Karl Peter Koch (1900–1955)
description: Karl Peter Koch was a commercial artist who specialized in package design. Koch was born on December 25, 1900 in St. Marys, Ohio. His father Charles William Koch (1873–1939) was the son of John Mathias Koch, from Germany, and Mary Miller, from Bavaria. His mother Susan Sabina Kinstle (1873–1947), the daughter of a farmer, was born and raised in Auglaize, Ohio. Charles William Koch worked as a saloon keeper in 1910 and a butcher in 1920. By 1930, he has established his own business, Koch’s Cafeteria and Hotel in Dayton, Ohio. The Koch family became well known restauranteurs, and Susan Koch acted as president of Koch’s, Inc. Karl Peter Koch was the eldest of six children. At age twelve, Karl Peter Koch was working at the American Chain Company for ten cents per hour. By 1930, Koch had moved to Chicago. Koch lived at 156 West Burton Place in Chicago’s Old Town neighborhood. Known as Carl Street Studios until 1936, West Burton Place was comprised of nineteenth-century houses and apartment buildings that were remodeled into artists’ studios by artist and entrepreneur Sol Kogen and designer Edgar Miller during the late 1920s and 1930s. Repurposing salvaged materials and fixtures from demolished buildings, such as old copper bathtubs, fireplace tiles, and marble, Kogen, Miller, and a team of craftspeople transformed the dilapidated Victorian-era buildings into multi-level studio spaces replete with handcrafted architectural features and ornamentation. Artisan Jesus Torres, whose multimedia talents including metalwork, ceramics, woodcarvings, and murals, was a major contributor. In 1937, “a group of commercial artists led by Karl Peter Koch and Clive Rickabaugh purchased the two rooming houses and three coach houses at 152, 154, and 156 W. Burton Place.” The 154–156 section of West Burton Place functioned as a residential cooperative, bringing together a three-story building with a set of two-story coach houses. Rickabaugh, Koch’s real estate partner, was an artist, designe…
source: A Century of Progress Records, Special Collections and University Archives, University of Illinois at Chicago, Chicago, Illinois. “Charles Koch Dies Suddenly: Heart Attack Is Fatal for Native of Bettsville Tuesday.” The Fremont News-Messenger, March 2, 1939. “Chicago Artist Dies in Studio.” Chicago Tribune, December 28, 1973. Granacki, Victoria and Tim Freye. “West Burton Place Historic District, Chicago, Cook County, IL.” United States Department of the Interior National Park Service, National Register of Historic Places Registration Form. October 17, 2007. “Karl Peter Koch.” The Journal Herald, June 9, 1955. Koch, Karl Peter. A Folio of Cultural, Scientific, Commercial & Industrial Symbols: Including the World’s Leading Alphabets. Chicago: J.M. Bundscho, 1949. “Obituaries: Karl Peter Koch.” Chicago Daily Tribune, June 7, 1955. “Richard J. Bielefeld, 69.” Chicago Tribune, December 5, 2003. Steele, Dan. Snow Trenches. Cartography by Karl Peter Koch. Chicago: A.C. McClurg & Co., 1931. Stolte, Keith M. Chicago Artist Colonies. Foreword by Amy E. Keller and Zac Bleicher. Charleston, North Carolina: The History Press, 2019. Sutnar, Ladislav. Package Design: The Force of Visual Selling. New York: Arts, Inc.: 1953. The Art Directors Club of Chicago. 1945 Modern Art in Advertising: Exhibition Advertising Art, May 1 to May 30, Blackstone Hall, The Art Institute of Chicago. Chicago: The Art Institute of Chicago, 1945. The Chicago Design Archive. “Karl Peter Koch.” https://chicagodesignarchive.org/firm/karl-peter-koch.

