Perplexingly, apart from a briefarticlethat appeared in the March 1953 issueofPrint magazinesixty-three years ago, littledocumentationexistson the history and activities of the Art DirectorsClub of Chicago(ADCC). The article“European Influences on Chicago Designers,”written by graphic designer and ADCC member George McVicker (1904–1990)for a special Society of Typographical Arts (STA)issue, offersno genealogy of the group. Based on the numbering of the ADCC Annuals, the foundingof the organizationmay be placed at 1932 or 1933, althoughthe “first”annualmay not havecoincided withtheir first year of existence. (For reference, the New York Art DirectorsClubwas founded in 1920.) According to McVicker, inthe fall of 1934, the group sponsoreda course taught by much-admired Viennese designer Joseph Binder, known to ADCC membership through European publications. The well-attendedcourse made an enormous impact on participants, who were unfamiliar with Binder’s approach to stylizing and “abstract symbol” making. However, Binder’s influence was nothingcompared to that of László Moholy-Nagy(1895–1946)—called by McVicker “the real bomb [that] hit town.”1Four years after Binder’s course, Moholy-Nagy was brought to Chicago by the local Association of Art and Industry, which includedthe Container Corporationof America, Montgomery Ward, Marshall Field,and R.R. Donnelley representatives. Moholy-Nagy and his “first lieutenant”Gyorgy Kepes(1906–2001) not only introducednewmethods and design principles butalso acquainted Chicagoans with a vocabulary thatredefined design thinking and designproblems, using phrases such as “articulation of space” and “interpenetration of planes.” McVicker mentions the following namesin his Print article; they arepresumably ADCC members. Their names arepresented here in alphabetical order: Franz Altschuler Frank Barr Bruce Beck Francis Chase Burton Cherry DeKovic-Smith Design Organization Gene Douglas Cliffe D. Eitel Stan Ekman William Fleming Fran and Ros Foley Morton Goldsholl M. Martin Johnson Elsa Kula Anne Edwards Lang Dale Maxey Everett McNear Phoebe Moore Dale Nichols Herbert Pinzke Bert Ray Harry B. Smith, Jr. Irving Tittel Harold Walter
McVicker, George. “European Influence on Chicago Designers,”Print:Magazineof the Graphic Arts7,no. 5 (March 1953): 26–33.
Armour Institute/Illinois Institute of Technology (IIT)
The Illinois Institute of Technology (IIT) is Ph.D.-granting private university in Chicago with programs in engineering, architecture, design, science, human sciences, applied technology, business, and law. One of the largest of its kind in the nation, IIT formed in 1940 with the merging of two technical schools: the Armour Institute, established in 1893 on the South Side by meat-packing industrialist Paul Danforth Armour, Sr. (1832–1901), and the Lewis Institute, a high school and junior college founded in 1895 from the estate of Allen Cleveland Lewis (1821–1877). Sharing complementary pedagogies, the consolidated institutes offered a professional education based on science, engineering, management, and the humanities. Other incorporations followed as IIT expanded the scope of its research and educational programs. The Institute of Design joined IIT in 1949 and the Chicago-Kent College of Law in 1969. Historically characterized by its active relationships with industries and businesses in Chicago, IIT is home to research centers such as the Nation Center for Food Safety and Technology and the IIT Research Institute. The IIT Main Campus is renowned worldwide for its modernist architecture. German-born architect Ludwig Mies van der Rohe (1886–1969) joined IIT as its first Director of Architecture in 1938 after the closure of the Bauhaus in Weimar by the Nazi regime. During his two-decade tenure at IIT, Mies not only reshaped the curriculum, leading to the reputation of IIT as “the New Bauhaus,” he also orchestrated the master plan of the campus. Envisioned by Mies as an icon of modernity, the IIT Main Campus was entirely reconceived and expanded in the 1940s and 1950s. Laid out following a uniform module determining the size and articulation of each building in relation to one another, the IIT campus was designed to embody rationality, clarity, and economy. Mies’s twenty-two buildings for IIT find their stylistic zenith in the aptly named S.R. Crown Hall (1956) which houses the College of Architecture, Planning, and Design. Conceptually groundbreaking, the building is characterized by its innovative exposed steel structure and its clear-span, column-less interior. S.R. Crown Hall received a National Historic Landmark status in 2001. Additionally, the campus features the Galvin Library (1962), Arthur Keating Hall (1966), and Hermann Hall (1961) by Skidmore, Owings & Merrill and the McCormick Tribune Campus Center (2003) by Dutch architect Rem Koolhaas.
50 Years Bauhaus: Additions on the Occasion of the Exhibition at Illinois Institute of Technology in Chicago, Illinois, 1969. Stuttgart: Wüttembergischer Kunstverein, 1969. Applebaum, Wilburn. “Illinois Institute of Technology.” In Encyclopedia of Chicago, edited by James R. Grossman, Ann Durkin Keating, and Janice L. Reiff, 49. Chicago: University of Chicago Press, 2004. “Armour Gives $1,000,000: Mrs. P.D. Armour Joins Her Son in Gift to the Armour Institute.” New York Times, April 11, 1901. “Armour Institute.” Chicago Daily Tribune, May 29, 1909. Armour Institute of Technology Collection, Special Collections and University Archives, University of Illinois at Chicago. Armour Institute of Technology Grade Books, 1985–1908, Paul V. Galvin Library, University Archives and Special Collections, Illinois Institute of Technology, Chicago. Armour Institute of Technology Records, Paul V. Galvin Library, University Archives and Special Collections, Illinois Institute of Technology, Chicago. Armour War Training Records, 1896–1931, Paul V. Galvin Library, University Archives and Special Collections, Illinois Institute of Technology, Chicago. Beeby, Thomas H. “Toward a Technological Architecture? Case Study of the Illinois Institute of Technology Commons Building.” Perspecta 31 (2000): 10–21. Blaser, Werner. Mies van der Rohe: IIT Campus, Illinois Institute of Technology, Chicago. Basel: Birkhäuser, 2002. Bluestone, Daniel. “Chicago’s Mecca Flat Blues.” Journal of the Society of Architectural Historians 57, no. 4 (1998): 382–403. Channick, Robert. “Oldest Building at IIT Sold, To Be Apartments: Redevelopment Will Have to Clear Historic Hurdles.” Chicago Tribune, February 1, 2017. Domer, Dennis. “Walter Peterhans and Visual Training at Illinois Institute of Technology.” Structurist no. 31–32 (January 1992): 44–51. Eisenman Architects. “Campus Center.” ANY: Architecture New York 24 (January 1999): 38–43. Grubiak, Margaret M. “Educating the Moral Scientist: The Chapels at I.I.T. and M.I.T.” Arris: Journal of the Southeast Chapter of the Society of Architectural Historians 18 (January 2007): 1–14. Hadid, Zaha. “Campus Center.” ANY: Architecture New York 24 (January 1999): 32–37. Harrington, Kevin. “S. R. Crown Hall.” In AIA Guide to Chicago, edited by Alice Sinkevitch, 387–390. Orlando: Harcourt Original, 2004. Henry T. Heald, Armour Institute Dean’s Records, 1920–1930, Paul V. Galvin