifer Rubinstein, Palmer experimented with an even wider variety of subjects in New York than she had in England: “Whereas in England Palmer had restricted herself largely to [[picturesque]] local and historic sites, she now drew ships, battle scenes, botanicals, landscapes, architecture, sheet-music covers, cartoons, and magazine illustrations.”<ref>Rubinstein 2018, 27, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref> </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:0921.jpg|right|thumb|Fig. 3, Frances Palmer, “English Cottage Style,” in William H. Ranlett, ''The Architect'' (1849), vol. 1, pl. 27, design VIII<del class="diffchange diffchange-inline">. Library of Congress, Washington, D.C</del>.]]</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:0921.jpg|right|thumb|Fig. 3, Frances Palmer, “English Cottage Style,” in William H. Ranlett, ''The Architect'' (1849), vol. 1, pl. 27, design VIII.]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Palmer’s architectural prints from this period include an 1844 lithographic depiction of a fashionable gothic villa designed by architect [[Alexander Jackson Davis|A. J. Davis]] that stood on 5th Avenue in New York City [Fig. 2]. [[Alexander Jackson Davis|Davis’s]] original sepia, ink, and watercolor drawing served as the basis for Palmer’s print, but she added additional figures strolling by the mansion to integrate the architecture into its environment. In 1847 the Palmers also created the illustrations for William H. Ranlett’s two-volume ''The Architect'' based on Ranlett’s drawings [Fig. 3].<span id="Ranlett_cite"></span> Through this project, Frances Palmer became well acquainted with a variety of Victorian architectural styles that she later integrated into her own compositions when creating suburban scenes for Currier & Ives.<ref>Rubinstein 2018, 30–31, 46, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref> Ranlett praised Frances Palmer’s work in the “Advertisement” at the front of the first volume of ''The Architect'', noting that the “most difficult” of the illustrations were “executed on the stones by Mrs. F. Palmer, who stands at the head of the art” ([[#Ranlett|view text]]). </div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Palmer’s architectural prints from this period include an 1844 lithographic depiction of a fashionable gothic villa designed by architect [[Alexander Jackson Davis|A. J. Davis]] that stood on 5th Avenue in New York City [Fig. 2]. [[Alexander Jackson Davis|Davis’s]] original sepia, ink, and watercolor drawing served as the basis for Palmer’s print, but she added additional figures strolling by the mansion to integrate the architecture into its environment. In 1847 the Palmers also created the illustrations for William H. Ranlett’s two-volume ''The Architect'' based on Ranlett’s drawings [Fig. 3].<span id="Ranlett_cite"></span> Through this project, Frances Palmer became well acquainted with a variety of Victorian architectural styles that she later integrated into her own compositions when creating suburban scenes for Currier & Ives.<ref>Rubinstein 2018, 30–31, 46, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref> Ranlett praised Frances Palmer’s work in the “Advertisement” at the front of the first volume of ''The Architect'', noting that the “most difficult” of the illustrations were “executed on the stones by Mrs. F. Palmer, who stands at the head of the art” ([[#Ranlett|view text]]). </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:2212.jpg|left|thumb|Fig. 4, Frances Flora Bond Palmer, ''Old Entrance to Greenwood Cemetery'', in: ''The New York Drawing Book, Containing a Series of Original Designs and Sketches of American Scenery'', No. 1, 1847<del class="diffchange diffchange-inline">. Courtesy of the American Antiquarian Society</del>.]]</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:2212.jpg|left|thumb|Fig. 4, Frances Flora Bond Palmer, ''Old Entrance to Greenwood Cemetery'', in: ''The New York Drawing Book, Containing a Series of Original Designs and Sketches of American Scenery'', No. 1, 1847.]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In 1847 the Palmers also published some of Frances’s original landscape views in ''The New York Drawing Book'', a series of two four-page booklets that featured original compositions for art students to copy. Two of the lithographs feature scenes from Brooklyn’s Green-Wood Cemetery. ''Old Entrance to Greenwood Cemetery'' [Fig. 4] depicts a road curving past a [[gateway]] and [[fence]] into a wooded landscape with a [[view]] of boats on the Gowanus Bay visible in the background. ''Sylvan Lake, Greenwood Cemetery'' shows a woman and young child taking in a [[picturesque]] [[view]] of one of the cemetery’s placid, tree-lined [[lake]]s [Fig. 5].