Charles Clarence Dawson (1889-1981)
description: Charles Clarence Dawson is significant for his many contributions to illustration, design, and fine art during the “Chicago Black Renaissance” of the interwar period and beyond. The “Great Migration,” which refers to the relocation of large numbers of African Americans from rural areas in the South to urban centers in the North, transformed the first half of the twentieth century and impacted Dawson’s arts leadership and design pursuits. The accompanying principles of the “New Negro Movement” marked a flourishing of black philosophic, economic, creative, and political practices in the midst of the repressive Post-Reconstruction and Jim Crow era. Dawson, born in Brunswick, Georgia, in 1889, attended the renowned Tuskegee Institute, a school initially opened for African American teachers led by celebrated educator and orator Booker T. Washington. While there, Dawson studied drafting with architect Walter Thomas Bailey, who was appointed head of the Mechanical Industries Department in 1905 and would later design several of the school’s buildings, including the still-used women’s dormitory, White Hall, as well as significant buildings in Chicago and Memphis. Soon afterwards, in 1907, Dawson relocated to New York to attend the Art Students League as its first black pupil. In 1912, Dawson moved to Chicago, to attend the Art Institute of Chicago. According to his unpublished autobiography, Touching the Fringes of Greatness, Dawson attributes his attendance to the Art Institute’s progressive stance on race, insofar as “the policy of the Art Institute was entirely free of bias.” An active student, Dawson was secretary of the Chicago Architectural League, manager of the Annual Chicago Architectural Exhibition, and member of the Art Students League of Chicago. Upon graduation and at the outset of World War I, in 1917, Dawson joined the segregated armed forces as an officer in training with the Buffalo Soldiers regiment and was sent to France. Dawson’s return to Chicago was fra…
source: Arts & Design in Chicago. “Charles Clarence Dawson.” https://interactive.wttw.com/art-design-chicago/charles-clarence-dawson. Bone, Robert and Richard A. Courage. The Muse of Bronzeville: African-American Creative Expression in Chicago, 1932–1950. Foreword by Amritjit Singh. New Brunswick, New Jersey: Rutgers University Press, 2011. Burkett, Randall K. “Hammurabi in the (MARBL) House.” Emory Libraries & Information Technology. Stuart A. Rose Manuscript, Archives, and Rare Book Library Blog. May 1, 2015. https://scholarblogs.emory.edu/marbl/2015/05/01/hammurabi-in-the-marbl-house/. Charles C. Dawson Papers, Archives of American Art, Smithsonian Institution, Washington, D.C. Charles Dawson Papers, DuSable Museum of African American History, Chicago, Illinois. City of Chicago. “Love for Sale: The Graphic Art of Valmor Products.” 2015. http://www.cityofchicago.org/city/en/depts/dca/supp_info/Valmor.html. Daniel, Jon. “The Pioneering Work of Nine Black Designers.” Design Week, February 26, 2014. Das, Joanna Dee. Katherine Dunham: Dance and the African Diaspora. Oxford: Oxford University Press 2017. “Dawson, Charles Clarence.” In Encyclopedia of the Harlem Renaissance, edited by Aberjhani and Sandra L. West, 83. New York: Facts on File, 2003. Dingwall, Christopher. “Love for Sale: The Graphic Art of Valmor Products, Chicago Cultural Center, April 25–August 2, 2015 (exhibition review).” Design Issues 32, no. 2 (Spring 2016): 95–97. Douglas, Andrea. “An Artist of the Past That You Should Know: Charles Dawson, 1889–1981.” The International Review of African American Art 22, no. 4 (2009): 65. Foster, John. “Love for Sale.” The Design Observer Group, June 12, 2015. http://designobserver.com/feature/love-for-sale/38927/. Ganz, Cheryl R. Progress. The 1933 Chicago World’s Fair: A Century of Progress. Urbana: University of Illinois Press, 2012. Graphic Arts Collection: Rare Books and Special Collections, Firestone Library, Princeton University. “Charles Dawson.” https://graphicar…