Library, University Archives and Special Collections, Illinois Institute of Technology, Chicago. Hull, Mary. “The Home: Home—What Is It?” The Interior 26, no. 1295 (March 21, 1895): 407. Jones, Wes. “Mies-takes.” ANY: Architecture New York 24 (January 1999): 36–41. Koolhaas, Rem. “Campus Center.” ANY: Architecture New York 24 (January 1999): 14–19. Lambert, Phyllis. “Mie’s Student Union.” ANY: Architecture New York 24 (January 1999): 52–53. Levin, Miriam R., et. al. Urban Modernity: Cultural Innovation in the Second Industrial Revolution. Cambridge, Massachusetts: MIT Press, 2010. Lewis Institute Records, Paul V. Galvin Library, University Archives and Special Collections, Illinois Institute of Technology, Chicago. Lowrey, Jeannette. “Illinois Institute of Technology.” The Scientific Monthly 65, no. 6 (December 1947): 456–460. Ludwig Mies van der Rohe Collection, Ryerson and Burnham Archives, The Art Institute of Chicago. Macauley, Irene. The Heritage of the Illinois Institute of Technology. Chicago: Illinois Institute of Technology, 1978. Mayer, Harold M. and Wade, Richard C. Chicago: Growth of a Metropolis. Chicago: University of Chicago Press, 1969. Mertins, Detlef. “Design After Mies.” ANY: Architecture New York 24 (January 1999): 14–19. Mitchell, Ed. “This Is Only a Test.” ANY: Architecture New York 24 (January 1999): 28–35. “New Leadership at Illinois Tech.” Chicago Daily Tribune, May 22, 1952. Rice, Charles. “The Atmosphere of Interior Urbanism: OMA at IIT.” Architectural Design 78, no. 3 (May 2008): 88–91. Schulze, Franz. Illinois Institute of Technology: The Campus Guide: An Architectural Tour. New York: Princeton Architectural Press, 2005. Sejima, Kazuyo and Ryue Nishizawa. “Campus Center.” Special issue, ANY: Architecture New York 24 (1999): 26–31. Somol, R.E. “Five Easy Mieses.” ANY: Architecture New York 24 (January 1999): 20–27. Speaks, Michael. “The Singularity of OMA.” ANY: Architecture New York 24 (January 1999): 44–47. “Story of Armour Institute: School Established from Inspiration Contained in Sermon of Dr. Gunsaulus.” Chicago Daily Tribune, January 7, 1901. “The Armour Institute.” Manufacturer and Builder: A Practical Journal of Industrial Progress 25, no. 10 (October 1, 1893): 237. “The Armour Institute.” The Interior 23, no. 1178 (December 22, 1892): 3. Vinci, John. “Mies’ IIT Commons Building and Rem Koolhaas.” Structurist 41–42 (January 2001): 104–208.
Armour & Co., a meatpacking business, was established as Plankinton, Armour & Co. by John Plankinton (1820–1891) and Philip Danforth Armour (1832–1901) in 1863. Initially based in Milwaukee, the company saw tremendous growth during the American Civil War and went on to open branches in Chicago and Kansas City. Philip Armour relocated to Chicago in 1875 to manage the company’s office there, and Plankinton left the business in 1884. The Armour family assumed full responsibility for the company thereafter, with Jonathan Ogden Armour, Philip’s son, assuming leadership in 1901. Armour & Co. became one of the largest meatpacking businesses in the United States and, along with similar companies founded by George Hammond and Gustavus Swift, helped secure Chicago’s reputation as what poet Carl Sandberg called the “Hog Butcher for the World.” Packinghouses situated on the banks of the Chicago River and major railway expansions such as the development of the Union Stockyards in 1860 allowed for the easy importation of surplus livestock from midwestern farms into Chicago and the subsequent distribution of processed meats to consumers around the country. Twelve million cows and pigs passed through the Union Stockyards in 1890 alone. Historically, the production calendar of the meatpacking industry was dictated by the seasons, with meat processing and transportation occurring primarily in the cold, winter months to avoid spoilage. Technological advances in refrigeration enabled unprecedented year-round operations, and ice-chilled railcars allowed for the shipment of raw, dressed meats over long distances. Armour & Co. gained a competitive edge because it streamlined the meatpacking process, innovating steam hoists used to lift and move cow and pig carcasses and envisioning new purposes for meatpacking byproducts. The company worked with scientists to develop industrial and consumer goods from the non-comestible parts of the animals it processed. Bones and hides were either sold or used to make gelatin, leather goods, hair and paint brushes, candles and soaps, glue, fertilizer, glycerin, an inexpensive alternative to butter called oleomargarine, and ammonia. Armour envisioned the packing house of the future as a site that might eventually “include a tannery, a boot and show factory, a cloth mill and a mammoth tailor shop.” Efficiency was key to Armour & Co.’s success, as was its reliance on the underpaid, unregulated labor of immigrant communities in Chicago. Armour & Co. and other Chicago packing houses were the sites of significant labor organization at the turn of the century. Workers organized strikes in support of an eight-hour workday and wage increases, and the social reformer Jane Addams met with J. Ogden Armour in 1904 to advocate for the city’s packinghouse laborers. Upton Sinclair’s The Jungle (1906), which was based on interviews with laborers, representatives from Chicago’s settlement houses, and health inspectors, as well as his firsthand observations of slaughterhouses around the Union Stockyards, presented a damning view of the harsh working conditions and lack of sanitation standards in the industry. The book resulted in the passage of the Meat Inspection Act in 1906, which imposed new regulations and quality controls on meat packers. Armour & Co. accumulated great wealth as a result of the company’s business practices, and the Armour family supported many philanthropic causes in the city. Inspired by the sermons of Reverend Frank Wakely Gunsaulas, a minister at the Plymouth Congregational Church on the South Side, Philip D. Armour Sr. established the Armour Institute in 1886. The school offered vocational training for members of the working class with the goal of developing a skilled workforce that would propel industrial expansion. The school eventually merged with Lewis Institute, a trade school serving immigrant populations, to become the Illinois Institute of Technology (IIT) in 1940. German architect Mies van der Rohe was recruited to head the architecture department of the Armour Institute two years before the merger of the two schools. Along with Ludwig Hilberseimer and Walter Peterhans, colleagues from the German Bauhaus, Mies introduced a modernist design curriculum with a focus on drawing, construction methods, and the careful study of materials. Mies conceived of a comprehensive master plan for the Armour Institute and designed many of the buildings on its campus located in the Bronzeville neighborhood. In 1949, the Institute of Design, the design school founded by László Moholy-Nagy, another Bauhaus émigré, merged with IIT. Beyond its industrial innovations, Armour & Co. helped lay the foundation for an important chapter in Chicago’s design history as a supporter of what would become one of the city’s most storied architecture and design schools.