</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>In 1847 the Palmers also published some of Frances’s original landscape views in ''The New York Drawing Book'', a series of two four-page booklets that featured original compositions for art students to copy. Two of the lithographs feature scenes from Brooklyn’s Green-Wood Cemetery. ''Old Entrance to Greenwood Cemetery'' [Fig. 4] depicts a road curving past a [[gateway]] and [[fence]] into a wooded landscape with a [[view]] of boats on the Gowanus Bay visible in the background. ''Sylvan Lake, Greenwood Cemetery'' shows a woman and young child taking in a [[picturesque]] [[view]] of one of the cemetery’s placid, tree-lined [[lake]]s [Fig. 5].</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:2213.jpg|right|thumb|Fig. 5, Frances Flora Bond Palmer, ''Sylvan Lake, Greenwood Cemetery'', in: ''The New York Drawing Book, Containing a Series of Original Designs and Sketches of American Scenery'', No. 2, 1847<del class="diffchange diffchange-inline">, Metropolitan Museum of Art. Harris Brisbane Dick Fund, 1954</del>.]]</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:2213.jpg|right|thumb|Fig. 5, Frances Flora Bond Palmer, ''Sylvan Lake, Greenwood Cemetery'', in: ''The New York Drawing Book, Containing a Series of Original Designs and Sketches of American Scenery'', No. 2, 1847.]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:2214.jpg|left|thumb|Fig. 6, F. & S. Palmer, “The American Flora. Vol. II“ (frontispiece), 1848, [print from 1855 edition]<del class="diffchange diffchange-inline">, Biodiversity Heritage Library</del>.]]</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:2214.jpg|left|thumb|Fig. 6, F. & S. Palmer, “The American Flora. Vol. II“ (frontispiece), 1848, [print from 1855 edition].]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The Palmers lithographed many of the illustrations for Asa B. Strong’s ''American Flora, or History of Plants and Wildflowers'' (1848), a popular four-volume encyclopedia that advertised itself on the title page as “a book of reference for botanists, physicians, florists, gardeners, students, etc.”<ref>A. B. Strong, ''The American Flora, or History of Plants and Wild Flowers'' (New York: Green & Strong, 1848), [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/4H6QA64Q view on Zotero]. Other lithographs were completed by several different lithographers, including W. M. Moody, E. Whitefield, and F. Michelin. See Rubinstein 2018, 272, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref> Frances Palmer’s lithographs include the frontispiece for the second volume [Fig. 6], sixteen lithographs of Strong’s original botanical drawings that appear in the second and third volumes, including the ''Caper Bush'' [Fig. 7], and a portrait of the Swedish botanist Carl Linnaeus (1707–1778) that appears in the third volume.<ref>For a full list of the lithographs in Strong’s encyclopedia that were executed by the Palmers, see Rubinstein 2018, 272–74, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>The Palmers lithographed many of the illustrations for Asa B. Strong’s ''American Flora, or History of Plants and Wildflowers'' (1848), a popular four-volume encyclopedia that advertised itself on the title page as “a book of reference for botanists, physicians, florists, gardeners, students, etc.”<ref>A. B. Strong, ''The American Flora, or History of Plants and Wild Flowers'' (New York: Green & Strong, 1848), [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/4H6QA64Q view on Zotero]. Other lithographs were completed by several different lithographers, including W. M. Moody, E. Whitefield, and F. Michelin. See Rubinstein 2018, 272, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref> Frances Palmer’s lithographs include the frontispiece for the second volume [Fig. 6], sixteen lithographs of Strong’s original botanical drawings that appear in the second and third volumes, including the ''Caper Bush'' [Fig. 7], and a portrait of the Swedish botanist Carl Linnaeus (1707–1778) that appears in the third volume.<ref>For a full list of the lithographs in Strong’s encyclopedia that were executed by the Palmers, see Rubinstein 2018, 272–74, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[File:2215.jpg|left|thumb|Fig. 7, F. & S. Palmer, Caper Bush (Plate 42), “The American Flora. Vol. II“, 1848 [print from 1855 edition]. RB 315449 v. 2, The Huntington Library, San Marino, California.]]