Keck & Keck George Fred Keck (1895–1980) and William Keck (1908–1995)
description: The architectural firm of Keck & Keck, established by brothers George Fred and William, was one of the most innovative architectural firms in Chicago best known for buildings such as the House of Tomorrow for the Century of Progress Exposition of 1933 and modernist residential designs. George Fred Keck, spent one year at the University of Wisconsin studying civil engineering before he moved to Illinois to study architectural engineering at the University of Illinois. Keck began his career teaching at his alma mater and working for various Chicago architecture firms including William Pruyn, where he participated in residential work; D.H. Burnham, where he worked as a draftsman; and John Eberson, where he worked on the Avalon Theater. At Schmidt, Garden and Martin, George Fred Keck met R. Vale Faro (1902–1988), an avid promoter of modernist design. According to William Keck, his brother’s collaboration with Faro shaped George Fred’s turn toward more radically modernist designs in the late 1920s. Opened in 1929, George Fred Keck designed the Miralago Ballroom and Shops in Wilmette, Illinois. The Miralago Ballroom was known as one of the first modernist retail structures in the Chicago area. After graduating from the University of Illinois in 1931, George Fred Keck’s younger brother William joined him as an architect, draftsman, and businessman of the company. The Kecks designed the glass and steel House of Tomorrow for the Century of Progress Exhibition (1933–1934) and the Crystal House the following year. Both of these structures gained the Keck brothers nationwide attention as frontrunners in modernist American design. Beyond such popular architectural constructions, the office of Keck & Keck predominately designed innovative residences in Hyde Park, Chicago-area suburbs, and the greater Midwest. The Keck brothers worked with many Chicago-based designers and architects, including interior designer Marianne Willisch and architects Leland Atwood and Paul Schweikher. Th…
source: “Architect Specializes in Design of Homes.” Chicago Tribune, April 7, 1968. Barber, Daniel A. A House in the Sun: Modern Architecture and Solar Energy in the Cold War. New York: Oxford University Press, 2016. Bargelt, Louise. “Concrete Home in Dunes Built on Three Levels: Living Room Extends Through Story and a Half.” Chicago Daily Tribune, September 1, 1940. Bargelt, Louise. “Duneland House Built for Use in All Seasons: Concrete Is Given Novel Treatment for Walls.” Chicago Daily Tribune, April 2, 1939. Bargelt, Louise. “Home in the Modern Style Is Now Possible at Minimum Cost Home: Start Off with One Floor, Build Another Later; Chicago Architect Creates Good Looking, Simple Dwelling for $4,300.” Chicago Daily Tribune, July 17, 1932. Bargelt, Louise. “Glass and Steel House of Future Erected at Fair: Home Expertly Designed by Two Architects Can Be Built in Three Weeks.” Chicago Daily Tribune, July 8, 1934. Bernick, Christine. “Preservation of Keck & Keck’s Passive-Solar Subdivisions of the 1940s and 1950s.” MS thesis, The School of the Art Institute of Chicago, 2010. Blum, Betty J. Oral History of Robert Paul Schweikher. Chicago: The Art Institute of Chicago, 2000. Blum, Betty J. Oral History of William Keck. Chicago: The Art Institute of Chicago, 1991. “Book Tells Story of Fair Home Exhibit.” Chicago Daily Tribune, August 26, 1934. Boyce, Robert. Keck and Keck. New York: Princeton Architectural Press, Inc., 1993. “Building Speed to Be Feature of Glass House: To Be Erected at Fair in 2 Weeks’ Time.” Chicago Daily Tribune, April 8, 1934. Chase, Al. “Show Postwar Home Building Possibilities: Glenview Has Preview of New Heating Methods.” Chicago Daily Tribune, November 22, 1942. Chase, Al. “Sun Supplies Heat for New Type North Shore Suburb Home: ‘Solar House’ on Glenview Rd. Has Glass Side.” Chicago Daily Tribune, September 22, 1940. Chase, Al. “Residence Fuel Bill Is Cut $60 by Sun’s Rays: Old Sol May Be Factor in Post-War Era.” Chicago Daily Tribune, August 15, 1943. …