Barrett, James R. Work and Community in the Jungle: Chicago’s Packinghouse Workers, 1894–1922. Urbana: University of Illinois Press, 1987. Brody, David. The Butcher Workmen: A Study of Unionization. Cambridge, Massachusetts: Harvard University Press, 1964. Halpern, Rick. Down on the Killing Floor: Black and White Workers in Chicago’s Packinghouses, 1904–54. Urbana: University of Illinois Press, 1997. Hautzinger, Daniel. “When Chicago Was ‘Hog Butcher to the World.’” WTTW, June 21, 2018. https://interactive.wttw.com/playlist/2018/06/21/union-stock-yards. Hughes, Bob. “A Shelter for Artistic Young Ladies Makes Its Debut in 1912.” Chicago Tribune, March 2, 1986. Janega, James. “Meatpacking.” Chicago Tribune, August 8, 2014. https://www.chicagotribune.com/business/blue-sky/chi-meatpacking-top-chicago -innovations-bsi-series-story.html “Mob of 4,000 Men Charges Police: Most Serious Riot of the Packing House Strike Occurs Near West Stockyard Gates.” Chicago Daily Tribune, August 19, 1904. Pacyga, Dominic A. Slaughterhouse: Chicago’s Union Stock Yard and the World It Made. Chicago: University of Chicago Press, 2018. “Philip D. Armour, Jr., Dead: Younger Son of Chicago’s Millionaire Parker Stricken with Congestion of the Lungs in California.” New York Times, January 28, 1900. Potempa, Philip. “La Lumiere School Includes Armour Meats Connection.” Chicago Tribune, November 10, 2017. “Rejected Armour Meat: So Calvary on the March Had to Do Without It.” New York Times, July 24, 1906. Report of the Commissioner of Agriculture for the Year 1863. Washington: Government Printing Office, 1863. Sandberg, Carl. “Chicago.” Poetry: A Magazine of Verse 3, no. 6 (March 1914): 191. Schulze, Franz. Illinois Institute of Technology: The Campus Guide. New York: Princeton Architectural Press, 2005. Seigel, Jessica. “Meat-Packing Town’s Heyday Has Come and Gone, but Strong Flavor Remains.” Chicago Tribune, July 27, 1990. Skaggs, Jimmy M. Prime Cut: Livestock Raising and Meatpacking in the United States, 1607–1983. College Station: Texas A&M University Press, 1986. University of Wisconsin-Milwaukee. “Armour’s Food Source Map: The Greatness of the United States Is Founded on Agriculture.” American Geographical Society Library Digital Map Collection. https://collections.lib.uwm.edu/digital/collection/agdm/id/1967. University of Wisconsin-Milwaukee. “Nation’s Ever-Growing Food Problem Has Been Met by Packing Industry.” American Geographical Society Library Digital Map Collection. https://collections.lib.uwm.edu/digital/collection/agdm/id/1968. Wade, Louise C. Chicago’s Pride: The Stockyards, Packingtown, and Environs in the 19th Century. Urbana: University of Illinois Press, 1987. Wade, Louise Carroll. “Meatpacking.” Encyclopedia of Chicago. http://www.encyclopedia.chicagohistory.org/pages/804.html Washington, Jewell. “John Culloton, Chicago.” Chicago Tribune, April 14, 2012. Wisconsin Historical Society. “Armour, Philip Danforth 1832–1901.” Dictionary of Wisconsin History. https://www.wisconsinhistory.org/Records/Article/CS1650. Wisconsin Historical Society. “Historical Essay: Plankinton, John (1820–1891).” https://www.wisconsinhistory.org/Records/Article/CS4410. Winship, A. E. “The Meat Industry.” The Journal of Education 48, no. 1 (1185) (June 30, 1898): 22–24.
Built in 1924, the American Furniture Mart was a leader in home furnishings and innovative marketing in Chicago. Providing record square footage for the display of furniture manufactured by hundreds of factories from across the nation, the American Furniture Mart facilitated connections between producers, retailers, and consumers. By offering a space dedicated to the meeting of manufacturers, distributors, and clients, the American Furniture Mart bridged the gap between offer and demand that had arisen in an economy increasingly based on mass production. Designed by architects George C. Nimmons (1865–1947), Max Dunning (1873–1945), and Henry Raeder (d. 1943), the American Furniture Mart building reached a height of seventeen stories and was celebrated as the largest building in world at the time its completion. (Consisting of two parts, the east end of the building was constructed in 1924 and the west end in 1926.) Strategically built on a prestigious lakefront lot in downtown Chicago, the American Furniture Mart at 666 Lake Shore Drive offered two million square feet of modern exhibition spaces enclosed in a Gothic-inspired shell. The American Furniture Mart was created exclusively for members of home furnishings businesses and prohibited the public from admission. Its grandiose scale and lavish ornamentation not only expressed the prominence of Chicago in the furniture industry, but also the centrality of Chicago within a national network of design and manufacturing. The sumptuous interiors of the Furniture Club of America attracted leaders in the furniture industry, and its restaurant provided members with a convenient place to hold business meetings. The American Exposition Palace, also located at 666 Lake Shore Drive, hosted fairs and expositions organized for wholesale buyers. Chicago gradually experienced a downturn in its dominance in the furniture industry, in part due to internal competition, such as the completion of the Chicago Merchandise Mart in 1931. Furniture production also declined during World War II, when the United States government prioritized military needs and issued restrictions on the use of lumber by civilians. The activities of the American Furniture Mart ended in 1979. Since then, the building was converted into residential condominiums and offices. In 1988, it was renamed Lake Shore Place and issued a new address, 680 North Lake Shore Drive.
“Am. Furniture Mart Obtains 333 Building: Control Gained by Stock Purchase.” Chicago Daily Tribune, December 23, 1954. “American Furniture Mart Reorganization Approved by Court.” Chicago Daily Tribune, July 19, 1935. “American Furniture Mart—‘World’s Largest Building.’” Chicago Daily Tribune, February 8, 1925. “Attendance Up in Chicago: More Buyers at Furniture Mart Than Year Ago—Buying Brisk Furniture Stores to Expand Buying.” New York Times, July 13, 1949. Chase, Al. “Furniture Mart Will Be World’s Largest Building.” Chicago Daily Tribune, May 3, 1923. Chase, Al. “Furniture Mart Site Is Changed to Shore Drive.” Chicago Daily Tribune, December 15, 1922. “Chicago Housefurnishing Exposition.” Crockery & Glass Journal 100, no. 24 (June 11, 1925): 19. “Chicago’s Furniture Mart, $10,000,000 Building, Bombed.” New York Times, December 9, 1930. Darling, Sharon. Chicago Furniture: Art, Craft & Industry 1833–1983. Chicago and New York: The Chicago Historical Society in association with W.W. Norton & Company, 1984. Diesenhouse, Susan. “New 15-Year Lease Keeps Playboy Based in Chicago.” Chicago Tribune, August 23, 2006. Dombrowski, Louis. “Chicago Industries: Wind City Dynamic Leader in Home Furnishing Field.” Chicago Daily Tribune, May 29, 1961. Douglas, Anne. “Furnishings Mart Yields Many an Interesting Item.” Chicago Tribune, June 24, 1972. Douglas, Anne. “Summer Furniture Plays Bigger Year ‘Round Role.” Chicago Daily Tribune, October 20, 1957. “Exhibitor’s List for Mart Given.” Furniture Manufacturer and Artisan 86, no. 2 (August 1, 1922): 62. “Files Furniture Plan: Chicago Mart Would Reorganize Under Bankruptcy Act.” New York Times, April 3, 1935. Fuller, Ernest. “Famous Chicago Buildings: MART.” Chicago Daily Tribune, February 28, 1959. “Furnishings Sales Set New All-Time Peak.” Chicago Daily Tribune, March 23, 1951. “Furniture Mart to Be Built: Building Project for Chicago Is Assured—Work to Begin June 15 and Building Completed in May 1923.” Furniture Manufacturer and Artisan 23, no. 5 (May 1, 1922): 175. “Furniture Mart to Observe 25th Birthday at July Show.” Chicago Daily Tribune, March 14, 1949. “Furniture Shows Open: Record Number of Buyers Attend at Chicago’s Marts.” New York Times, July 7, 1936. “Furniture Trade Flocks to Chicago: 43,000 Buyers and Sellers Expected at 2-Week Show Opening There Today.” New York Times, January 9, 1956. Gantz, Carroll. Founders of American Industrial Design. Jefferson, North Carolina: McFarland & Company, Inc., 2014. Goodenough, Louis. “Home Goods Market Opens to Cautious Buying: Buyers Continue Demand for Lower Prices, Better Quality and Design—Few Allocations Needed.” Women’s Wear Daily 78, no. 2 (January 4, 1949): 2. Heise, Kenan. “Irving Rosenberg, 89; Owned Furniture Firm.” Chicago Tribune, October 24, 1986. “Home Goods Market Off to Brisk Start: Thousands Crown Chicago Opening.” Women’s Wear Daily 92, no. 6 (January 10, 1956): 1. Ibata, David. “Mart Gets New Name, Address, Outlook.” Chicago Daily Tribune, March 3, 1988. “Illinois Ready to Tell World Why It Prospers.” Chicago Daily Tribune, September 23, 1924. Jentz, John B. “Furniture.” In Encyclopedia of Chicago, edited by James R. Grossman, Ann Durkin Keating, and Janice