</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>[[File:2215.jpg|left|thumb|Fig. 7, F. & S. Palmer, Caper Bush (Plate 42), “The American Flora. Vol. II“, 1848 [print from 1855 edition]. RB 315449 v. 2, The Huntington Library, San Marino, California.]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:2216.jpg|right|thumb|Fig. 8, F. (Fanny) Palmer (artist) and Nathaniel Currier (lithographer and publisher), ''View of New York from Weehawken—North River'', 1849<del class="diffchange diffchange-inline">, Miriam and Ira D. Wallach Division of Art, Prints, and Photographs: Print Collection, the New York Public Library, https://digitalcollections.nypl.org/items/5e66b3e8-de04-d471-e040-e00a180654d7</del>.]]</div></td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:2216.jpg|right|thumb|Fig. 8, F. (Fanny) Palmer (artist) and Nathaniel Currier (lithographer and publisher), ''View of New York from Weehawken—North River'', 1849.]]</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Palmer soon began to publish prints under her own name—no longer “F. & S. Palmer”—and at a new address, indicating that the professional partnership with her husband had come to an end, likely due, at least in part, to financial challenges. By 1849, the well-known New York City lithographer Nathaniel Currier (1813–1888) began to use Palmer’s work regularly as the basis for prints published by his firm, although initially he did not include her name below the images. However, by the end of the year, he printed Palmer’s name (“F. F. Palmer”) on two prints, ''View of New York. From Brooklyn Heights and View of New York. From Weehawken—North River'' [Fig. 8], a rare recognition for the period as most artists working for Currier remained anonymous. With her new full-time position at the N. Currier lithography firm (renamed Currier & Ives in 1857), Palmer became the primary earner for her family.<ref>By the 1850 federal census, Seymour Palmer’s occupation was listed as a tavern keeper and he seems to have abandoned work in the printing trade from this point on. By 1855 Edmund Palmer no longer appeared in the city’s business directories and was described by at least one contemporary acquaintance as “a ne’er-do-well.” Rubinstein 2018, 46, 50, 52, 55, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref> <span id="Penny_cite"></span> In her early days with N. Currier, Palmer sometimes traveled out to Long Island in Currier’s carriage to sketch with pencil background material—farmhouses and barns, [[fence]]s, etc.—to serve as source material for the firm’s large staff.<ref>Rubinstein 2018, 90, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref> While working for N. Currier, she produced approximately two hundred prints depicting a wide variety of subjects, including city and suburban [[view]]s, marine subjects, farm scenes, suburban and country homes, western landscapes, and still lifes, among others. She also took on freelance work with the assistance of male apprentices that she trained and paid to assist her ([[#Penny|view text]]). Palmer worked for Currier & Ives until 1868 and remained in the United States until her death from tuberculosis in 1876.<ref>According to Rubinstein, no prints by Palmer produced after 1868 have been located and confirmed. Rubinstein 2018, 174. For a list of prints by (or attributed to) Palmer published by Currier & Ives, see Appendix 3 and 3A in Rubinstein 2018, 281–338, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>Palmer soon began to publish prints under her own name—no longer “F. & S. Palmer”—and at a new address, indicating that the professional partnership with her husband had come to an end, likely due, at least in part, to financial challenges. By 1849, the well-known New York City lithographer Nathaniel Currier (1813–1888) began to use Palmer’s work regularly as the basis for prints published by his firm, although initially he did not include her name below the images. However, by the end of the year, he printed Palmer’s name (“F. F. Palmer”) on two prints, ''View of New York. From Brooklyn Heights and View of New York. From Weehawken—North River'' [Fig. 8], a rare recognition for the period as most artists working for Currier remained anonymous. With her new full-time position at the N. Currier lithography firm (renamed Currier & Ives in 1857), Palmer became the primary earner for her family.