Cuneo Press (1907–1977)
description: Founded in 1907, the Cuneo Press was one of Chicago’s largest printing companies, second only to the R.R. Donnelley & Sons. Its founder John F. Cuneo, Sr. was the third generation in his wealthy family to flourish as a Chicago businessman. His grandfather, John B. Cuneo, emigrated from Genoa, Italy in 1847 and prospered as a produce and wholesale grocery merchant. His father, Frank Cuneo, was the president of the produce firm Garibaldi & Cuneo. Frank Cuneo’s investment in real estate was credited with starting the development of the Wilson Avenue business district in 1910. Born in Chicago on December 24, 1884, John F. Cuneo attended the Latin School of Chicago. He enrolled at Yale University but left before completing his degree to start his career as an owner of a book bindery. In 1907, with a loan of $10,000 from his father, Cuneo founded a small book bindery that occupied one floor at Madison and Market Street. Quick to expand into the printing business, he realized that there were no existing firms that offered book publishers the combined services of composition, printing, and binding under one roof. In response, he acquired the Henneberry Company in 1919 and established the Cuneo Press. In 1890, the Henneberry Company building, located at 22nd Street and Clinton Avenue, was the largest printing plant in the Chicago. Cuneo would continue to expand his printing empire through large-scale purchases and the management of printing-press operations across the United States. Popular magazines, such as Boy’s Life, Cosmopolitan, Good Housekeeping, Harper’s Bazaar, House Beautiful, and Town & Country, were instrumental to the success of the Cuneo Press, contributing to forty-five percent of its overall volume. At the same time, the company produced books, catalogs, and phone directories. In 1925, the Cuneo Press hired renowned bibliographer and typeface designer Douglas C. McMurtrie (1888–1944) as the director of typography. One year later, McMurtrie left the Cuneo Pres…
source: “2 Pilsen Warehouses Fall to Demolition Crew’s Touch.” Chicago Tribune, January 29, 1995. “Airplane View of Cuneo Press Development.” Chicago Daily Tribune, March 27, 1927. Armour, Lawrence A. “The Printed Word: Expanding Markets, Better Equipment Give It New Lustre.” Barron’s National Business and Financial Weekly 40, no. 48 (November 28, 1960): 3. A Century of Progress. Official Guide Book of the World’s Fair of 1934. Chicago: Cuneo Press, 1934. “Air Mail Pick Up to Carry Last Day Souvenir of Fair.” The Berwyn News, October 12, 1934. Baker, Robb. “Gutenberg Heirs Salute Him.” Chicago Tribune, August 25, 1968. Brown, Emily Clark. Book and Job Printing in Chicago: A Study of Organizations of Employers and Their Relations with Labor. Chicago: The University of Chicago Press, 1931. Butcher, Fanny. “Books: Fair Presents Many Thrills to Book Lover: First Editions Are Shown by Publishers.” Chicago Daily Tribune, July 15, 1933. “Christmas Seal Contest: Strive to Meet Deadline.” Chicago Tribune, August 18, 1968. Cuneo Press. Gutenberg’s Calendar of the Turks for the Year Fourteen Hundred Fifty-Five: Printed from the Reconstructed Type of Gutenberg and Rubricated by Hand in the Gutenberg Workshop. Chicago: Cuneo Press, 1933. Cuneo Press. Specimens of Type Faces: Monotype, Linotype, Foundry. Chicago: Cuneo Press, 1939. “Cuneo Press Buys Kokomo, Ind., War Surplus Facilities.” Chicago Daily Tribune, March 3, 1949. “Cuneo Press, Inc.: Outlook Improved This Year, President Says at Meeting.” The New York Times, June 1, 1955. “Cuneo Press’ Kokomo Plant Hit by Fire.” Chicago Daily Tribune, September 26, 1957. “Cuneo Press to Expand.” New York Times, May 7, 1927. Cuneo Studio Materials. Charles Deering McCormick Library of Special Collections, Northwestern University, Evanston, Illinois. “D.C. McMurtrie Dies at 56; Was Type Designer.” New York Herald Tribune, September 30, 1944. Detterer, Ernest Frederick and Douglas C. McMurtrie. Fine Printing at the Cuneo Press. Chicago: Cuneo Pre…