L. Reiff, 49. Chicago: University of Chicago Press, 2004. Johnson, Abbey. “Trends in Furniture Styles Analyzed by Top Designers.” Chicago Daily Tribune, June 26, 1960. Knoch, Joanne. “Furniture Industry Polishes Its Display.” Chicago Daily Tribune, January 3, 1963. Korom, Joseph J. The American Skyscraper, 1850–1940: A Celebration of Height. Boston: Branden Books, 2008. Lewis, Caroline. “The Home Furnishings Show: What Does It Mean to You Homemakers?” Chicago Tribune, June 9, 1963. Markoutsas, Elaine. “Playboy Goes for Classic Lines.” Crain’s Chicago Business 13, no. 14 (April 2, 1990): 20. McLennon, C.M. America’s Greatest Furniture Mart. Chicago: Wells Company, 1925. “New Plastic Chair Made to Fit Body.” Chicago Daily Tribune, September 19, 1948. “‘New World Kitchen’ Is Introduced by G.E.” New York Times, January 4, 1951. Pulos, Arthur J. The American Design Adventure, 1940–1975. Cambridge, Massachusetts: MIT Press, 1990. “Registration for American Furniture Mart Breaks All Records.” Crockery & Glass Journal 103, no. 2 (July 15, 1926): 23. “Reports Rise in Furniture Growth Plan.” Chicago Daily Tribune, June 24, 1958. “Retail Furniture Reported on Rise: Home Goods Industry Survey Finds Refills Difficult for Some Merchants.” New York Times, September 14, 1949. “Retailers Shop as Home Goods Markets Open: Initial Activity Light at Chicago and Grand Rapids, with Optimism Shown on Future Business.” Women’s Wear Daily 82, no. 119 (June 19, 1951): 10. Scranton, Philip. Endless Novelty: Specialty Production and American Industrialization, 1865–1925. Princeton: Princeton University Press, 1997. Scranton, Philip. “Multiple Industrializations: Urban Manufacturing Development in the American Mid-West, 1880–1925.” Journal of Design History 12, no.1 (1999): 45–63. Sherlock, Barbara. “Thomas J. Lyman, 83; Leasing Executive Filled Furniture Mart Showrooms.” Chicago Tribune, May 5, 2005. Smythe, J.H. “The Chicago Market: American Furniture Mart.” Crockery & Glass Journal 104, no. 26 (June 30, 1927): 18. “Stetson China Company Makes Marked Progress: Chicago Concern Has Grown from Small Business with Five Employees to Large Manufacturing Organization Employing Eighty-Five People—Recently Opened Showroom in American Furniture Mart.” Crockery & Glass Journal 104, no. 1 (January 6, 1927): 13. Taylor, Lynn. “Home Furniture Market Begins.” Chicago Tribune, June 15, 1969. “Vaughn Lee Alward: Retired President of American Furniture Mart Was 65.” New York Times, July 6, 1938. Weigle, Edith. “Furniture Show Defines Spring Styles: Manufacturers’ Exhibit at American Furniture Mart Will Give Advance News to Retail Buyers.” Chicago Daily Tribune, January 3, 1932. “William H. Wilson Dies in Virginia: Official American Furniture Mart Was on Business Trip Began Work at 16.” New York Times, April 19, 1935.
esigners beyond Chicago and the Midwest, and its leadership began to include a mix of local and national board members. In 1989, as a result of this growth and enlarged geographic focus, STA changed its name to the American Center of Design (ACD). The organization continued to focus on design education and the elevation of public taste in graphic design, in addition to addressing the relationship of design and business through conferences, publications, seminars, and other programs. ACD was particularly concerned with new technologies, research, and ideas affecting the design profession. It explored these topics at its “100 Show,” a national curated design competition organized annually; through essays and criticism published in its design journals, including “Design Year in Review” and “People, Not Markets,” and in its “Quarterly Practice” newsletter; and at its “Annual Surfaces” conferences for professionals from the design and business sectors, the first of which was held in November of 1993. ACD also offered an annual conference every spring from 1991 to 1996 for students of design. These involved portfolio reviews and presentations by professionals in the field. ACD’s 1995 publication Interact included a CD-ROM with integrated content, demonstrating the organization’s interest in exploring new modes of interaction between print and digital design. ACD was recognized among I.D. (The International Design Magazine)’s inaugural “I.D. Forty” issue in 1993. Its editors highlighted the organization’s commitment to “generating debate about the focus, values, and judgments instrumental to the future of good design” and described ACD as “a rare resource of information” for designers. As ACD’s national visibility grew, it lost its local footing, membership among Chicago designers waned, and its financial future became tenuous. These difficulties were compounded as a growing number of new organizations and programs devoted to graphic design began to take hold in both business and design and as AIGA reestablished its regional chapters in cities like Chicago. ACD could not sustain itself in this environment and was liquidated by its board in April 2002. An ad-hoc group of former STA members based in Chicago continued to meet independently after the formation of the American Center for Design. This group committed themselves to securing Chicago’s graphic design history through conferences like Chicago by Design, organized by Jack Weiss and George Thompson in 1999, which assessed the holdings of design archives in Chicago, including those at the University of Illinois at Chicago, Chicago Historical Society (now the Chicago History Museum), the Newberry Library, and Northwestern University. STA formally organized as a new, separate organization in 1999 and continues its activities today.
“American Center for Design’s ‘Interact’ CD-ROM.” I.D. 42, no. 4 (August 1, 1995): 91. American Center for Design Records, 1927–1944, Chicago History Museum Research Center. Blauvelt, Andrew. “Calling for the New Imagists.” Eye 5, no. 17 (June 1, 1995): 84. Comberg, David. “Living Surfaces.” I.D. 43, no. 1 (February 1996): 90–91. Coupland, Ken. “The 100 Show: The Sixteenth Annual of the American Center for Design.” Graphis 50, no. 294 (December 1, 1994): 22. Coupland, Ken. “The 100 Show: The Nineteenth Annual of the American Center for Design.” Graphis 56, no. 328 (September 1, 2000): 12. Coyne, Patrick. “The ACD Conference on Interactive Media.” Communication Arts 36, no. 8 (February 1, 1995): 135–140. Daniels, Mary. Graphic Display. Chicago Tribune, February 9, 1992. “Design Student Grant, Miwa Wang, Institute of Design.” Statements 6, no. 3 (March 1991): 31. Dewey, Rob. The Society of Typographic Arts: A Seventy-five Year History. Edited by Jack Weiss. Chicago: The Society of Typographic Arts, 2002. Ehrenberg, Jennifer. “A Cold Eye: Dues and Don’ts.” Print 53, no. 3 (May/June 1999): 16–17. “Furthering the Faith: American Center for Design.” I.D. 1 (February 1993): 46. Hanson, Cynthia. “Taking a Wipe at Art.” Chicago Tribune, December 6, 1992. Heller, Steven. “Katherine McCoy, Educator, Designer, Writer.” Print 52, no. 4 (September 1998): 38. “Honorary Member Bill Moggridge.” Design Statements 9, no. 2 (June 1, 1994): 19. Kouri, Charles. “In a Changing World.” Statements 6, no. 2 (December 1, 1991): 18. “Living Surfaces.” I.D. 48, no. 5 (August 1, 2001): 78. Margolin, Victor. “Design History in the United States, 1977–2000.” The Politics of the Artificial: Essays on Design and Design Studies. Chicago and London: University of Chicago Press, 2002. McMillan, Sam. “Report from ACD: Design for the Internet.” Communication Arts 38, no. 8 (February 1, 1997): 131–136. Middleton, R. Hunter. “Twenty-five Years of STA History.” Print, March 1953. Mirapaul, Matthew. “Designing the Invisible Computer.” New York Times, October 28, 1999. Parker, Robert A. “Design: A Strategic Partnership with Business.” Communication Arts 35, no. 1 (April 1993): 28–32. Pratt, Steven. “Designer Cookbook Draws Upon Menus with Style.” Chicago Tribune, January 5, 1995. Society of Typographic Arts Records, Special Collections and University Archives, University of Illinois at Chicago. Spreenberg, Peter. “Designing a Multimedia Publication: American Center for Design Interact Journal.” CHI '95 Conference Companion on Human Factors in Computing Systems (May 1995): 89–90. Stangenes, Sharon, “50 Years of Logo-Motion.” Chicago Tribune, May 12, 1991. Steyer-Coyn, Stephanie. “The ACD Conference: Design for the Internet.” Communication Arts 37, no. 8 (January 1, 1996): 137. The Chicago Design Archive. “American Center for Design.” https://chicagodesignarchive.org/client/american-center-design. “The New Imagist: Expert without Qualities.” Statements: American Center for Design 11, no. 2 (1996): 8–12. “The Two McCoys: Collage and Montage: A Renowned Husband and Wife Team Talk about Design and the Elements of Blending.” Chicago Tribune, April 9, 1995. Tomcik, Andrew. “Graphic Design Triptypch.” Azure: Design Architecture & Art 9, no. 83 (September 1, 1992): 16.