<ref>By the 1850 federal census, Seymour Palmer’s occupation was listed as a tavern keeper and he seems to have abandoned work in the printing trade from this point on. By 1855 Edmund Palmer no longer appeared in the city’s business directories and was described by at least one contemporary acquaintance as “a ne’er-do-well.” Rubinstein 2018, 46, 50, 52, 55, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref> <span id="Penny_cite"></span> In her early days with N. Currier, Palmer sometimes traveled out to Long Island in Currier’s carriage to sketch with pencil background material—farmhouses and barns, [[fence]]s, etc.—to serve as source material for the firm’s large staff.<ref>Rubinstein 2018, 90, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref> While working for N. Currier, she produced approximately two hundred prints depicting a wide variety of subjects, including city and suburban [[view]]s, marine subjects, farm scenes, suburban and country homes, western landscapes, and still lifes, among others. She also took on freelance work with the assistance of male apprentices that she trained and paid to assist her ([[#Penny|view text]]). Palmer worked for Currier & Ives until 1868 and remained in the United States until her death from tuberculosis in 1876.<ref>According to Rubinstein, no prints by Palmer produced after 1868 have been located and confirmed. Rubinstein 2018, 174. For a list of prints by (or attributed to) Palmer published by Currier & Ives, see Appendix 3 and 3A in Rubinstein 2018, 281–338, [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/KJ9CVGZ9 view on Zotero].</ref></div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>:“Leicester General News Room and Library—A perspective [[view]] of this ornament to our town, drawn on stone, by Mrs. Palmer, executed in tinted Lithography, by Mr. E. J. [sic] Palmer, has just been published. . . . In this specimen before us, we have proof also that the difficult process of Lithography is skilfully [''sic''] conducted by a resident Lithographer. Of this view, although we pretend not that Mrs. Palmer’s drawing on stone equals in the handling the productions of the long-practiced Barnard, nor that the finer specimens of [Charles Joseph] Hulmandel’s [''sic''] Press do not surpass, in the more delicate effects, those of Mr. Palmer’s; it is impossible to deny that the former is an accomplished Artist, and the latter a skilful [''sic''] director in this beautiful art; and we look forward with pleasure to the promised appearance of their joint efforts in the publication of a series of [[view]]s, in numbers, of the most [[picturesque]] localities in our Town and Country.”</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>:“Leicester General News Room and Library—A perspective [[view]] of this ornament to our town, drawn on stone, by Mrs. Palmer, executed in tinted Lithography, by Mr. E. J. [sic] Palmer, has just been published. . . . In this specimen before us, we have proof also that the difficult process of Lithography is skilfully [''sic''] conducted by a resident Lithographer. Of this view, although we pretend not that Mrs. Palmer’s drawing on stone equals in the handling the productions of the long-practiced Barnard, nor that the finer specimens of [Charles Joseph] Hulmandel’s [''sic''] Press do not surpass, in the more delicate effects, those of Mr. Palmer’s; it is impossible to deny that the former is an accomplished Artist, and the latter a skilful [''sic''] director in this beautiful art; and we look forward with pleasure to the promised appearance of their joint efforts in the publication of a series of [[view]]s, in numbers, of the most [[picturesque]] localities in our Town and Country.”</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>*<div id="Leicester"></div>Review of Frances Palmer’s and Edmund Palmer’s lithographs, July 1, 1842, published in the ''Leicester Journal'' (quoted in Rubinstein 2018: 16)<ref name="Rubinstein_2018"></ref></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>*<div id="Leicester"></div>Review of Frances Palmer’s and Edmund Palmer’s lithographs, July 1, 1842, published in the ''Leicester Journal'' (quoted in Rubinstein 2018: 16)<ref name="Rubinstein_2018"></ref></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>:“SKETCHES IN LEICESTERSHIRE—We take the earliest opportunity of recommending this very promising work, the first number of which has just appeared to the notice of our readers. The [[view]]s. . . ''The Hanging Rock; St. Mary’s Church, Leicester, from the S.W.''; and that most [[picturesque]] and interesting of all the heights included in this extensive range of the Charnwood, Beacon Hill. Each is managed with great artistic effect; and the manner in which the lithographer has fulfilled his [''sic''] task is deserving of every