Helen Hughes Dulany (1884–1968)
description: A 1937 newspaper series called “Women at Work” narrates the story of how Helen Hughes Dulany started her design career: during the Great Depression, Dulany was compelled to economize and reluctantly dismissed her butler. Regretting her decision, she asked her domestic employee to stay and determined that she needed to hire—not fire—workers. Her enterprise began when the dishes she designed for herself caught the eye of a friend who then purchased a set from Dulany for fifty dollars. Within weeks, exclusive shops in New York were carrying Dulany’s dishes. Encouraged by the retailers’ interest in her designs, she founded Helen Hughes Dulany Studio above her Lake Shore Drive apartment and opened a factory that produced her household goods. During her career, she designed “vases, kitchen stoves, lamps, vacuum cleaners, stream-lined train interiors—and the appointments of her own home.” General Electric, Republic Steel, Buffalo Potteries, and the Burlington railroad retained her as a designer. While her socioeconomic status was advantageous to her career, she faced serious health challenges before her ascension in the field of design at the age of forty-five. Afflicted with an undisclosed health condition, Dulany underwent sixteen operations in the United States and abroad. She was bedridden for almost eighteen years and considered an “invalid” in early twentieth-century terminology. In 1931, doctors informed her she was near death. While hospitalized at St. Luke’s Hospital in Chicago, she experimented with clay and crayons as a diversion and discovered her aptitude for design. She had no professional training as an artist or designer. Helen Hughes was born in Bismarck, North Dakota in 1885. Her father, General Alexander Hughes (1846–1907), served as territorial attorney general from 1883–84 and made a fortune from electric utilities. Her mother Mary Elizabeth Hughes (1848–1935) was the daughter of Samuel Higginbotham (1826–1863), a physician in South Bend, Indiana. Hele…
source: “A Special Invitation to All Ventura County Women…” Morning Free Press, November 22, 1936. All Arts. “Industrial Designer Helen Hughes Dulany.” Arts & Design in Chicago, Season 1, Episode 3. Video, 2:03. Aired October 26, 2018. https://allarts.org/programs/art-design-in -chicago/industrial-designer-helen-hughes-delaney-9cmufb/. “After Dinner Interlude.” Arts and Decoration 40, no. 3 (January 1934): 60–61. “Art Designer Beats Death to Win Fame: Helen Hughes Dulany Earns Fortune After 18 Years as Invalid.” Great Falls Tribune, April 7, 1936. “Asks Divorce: Mrs. Helen Hughes Dulany.” Chicago Daily Tribune, December 6, 1936. “Atherton Richardses in City.” Chicago Daily Tribune, January 28, 1938. Billheimer, Ruth. “Coast Visitors Go to Wedding of Chicagoan.” Chicago Daily Tribune, January 23, 1938. Billheimer, Ruth. “Pasadena in Holiday Garb Attends Races.” Chicago Daily Tribune, December 26, 1937. Brooklyn Museum. “Caviar Server.” https://www.brooklynmuseum.org/opencollection/objects/1692. Cass, Judith. “Helen Hughes Dulany to Wed in California.” Chicago Daily Tribune, January 18, 1938. “Cookery Show Is Presented: Advantages of Electricity Demonstrated During Program.” The Ogden Standard-Examiner, February 1, 1935. “Decorating: With Love from…” Vogue 83, no. 8 (April 15, 1934): 78, 79, 105. “Dine and Stay.” Arts and Decoration 41, no. 1 (May 1934): 44. “Divorces G.W. Dulany Jr.: Wife, an Industrial Designer, in Chicago Action Charges Desertion.” New York Times, December 13, 1936. “Fight to Break Mary E. Hughes’ $1,000,000 Will.” Chicago Tribune, January 15, 1937. Filler, Martin. “On the Twentieth Century.” House Beautiful 142, no. 5 (May 2000): 70–74.Fried, Alexander. “News of Music and Art World.” The San Francisco Examiner, March 26, 1936. “Having to Fire Butler Put Artist in Business.” Deadwood Pioneer-Times, February 2, 1937. “Helen Dulany Visiting Here.” Honolulu Star-Bulletin, September 23, 1937. “Helen Hughes Dulany, 84, Industrial Designer, Dies.” New York Times…