AIGA (American Institute of Graphic Arts)
Established in 1914 as the American Institute of Graphic Arts, AIGA is the oldest professional organization devoted to design in the United States. Since its formation in New York, AIGA has grown to become one of the major professional associations dedicated to design in the United States and abroad. Its forty founding members included illustrator and designer F.G. Cooper (1883–1962) and typography pioneer Frederic W. Goudy (1865–1947) as well as prominent fine and commercial printers Hal Marchbanks (1877–1934) and William Edwin Rudge (1876–1931). The organization initially focused on the promotion of fine typography, bookmaking, and high-quality commercial printing. Responding to the new multi-faceted profession of the ‘designer,’ which emerged from the marketing needs of the flourishing American economy, AIGA helped to broaden the graphic arts into a diverse set of practices. As early as the 1920s, AIGA membership expanded to typographers, printers, illustrators, package designers, trademark designers, photographers, industrial designers, jewelry designers, and glass designers. It was also the first design association to accept women as members. Frances Atwater, a typographer at the New York Times, and Baltimore Museum of Art Director Florence N. Levy set this precedent. By the 1981, local AIGA chapters were initiated throughout the United States. As of 2010, the Chicago branch held a membership of 1,318. The association continues to connect practitioners, survey the field, and discuss developments. With a national membership of seventy chapters and 26,000 design practitioners, scholars, and students, AIGA is the largest design association in the nation, sponsoring design exhibitions, publications, lectures, workshops, and professional awards.
Challos, Courtney. “City Seeks Simpler Ballot: Officials Elect to Ask for Proposals from Graphic Designers.” Chicago Tribune, November 29, 2000. Challos, Courtney. “Redesigned Election Ballot to Get Trial Run in Primary.” Chicago Tribune, January 8, 2001. “Editorials: How to Make a Better Ballot.” Chicago Tribune, December 3, 2000. Emmett, Burton. “A.I.G.A. Spirit—What Is It?” July 10, 1924. http://www.aiga.org/aiga-spirit-what-is-it. “FLOR Recipient of AIGA Chicago Corporate Design Leadership Award.” PR Newswire, June 9, 2011. Heller, Steven and Marie Finamore, ed. Design Culture: An Anthology of Writing from the AIGA Journal of Graphic Design. New York: Allworth Press, 1997. Heller, Steven and Nathan Gluck. “Seventy-Five Years of AIGA.” http://www.aiga.org/aiga/content/inspiration/seventy-five-years-of-aiga/ “IIT Institute of Design Receives AIGA Corporate Design Leadership Award.” States News Service, February 2, 2005. Margolin, Victor. “Graphic Design in Chicago.” In Chicago Architecture and Design, 1923–1993: Reconfiguration of an American Metropolis, edited by John Zukowsky, 283–301. Munich: Prestel, 1993. Margolin, Victor and Robert Perlman, ed. Chicago Graphic Design: The Best of Chicago Graphic Design, with Essays on Past and Future Trends. Rockport, Massachusetts: RWP and Rockport Publishing, 1994. “Morningstar Receives AIGA Chicago Chapter Corporate Design Leadership Award.” PR Newswire, May 21, 2010. Mortell, Constance L. “Poetry Partners.” Chicago Tribune, March 14, 1996. “News of Authors and Books.” Chicago Daily Tribune, November 17, 1923. Sullivan, Barbara. “Morton International’s Report Wins in Midwest Competition.” Chicago Tribune, November 14, 1995. The American Institute of Graphic Arts. “AIGA: About.” http://www.aiga.org/about/. The American Institute of Graphic Arts. AIGA Chicago: 2009/2010. Chicago: Lake County Press, 2010. The American Institute of Graphic Arts. “AIGA Chicago: Mission.” https://chicago.aiga.org/about-us/mission/ The American Institute of Graphic Arts. AIGA Chicago: Snapshots 2006/2007. Chicago, Illinois: Lake County Press, 2007. The American Institute of Graphic Arts. “AIGA Design Archives: About.” http://designarchives.aiga.org/#/about The American Institute of Graphic Arts. “AIGA: FAQs.” http://www.aiga.org/faqs. The American Institute of Graphic Arts. “AIGA History Timeline.” http://www.aiga.org/history-timeline. “Typographic Art Group Sponsors Two Exhibits.” Chicago Daily Tribune, June 16, 1956.