commendation. . . . The [[view]] of Beacon Hill is in Mrs. Palmer’s most tasteful and successful style, and is distinguished by a boldness and freedom not often exhibited by a female pencil. . . . The tint delicately thrown upon the sky moreover, (apparently a soft and tranquil autumnal heaven,) is the very finish required as a contrast to the stern features of the rugged landscape which frowns beneath it. . . . We cordially recommend Mrs. Palmer’s work to the notice, not only of all attached to our local scenery, but of all interested (as who in these days is not!) in the general progress and advancement of the graphic art.” [[#Leicester_cite|back up to History]]</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>:“SKETCHES IN LEICESTERSHIRE—We take the earliest opportunity of recommending this very promising work, the first number of which has just appeared to the notice of our readers. The [[view]]s. . . ''The Hanging Rock; St. Mary’s Church, Leicester, from the S.W.''; and that most [[picturesque]] and interesting of all the heights included in this extensive range of the Charnwood, Beacon Hill. Each is managed with great artistic effect; and the manner in which the lithographer has fulfilled his [''sic''] task is deserving of every commendation. . . . The [[view]] of Beacon Hill is in Mrs. Palmer’s most tasteful and successful style, and is distinguished by a boldness and freedom not often exhibited by a female pencil. . . . The tint delicately thrown upon the sky moreover, (apparently a soft and tranquil autumnal heaven,) is the very finish required as a contrast to the stern features of the rugged landscape which frowns beneath it. . . . We cordially recommend Mrs. Palmer’s work to the notice, not only of all attached to our local scenery, but of all interested (as who in these days is not!) in the general progress and advancement of the graphic art.” [[#Leicester_cite|back up to History]]</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>*<div id="Ranlett"></div>Ranlett, William H., describing Frances Palmer’s work (Ranlett 1847 1:1)<ref>William H. Ranlett, ''The Architect: A Series of Original Designs, for Domestic and Ornametnal Cottages and Villas, Connected with Landscape Gardening, Adapted to the United States…'' (New York: Dewitt & Davenport, 1847), [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/K98PVCSJ view on Zotero].</ref></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>*<div id="Ranlett"></div>Ranlett, William H., describing Frances Palmer’s work (Ranlett 1847 1:1)<ref>William H. Ranlett, ''The Architect: A Series of Original Designs, for Domestic and Ornametnal Cottages and Villas, Connected with Landscape Gardening, Adapted to the United States…'' (New York: Dewitt & Davenport, 1847), [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/K98PVCSJ view on Zotero].</ref></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>:“The volume contains 60 plates—19 of them tinted in a style of lithography which will commend itself to every judge of art. The most difficult of them being executed on the stones by Mrs. F. PALMER, who stands at the head of the art. . . . The plates are from the well-known lithographic press-room of Messrs. PALMER.” [[#Ranlett_cite|back up to History]]</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>:“The volume contains 60 plates—19 of them tinted in a style of lithography which will commend itself to every judge of art. The most difficult of them being executed on the stones by Mrs. F. PALMER, who stands at the head of the art. . . . The plates are from the well-known lithographic press-room of Messrs. PALMER.” [[#Ranlett_cite|back up to History]]</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;"></ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>*<div id="Penny"></div>Penny, Virginia, describing Frances Palmer’s career and working process (Penny 1863: 69)<ref>Virginia Penny, ''The Employments of Women: A Cyclopaedia of Woman’s Work'' (Boston: Walker, Wise, & Company, 1863), [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/ZWTA35IG view on Zotero].</ref></div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #202122; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>*<div id="Penny"></div>Penny, Virginia, describing Frances Palmer’s career and working process (Penny 1863: 69)<ref>Virginia Penny, ''The Employments of Women: A Cyclopaedia of Woman’s Work'' (Boston: Walker, Wise, & Company, 1863), [https://www.zotero.org/groups/54737/keywords_in_early_american_landscape_design/items/itemKey/ZWTA35IG view on Zotero].</ref></div></td></tr>
</table>L-Baradel