Douglas Crawford McMurtrie (1888–1944)
description: Douglas Crawford McMurtrie was a nationally renowned typographer, bibliographer, and authority on the history of printing. Over the course of his career, McMurtrie advised on the typographical redesigning of hundreds of newspapers and contributed to over 779 works on the subject of printing. He also helped to form the Continental Type Founders Association and edited the magazine Ars Typographica. While a position at the Cuneo Press brought him to Chicago, he spent nearly two decades as the director of typography at the Ludlow Typograph Company. In addition to his achievements in the field of design, McMurtrie held leadership roles in the rehabilitation movement for disabled children and World War I military veterans. He served as president of the Society for Crippled Children and director of the Red Cross Institute for Crippled and Disabled Men. An advocate for the reformation of public attitudes toward disabled people and their full inclusion in society and the workplace, McMurtrie applied his printing expertise to the movement. Douglas Crawford McMurtrie was born on July 20, 1888 in Belmar, New Jersey to William McMurtrie (1851–1913) and Helen Douglass. His father was a chemist whose agricultural research propelled the sugar beet industry in the United States. From 1906 to 1910, Douglas C. McMurtrie attended the Massachusetts Institute of Technology (MIT). During his undergraduate studies, he designed his cohort’s yearbook, acted as the managing editor of the student-run newspaper, and worked as a correspondent for three Boston newspapers. McMurtrie graduated from MIT in 1910 and was then hired by the Pittsburgh Typhoid Fever Commission, where he produced much of its printed materials for distribution. His involvement with the Federation of Associations for Cripples began in 1910. From 1912 to 1919, McMurtrie edited the Journal of Care for Cripples and, starting in 1915, served as the president of the organization. His first bibliographic project was a compilation…
source: Bruntjen, Scott, and Melissa L. Scott. Douglas C. McMurtrie, Bibliographer and Historian of Printing. Metuchen, NJ: Scarecrow Press, 1979. Byrom, Brad. “A Pupil and a Patient: Hospital-Schools in Progressive America.” In The New Disability History: American Perspectives, edited Paul K. Longmore and Lauri Umansky, 133–157. New York: New York University Press, 2001. “Conference to Consider Needs of Disabled Men.” Chattanooga Daily Times, February 16, 1919. “D.C. McMurtrie Dies at 56; Was Type Designer.” New York Herald Tribune, September 30, 1944. “D.C. McMurtrie, Noted Designer of Type, Is Dead.” Chicago Tribune, September 30, 1944. Detterer, Ernest Frederick and Douglas C. McMurtrie. Fine Printing at the Cuneo Press. Chicago: Cuneo Press, 1927. Douglas C. McMurtrie Collection, Special Collections at the University of Arizona Libraries, Tucson. Douglas C. McMurtrie Imprints, Special Collections and Archives, Pickler Memorial Library, Truman State University, Kirksville, Missouri. Douglas C. McMurtrie Papers, Newberry Library, Chicago. Heller, Steven. Texts on Type: Critical Writings on Typography. New York: Allworth Press, 2006. Kinder, John M. Paying with Their Bodies: American War and the Problem of the Disabled Veteran. Chicago: University of Chicago Press, 2015. Kraig, Beth. “Douglas McMurtrie and the American Imprints Inventory, 1937–1942.” The Library Quarterly 56, no. 1 (January 1986): 17–31. McCaffrey, Frank. An Informal Biography of Douglas C. McMurtrie. San Francisco: Privately printed, 1939. McMurtrie, Douglas C. A Bibliography of Chicago Imprints, 1835–1850. Chicago: W. Howes, 1944. McMurtrie, Douglas C. “A Bibliography of Peoria Imprints, 1835–1860.” Journal of the Illinois State Historical Society 27, no. 2 (1934): 202–27. McMurtrie, Douglas C. A Bibliography of the War Cripple. Compiled by Douglas C. McMurtrie. Publications of the Red Cross Institute for Crippled and Disabled Men, Series 1, Number 1. New York: Red Cross Institute, 1918. McMurtrie, Doug…