A.C. McClurg & Co., a book publishing house and the first stationery business in Chicago, began in 1844 as W.W. Barlow & Co. Within five years of its establishment, the company underwent several transitions in ownership and partnership, with its name changing to S.C. Griggs & Co. and then to Griggs, Bross & Co. In 1859, Alexander C. McClurg (1832–1901) was hired as a clerk. McClurg was born in Philadelphia and moved to Pittsburg with his family. He attended the University of Western Pennsylvania and graduated from Miami University in 1853 with a degree in law. He passed the bar but never pursued a profession in law. After inquiring about employment via letter, McClurg moved to Chicago and began working at S.C. Griggs & Co. In 1861, McClurg enlisted as a private soldier in the Union Army. He encountered action early in his military career. Based on his meritorious services, he was promoted Captain of the Eighty-Eighth Illinois Volunteer Infantry Regiment, and, by the end of the war, he had achieved the status of Lieutenant General. Leaving the service with honors, McClurg returned to his appointment at S.C Griggs & Co. In 1868, a blaze destroyed the entire inventory of S.C. Griggs. In 1871, a second disaster—the Great Chicago Fire—once again annihilated the store. After McClurg, E.L. Jansen, and F.B. Smith purchased S.C. Griggs’s shares, the company became known as Jansen, McClurg & Co. until Jansen’s retirement in 1886. Thereafter, it presumed its longest-lasting name: A.C. McClurg & Co. In 1876, McClurg married Eleanor Wheeler (1847–1905), an heiress and niece of Chicago mayor William B. Ogden. The retail business S.A. Maxwell & Co. sold their wholesale and retail book business and stationery business to A.C. McClurg & Co. in 1890. McClurg went on to expand the business, making his company a staple in midwestern publishing and a dominant presence on a national scale. McClurg paid special attention to the book departments, often traveling abroad to find rare books for the company and bookstore. He published the popular monthly literary magazine The Dial from 1880 to 1892. Charles Wilder Davis managed the publishing department until his death in 1898. In addition to its publishing house, the firm supplied general stores with top-of-the-line stationery and writing instruments, for which wholesale department head John B. Fay traveled to Europe to procure. Serving as a wholesaler to retailers in the Midwest and western United States, A.C. McClurg & Co. also supplied toiletry goods such as toothbrushes, hair combs, and druggists’ items. The business succumbed to yet another fire on February 12, 1899, this time at its five-story red brick building on Wabash Avenue and Madison Street, which McClurg & Co. had occupied for sixteen years. As the Chicago Daily Tribune news story noted, “Bibliophiles all over the country will feel a sense of personal loss in the destruction of ‘Saints and Sinners Corner,’ the southwestern corner of the ground floor of the McClurg Building, which was given up to George M. Millard and rare literary treasures. The department was established in 1874, and Mr. Millard has managed it ever since.” Following this misfortune, McClurg announced he would retire from the business and focus on his literary interests. When the company was reorganized, he distributed some stock to his employees and offered shares to them at a reasonable rate. He died in 1901 from Bright’s disease and was buried at Graceland Cemetery, where a sixteen-foot granite Celtic cross marks his family plot. Built after the fire in 1899 and located in the Loop, the McClurg Stationers and Booksellers Building was designed by the Chicago School architectural firm Holabird & Roche. The historic nine-story skyscraper entered the National Register of Historic Places in 1970. As Joseph J. Korom, Jr. describes in The American Skyscraper, 1850–1940: “The McClurg is hidden on Wabash Street, just south of Adams. Its noisy mid-block location places it adjacent to the elevated train tracks of the Wabash line, and just south of an iron-trussed commuter station perched level with its second floor. Here is a microcosm of fin de siècle Chicago where immediate access to public transportation was paramount to a skyscraper’s tenants, customers, and the ultimate economic success of the skyscraper itself.” Although the building lacked windows on its sides, Holabird & Roche remedied the absence of sunlight with nine thousand square feet of windows on the building’s façade. In subsequent years, A.C. McClurg & Co. moved away from collecting rare and fine books and turned toward publishing new works, including Edgar Rice Burroughs’s commercially successful Tarzan of the Apes novels. One of A.C. McClurg and Co.’s most culturally and historically significant publications was sociologist and activist W.E.B. Du Bois’s collection of essays The Souls of Black Folk (1913). In 1923, A.C. McClurg sold its Wabash Street shop to Bretano’s, a bookstore established in New York by August Brentano, to focus on its wholesale operations. A.C. McClurg remained in business until its liquidation in 1962.
“A Richly-Attired Thief: Caught Shop-Lifting at A.C. McClurg & Co.’s by a Clerk.” Chicago Daily Tribune, March 9, 1888. A.C. McClurg & Co. A.C. McClurg & Co.’s Catalogue of Fine and Rare Imported Books. Chicago: The Company, 1907. A.C. McClurg & Co. A.C. McClurg & Co.’s Illustrated Price List of Blank Books, Stationery, Photograph Albums, Holiday Goods, Etc., Etc. Chicago: The Company, 1886. A.C. McClurg & Co. A Classified Catalogue of 3,500 Volumes Suitable for a Public Library. Chicago: A.C. McClurg & Co., 1901. A.C. McClurg & Co. Illustrated Holiday Catalogue, 1895–6. Chicago: A.C. McClurg & Co., 1895. A.C. McClurg & Co. Records, The Newberry Library, Chicago. “A.C. McClurg Acquired.” Chicago Tribune, December 28, 1966. Babcock, Frederic. “Among the Authors.” Chicago Daily Tribune, July 14, 1946. Biographical Sketches of the Leading Men of Chicago. Chicago: Wilson & St. Clair, 1868. Butcher, Fanny. “The Literary Spotlight.” Chicago Daily Tribune, July 23, 1950. Butcher, Fanny. “The Literary Spotlight.” Chicago Daily Tribune, July 26, 1959. “Charles Wilder Davis Dead: Commander of the Loyal Legion and Connected with A.C. McClurg & Co.” Chicago Daily Tribune, December 16, 1898. “Chicago Real Estate: Mandel Bros. Lease the Old M’Clurg Building Site; Form Intends Erecting a Fireproof, Nine-Story Structure on the Wabash Avenue and Madison Street Corner, Connecting with Their Stores.” Chicago Daily Tribune, June 24, 1900. Clark, Herma. “When Chicago Was Chicago.” Chicago Daily Tribune, February 9, 1947. “Contract for Books Awarded: Public Library Trustees Will Buy New American Works from A.C. McClurg & Co.” Chicago Daily Tribune, June 28, 1904. Cottenet, Cécile. Race, Ethnicity, and Publishing in America. New York: Palgrave Macmillan, 2014. “Death of A.C. McClurg; Head of Chicago Publishing House Expires at St. Augustine, Where He Went to Seek Health.” New York Times, April 16, 1901. Dietrich, Lucas. “Across the Color Line: Race, Reception, and the U.S. Literary Marketplace, 1877–1920.” PhD diss., University of New Hampshire, 2015. Dietrich, Lucas. “At the Dawning of the Twentieth Century: W.E.B. Du Bois, A.C. McClurg & Co., and the Early Circulation of The Souls of Black Folk.” Book History 20 (2017): 307–329. Drury, John. Dedicated to the Friends, Customers, and Employees of A.C. McClurg & Co. on the Occasion of Its Centennial, 1844–1944. Chicago: A.C. McClurg, 1944. Du Bois Papers, Special Collections and University Archives, University of Massachusetts Amherst Libraries. Dzwonkoski, Peter, American Literary Publishing Houses, 1638–1899. Detroit, Michigan: Gale Research, 1986. “Erase All Social Lines: Women of St. James’ Church Guests at a Tea; Mrs. A.C. McClurg Invites Every Member, Irrespective of Husband’s Calling—Several Hundred Attend the Reception in Lake Shore Drive Residence—Plans for Raising $75,000 Endowment Fund Are Discussed Informally.” Chicago Daily Tribune, December 11, 1904. “Expansion on State Street.” Chicago Daily Tribune, June 24, 1900. Federal Writers’ Project, Illinois. Illinois: A Descriptive and Historical Guide. Chicago: A.C. McClurg & Co., 1947. “Gen. M’Clurg’s Apologies.” Chicago Daily Tribune, September 9, 1888. “General A.C. M’Clurg, Who Died Yesterday.” Chicago Daily Tribune, April 16, 1901. “House of General A.C. McClurg, Lake Shore Drive, Chicago, Ill.” American Architect and Building News 36 (April 16, 1892): 46, pl. 851. Illustrated Holiday Catalogue, 1895–6. Chicago: A.C. McClurg and Co., 1895. Korom, Jr., Joseph J. The American Skyscraper, 1850–1940: A Celebration of Height. Boston: Branden, 2016. “Lenten Sewing by Women Will Benefit Hospitals: Mrs. A.C. McClurg and Her Friends Have Prepared 1,600 Garments to Be Given to the Needy.” Chicago Daily Tribune, March 29, 1904. “Maxwell Confirms the Sale: A.C. McClurg & Co. Are Now Proprietors of His Establishment.” Chicago Daily Tribune, January 1, 1891. “M’Clurg’s Store in Ruins: Big Bookhouse and Contents at Madison and Wabash Burn; Blaze Starts at 10 A.M. Simultaneously with an Explosion on the Third Floor, and in Three Hours the Ruin Is Complete—Plans for Erecting a New Building Under Consideration—Water Damages Mandel Bros. and Others—Total Loss $650,000.” Chicago Daily Tribune, February 13, 1899. McClurg, A.C. “From A.C. McClurg & Co.” The Literary World: A Monthly Review of Current Literature 29, no. 4 (February 19, 1898): 58. “McClurg Has Completed Its First Hundred Years.” Publishers’ Weekly 146 (September 2, 1944): 814–819. “McClurg’s New Building: 120-Year Old Firm to Start Its Plant on Anniversary.” Chicago Tribune, August 2, 1963. McIlvaine, Mabel. Reminiscences of Chicago during the Civil War. Chicago: R.R. Donnelley , 1914. Morris, Charles, ed. Men of the Century: An Historical Work Giving Portraits and Sketches of Eminent Citizens of the United States. Philadelphia: Hamersly & Co., 1896. Morris, Jack Cassius. “The Publishing Activities of S.C. Griggs and Company, 1848–1896; Jansen, McClurg and Company, 1872–1886; and A.C. McClurg and Company, 1886–1900; with Lists of Publications.” MLS thesis, University of Illinois, 1941. “Mosaics.” The Inland Architect and News Record 42, no. 2: (April 1903): 24. Mott, Frank L. A History of American Magazines, Volume III: 1865–1885. Cambridge: The Belknap Press of Harvard University Press, 1938. “Mrs. Carter Harrison Writes Travel Book.” Chicago Daily Tribune, December 23, 1918. “New Location for M’Clurg: Firm Takes Up Temporary Quarters in Keith Building—Fire in Open Board of Trade.” Chicago Daily Tribune, February 14, 1899. “New Store for M’Clurg: Arrangements Made for Erection of Large Building; Proprietors of Book Concern Negotiating with Several Firms—Announce Present Quarters Are Temporary and Expected to Be in New Establishment by Fall—Fail to Reach Terms with Rutters, Who Own Site of Fire-Wrecked House.” Chicago Daily Tribune, February 28, 1899. “Plan to Continue Business: Members of McClurg & Co. Discuss Schemes for a New Building on the Old Site.” Chicago Daily Tribune, February 13, 1899. “Recent Realty Sales and Leases: A.C. McClurg & Co. Will Continue to Occupy Their Present Quarters.” Chicago Daily Tribune, April 11, 1897. “Residence of A.C. McClurg, Chicago.” Inland Architect and News Record 20 (December 1892): 58. “Says Book Ridicules Him: W.H. Lytell Sues A.C. McClurg & Co., Publishers, for Damages; Story of Theatrical Life; Manager ‘Bill Truetell’ Alleged to be Caricature of Plaintiff.” Chicago Daily Tribune, May 26, 1909. Smith, Frederick B. A Sketch of the Origin and History of the House of A.C. McClurg. Chicago: A.C. McClurg & Co., 1902. Smith, Harold Bryon and Griggs, S.C. Chicago Book Trade. Chicago: S.C. Griggs & Company, 1858–1860.
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 Laboratories participated in the Century of Progress International Exposition. Pamphlets produced by Abbott Laboratories for the Chicago World’s Fair, include “Halibut: The Interesting Fish That Cannot Live in an Aquarium,” lauding the health benefits of halibut liver oil capsules, and “The Food You Have Never Seen,” an informative brochure on vitamins. Dr. Ernest H. Volwiler, then vice president of Abbott Laboratories, and Dr. C.J. Barborka, a nutrition specialist at Northwestern University, delivered speeches at the dedication ceremonies for the Hall of Science. The Abbott Laboratories’ exhibition displayed pure vitamins in crystallized form and demonstrated the applications of vitamins by the pharmaceutical industry. Four years earlier, in 1929, Dr. Christiaan Eijkman and Sir Frederick Gowland Hopkins had shared the Noble Prize in Physiology or Medicine for their advances in the field of vitamins. By the mid-1930s, multivitamin products manufactured by pharmaceutical companies were widely available and heavily advertised. Abbott Laboratories hired Chicago-based graphic designer Bert Ray as the art director of its company magazine What’s New, which debuted in 1935. A founding member of the Twenty-Seven Chicago Designers, Ray’s award-winning designs for the magazine introduced art and design to the genre of pharmaceutical publications. Ray was praised as a forerunner in “the application of design to pharmaceutical advertising.” During his tenure at Abbott Laboratories, Ray also taught commercial design courses in “production processes for advertising design students” at the School of the Art Institute of Chicago. Abbott Laboratories was a long-term client of Chicago calligrapher and designer Raymond F. DaBoll whose correspondence with Abbott Laboratories, original artwork, and printed specimens are available to researchers at the Newberry Library. The Chicago History Museum Research Center holds photographs of Abbott Laboratories facilities by the Chicago photography firm Hedrich-Blessing as well as a selection of archival materials related to the pharmaceutical company. Beginning in the 1940s, Abbott Laboratories became one of the first mass producers of penicillin. The following decade, Abbott Laboratories began distributing the sugar substitute Cyclamate. As its first foray into consumer products, Cyclamate was initially a profitable product for Abbott Laboratories and was marketed as a safe alternative to sugar for people with diabetes. Its popularity rose as diet-conscious Americans replaced sugar with Cyclamate in their beverages and cooking; however, in 1970, the Food and Drug Administration (FDA) classified Cyclamate as a carcinogen and banned further production. In 1967, Chicago businessman Edward J. Ledder was appointed the president of Abbott Laboratories, ushering in a new era for the company that included consumer products in addition to its standard pharmaceutical production. Ledder hired former Revlon associate Melvin Birnbaum to manage the transition, and the diversification strategy proved fruitful. Over the years, Abbott has produced numerous consumer products in the fields of nutrition, healthcare, and vision, including Similac baby formula, the electrolyte solution Pedialyte, Selsun Blue medicated shampoo, Pream nondairy coffee creamer, and Murine eye drops. During the 1980s, Abbott Laboratories produced electronic testing methods that provided more accurate results than their analogue counterparts, receiving great support from hospitals across the country. In 1985, Abbott Laboratories received FDA approval for the first blood-testing kit for the human immunodeficiency virus (HIV). In 2000, the company introduced drugs to treat and prevent the spread of HIV, most notably the drug Kaletra, which showed fewer side effects than other treatments on the market. That same year, Abbott received FDA approval for their drug Humira for the treatment of autoimmune diseases such as rheumatoid arthritis, Crohn’s disease, and psoriasis. Abbott Laboratories has remained successful into the twenty-first century, exceeding sixteen billion dollars in annual sales and employing nearly seven thousand Chicago-area employees. In 2012, the company split in two, with the medical device and consumer product branches retaining the name Abbott Laboratories and the pharmaceutical branch renamed AbbVie Inc. The decision to split was made primarily in the interest of shareholders who were increasingly skeptical of the investment risks in a company with such a wide range of products and fields. As of 2017, Abbott Laboratories produces products for consumers and healthcare professionals. They divide their products into six categories: Nutrition, Diagnostics, Vascular, Vision, Diabetes Care, and Pharmaceutical.