27 Chicago Designers
description: Twenty-Seven Chicago Designers was a membership organization founded in 1936 by a group of twenty-seven graphic designers, typographers, and illustrators with the goal of promoting their design talent to commercial businesses. The group publication Twenty-Seven was the primary vehicle for showcasing their work. Early examples of Twenty-Seven illustrate the ways in which a modernist design aesthetic came to be adapted by designers working in the Midwest in the 1930s and 1940s. The series charts the stylistic changes of group members over time and firmly positions Chicago as a hub of commercial design in twentieth-century America. Over the course of its fifty-five-year history, 27 Chicago Designers published thirty-eight issues of Twenty-Seven. Every member was invited to submit a selection of exemplary projects—often advertisements or book, product, and package designs—for publication. John Averill, a typographic designer and founding member of the organization, established the layout of the publication, allocating each designer four pages to present their work. The designers were charged with creating and illustrating their entries, with some even printing their own inserts. The entries were bound in alphabetical sequence, and blank section dividers were used to distinguish adjacent entries. With the exception of minor size modifications and changes to the binding, Twenty-Seven maintained a consistent format throughout the run of the publication. Its editors imposed very few limitations, and the designers could showcase work according to their own tastes and budgets. As a result, the publication presents a great variety of styles. Members distributed the books to their respective mailing lists, and the publication was made available for sale in select bookstores. In addition to advertising the design talents of its members, Twenty-Seven promoted the services of the printers, engravers, typographers, electrotypers, and paper companies who contributed to the productio…
source: 27 Chicago Designers. Twenty-Seven. Chicago: The Designers, 1938. https://chicagodesignarchive.org/project/1b-30 27 Chicago Designers. Twenty-Seven Chicago Designers: The Fortieth Year. Vol. 31. Chicago: The Designers, 1975. AIGA Chicago. “Selling Design: 27 Chicago Designers 1936–1991 Exhibit Opening at UIC University Library.” https://chicago.aiga.org/event-internal/selling-design-27-chicago- designers-1936-1991-exhibit-opening-at-uic-university-library/. “Art: First of Kind Class at Gallery.” Quad-City Times, February 23, 1964. “Artist to Speak.” The Pantagraph, March 31, 1991. “David Lawrence, 40, Leading Graphic Designer.” Chicago Tribune, October 6, 1984. “Designers Featured.” The Times, December 1, 1978. Essex, Joseph Michael, Lara N. Allison, and Jack Weiss. 27 Chicago Designers: When Art Became Design, 1936–1991. Richmond, British Columbia: Blanchette Press, 2016. “European Influences on Chicago Designers.” Print 7, no. 6 (March 1, 1953): 26. Jack Weiss Design Papers, 1939-2015, Special Collections and University Archives, University of Illinois at Chicago. Lagana, Gretchen. “Collecting Design Resources at the University of Illinois at Chicago.” Design Issues 3, no. 2 (Autumn 1986): 37–46. McVicker, George. “European Influences on Chicago Designers.” In Print, Magazine of the Graphic Arts 7, no. 6 (March, 1953): 26. Patterson, Rhodes. “The 27 Chicago Designers at 50.” Communication Arts 28, no. 8 (February 1987): 70–77. Society of Typographic Arts. “27 Chicago Designers.” Vimeo video, 10:10. July 6, 2012. https://vimeo.com/45324415. “The 27 Chicago Designers.” IDEA 22, no. 124 (May 1974): 30–43. The Art Institute of Chicago. “Selling Design: 27 Chicago Designers, 1936–1991, Sep 26–Nov 20, 2017.” http://www.artic.edu/exhibition/selling-design-27-chicago-designers-1936-1991. The Chicago Design Archive. “27 Chicago Designers.” https://chicagodesignarchive.org/client/27-chicago-designers. Twenty-Seven Chicago Designers: 1986 Edition. Edited by William Kaulfuss.…

Abbott Laboratories
description: Chicago pharmacist and physician Wallace Calvin Abbott (1857–1921) founded the Abbott Alkaloidal Company in 1900. The medical business, renamed Abbott Laboratories in 1915, started with the success of Abbott’s alkaloid pills that he produced in his own home. A new formula at the time, alkaloid pills, or “dosimetric granules” as he called them, were solid tablets of commonly prescribed liquid medications, such as morphine, codeine, and quinine. This method made it easier for pharmacists to prescribe more exact dosages and increased the shelf life of medications. Although he did not invent this method, Abbott was one of the first physicians to improve upon the idea and devise a method of manufacturing tablets in precise measurements and large quantities. During World War I, Abbott Laboratories produced substitutes for medications previously exported from German pharmaceutical companies. As a result, Abbott’s company quickly grew and began funding research for the development of new drugs. Prior to the late nineteenth century, medicines were derived from natural sources in the forms of herbs, plants, and roots. The manufacturing of chemicals for synthetic drugs marked a turning point in the pharmaceutical industry. British chemist Henry Dakin’s invention of the antiseptic Chlorazene, the first synthetic medicine manufactured by Abbott Laboratories, was indispensable in treating the wounds of World War I soldiers. During the 1920s and 1930s, the company collaborated with chemists Dr. Ernest H. Volwiler and Dr. Roger Adams, head of the Department of Chemistry at the University of Illinois at Urbana-Champaign, who developed the local anesthetic Butyn in 1922. Volwiler, along with Dr. Donalee L. Tabern, discovered the widely used general anesthetic sodium thiopental, trademarked Pentothal, in 1936. After Abbott’s death in 1921 at the age of sixty-three, the company continued to prosper and opened its new manufacturing facilities in North Chicago. In 1933, Abbott Laboratori…
source: A Century of Progress records, Special Collections and University Archives, University of Illinois at Chicago. Abbott Laboratories. “Our History.” http://www.abbott.com/about-abbott/our- heritage.html. “Art Director Traces History of Magazine.” Dayton Daily News, October 20, 1950. Burrell, Brandon. “Abbott Laboratories: Provisioning a Vision.” PhD diss., Florida State University, 2013. Century of Progress International Exposition Publications, Crerar Ms 226, Special Collections Research Center, University of Chicago Library. “Century of Progress Notes.” Chicago Tribune, June 22, 1934. “Classes in New Fields Offered in Art Institute: Reorganize Industrial Design Division.” Chicago Daily Tribune, January 12, 1947. Corfield, Justin. “Abbott, Wallace Calvin (1857–1921).” Vol. 1 of The Encyclopedia of the Industrial Revolution in World History, edited by Kenneth E. Hendrickson III, 3. London: Rowman & Littlefield, 2015. “Countryside to Host Art Slide Lecture.” Roselle Register, March 6, 1968. De la Merced, Michael J. and Bruce Jaspen. “Abbott Labs to Split into 2 Companies.” New York Times, October 19, 2011. DeForest Sackett Papers, Special Collections and University Archives, University of Illinois at Chicago. “Dr. Wallace C. Abbott, Laboratory Chief, Dies.” Chicago Daily Tribune, July 5, 1921. “Graphic Design.” Chicago Tribune, March 12, 2018. Heller, Steven and Greg D’Onofrio. The Moderns: Midcentury American Graphic Design. New York: Abrams, 2017. International Directory of Company Histories, Volume 40. Farmington Hills, Michigan: St. James Press, 2001. Israelski, Edmond W. and William H. Muto. “User-Centered Design at Abbott Laboratories.” In Designing Usability into Medical Products, edited by Michael E. Wiklund and Stephen B. Wilcox, 257–268. London: Taylor & Francis, 2005. James Hayes Papers, The Newberry Library, Chicago. Kogan, Herman. The Long White Line: The Story of Abbott Laboratories. New York: Random House, 1963. Lagana, Gretchen. “Collecting Design Resou…