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 Resources at the University of Illinois at Chicago.” Design Issues 3, no. 2 (Autumn 1986): 37–36. Margolin, Victor, et. al. Chicago Graphic Design: The Best of Contemporary Chicago Graphic Design with Essays on Past and Present Trends. Edited by Rob Dewey. Natick, MA: RWP/RP Elite Editions, 1994. Mary Gehr Papers, The Newberry Library, Chicago. “New President of Dartmouth Here March 29.” Chicago Sunday Tribune, March 24, 1946. “Obituaries: Bert Ray.” Chicago Tribune, November 17, 1969. “Obituary: Wallace Calvin Abbott, M.D., Chicago, Ill.” Medical Record 100, no. 3 (July 16, 1921): 114. Raymond Franklin DaBoll Papers, The Newberry Library, Chicago. Remington, R. Roger. Lester Beall: Trailblazer of American Graphic Design. New York: W.W. Norton, 1996. Richmond A. Jones Design Papers, Special Collections and University Archives, University of Illinois at Chicago. Sawyers, June Skinner. Chicago Portraits: New Edition. Foreword by Rick Kogan. Evanston, Illinois: Northwestern University Press, 2012. Snyder, Gertrude and Alan Peckolick. Herb Lubalin: Art Director, Graphic Designer, and Typographer. New York: American Showcase, 1985. Spigel, Lynn. TV by Design: Modern Art and the Rise of Network Television. Chicago: University of Chicago Press, 2008. Trasoff, Victor. “Pharmaceutical Advertising Design.” Graphis 9, no. 47 (March 1, 1953): 205–21, 247–49. W.C. Abbott.” American Druggist and Pharmaceutical Record 69, no. 8 (August 1, 1921): 59. Wilson, Mark R. “Abbott Laboratories.” Encyclopedia of Chicago. http://www.encyclopedia.chicagohistory.org/pages/2522.html.
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 production of the publication. Twenty-Seven thus offers insight into the landscape of commercial businesses that fueled the growth of Chicago’s robust advertising industry. Many well-known designers participated in 27 Chicago Designers, including Oswald Cooper, R. Hunter Middleton, and Edgar Miller, three of the group’s founding members. The group maintained a membership of twenty-seven designers at all times. New members were initiated through a vote of the existing membership as space became available. A total of one hundred twenty-eight designers would eventually participate. John Massey and Rick Valicenti, who joined in 1969 and 1986 respectively, attained international acclaim. Bobbye Cochran, who became a member in 1986, was honored as Adweek Magazine’s “1984 National Illustrator of the Year.” She was the first woman to be recognized with this distinction. In 2016, the Richard J. Daley Library at the University of Illinois at Chicago presented Selling Design: 27 Chicago Designers 1936–1991, an exhibition marking the eightieth anniversary of the establishment of the organization. Jack Weiss, a former chairman of 27 Chicago Designers and co-curator of the exhibition with design historian Lara Allison, has invested considerable energy into preserving the history of the group. The Special Collections and University Archives at the Daley Library maintain the administrative records of the organization and a complete collection of the thirty-eight books published by 27 Chicago Designers between 1936 and 1991, when the association dissolved.
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. Chicago: 27 Chicago Designers, 1986. Twenty-Seven Chicago Designers Collection. Special Collections. Richard J. Daley Library, University of Illinois at Chicago. Weiss, Jack. “Exhibition to Honor 80th Anniversary of 27 Chicago Designers.” Graphic Design USA. http://gdusa.com/blog/exhibit-to-honor-80th-anniversary-of-27-chicago-designers. Yaqub, Reshma Memon. “Whimsy and Widgets.” Chicago Tribune, July 4, 1993. Young, Chris. “Henry John Robertz, 77; Designer Was an Industry Innovator.” Chicago Tribune, June 25, 2004.
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 for the Society for Crippled Children entitled Bibliography of the Education and Care of Crippled Children: A Manual and Guide to the Literature Relating to Cripples Together with an Analytical Index. McMurtrie’s contributions to the rehabilitation movement involved national speaking engagements and the publication of printed materials. In his analysis of McMurtrie’s role in the movement, historian Brad Byrom explains, “As a prosperous businessman in the craft of printing, McMurtrie’s wealth and position allowed him to become a filter through which the vast bulk of information concerning the movement passed.” According to Byrom, McMurtrie was among the most influential advocates in the rehabilitation movement and one of many reformers with professions outside of medicine. “To him, the most important aspect of rehabilitation involved changing traditional attitudes toward disabled people. McMurtrie held the nondisabled primarily responsible for the dependency that characterized America’s crippled population.” McMurtrie and likeminded advocates campaigned in opposition to medical rehabilitationists, including doctors, who fallaciously blamed disabled individuals for their moral weaknesses and pathologized dependency. During World War I, McMurtrie was the director of the Red Cross Institute for Crippled and Disabled Men which offered physical and psychological rehabilitation, vocational job training, and job placement. The founding of the Institute for Crippled and Disabled Men by the Red Cross in 1917 predates the establishment of the United States Veteran Bureau by four years. While the Institute was formed to help disabled civilians, its initiatives soon focused on the rehabilitation of injured soldiers. By the end of the war, 224,000 soldiers had suffered injuries and approximately 4,400 returned from the war with fully or partially amputated limbs. An estimated forty thousand soldiers were discharged after sustaining psychological trauma, then called “shell shock” (today categorized as post-traumatic stress disorder). According to one 1918 newspaper article, McMurtrie was “considered the American pioneer in the field of re-education for soldiers incapacited as a result of their service, and probably the foremost authority in this country on the subject.” His essay “The High Road to Self-Support” was published by the Surgeon General. The Red Cross Institute published McMurtrie’s compilation A Bibliography of the War Cripple in 1918. According to American studies scholar John M. Kinder, “Under the direction of Douglas McMurtrie, it produced over fifty different pamphlets, broadsheets, and monographs on rehabilitation work within the first year of the Armistice. In 1918, the institute distributed six million copies of McMurtrie’s flyer Your Duty to the War Cripple in New York customers’ utility bills.” McMurtrie then worked as a freelance designer and printing broker in New York. His work attracted the attention of Ingalls Kimball, the co-designer of the Cheltenham typeface, who hired him as a general manager of the Cheltenham Press. However, McMurtrie became dissatisfied with the lack of opportunity to create and publish his own designs. In 1917, McMurtrie was hired to be the director of the Columbia University Printing Office but left the position in 1919 when the university sold all of their printing equipment due to insufficient funding and production. Afterwards, McMurtrie became the president of the Arbor Press for two years. McMurtrie was concerned that popular typographies were beginning to look similar and the variations were becoming smaller. In response to this problem, McMurtrie established a modern printing plant in the countryside of Greenwich, Connecticut in 1921 with the goal of producing high-quality prints without the distractions of the urban environment. Unfortunately, the plant could not produce enough capital to support its productions. He sold it to Condé Nast Publications but remained its manager. During this time, he designed and published his own typefaces, such as the McMurtrie Title and Vanity Fair Capitals, and was a major contributor to the format of the New Yorker magazine. In 1923, McMurtrie left Condé Nast Publications to freelance in New York again. From 1925 to 1926, he was the editor of Ars Typographica, a periodical that featured prints of many types. McMurtrie was also crucial in the forming of the Continental Typefounders Association in 1925, an organization that encouraged typography exchanges between European nations and the United States. McMurtrie was responsible for the importation of Cochin and Didot. In 1927, he left his position with the periodical and moved to Chicago to become the typographic editor of the Cuneo Press. One of the most notable books he published in 1927 is The Golden Book which compiles the history of printing and was revised in 1938 and renamed The Book. His time at the Cuneo Press was brief. In 1928, he joined the advertising and public relations departments of the Ludlow Typograph Company. McMurtrie moved to the company because they supported and funded his research and writing endeavors in bibliography. During his tenure at Ludlow Typograph Company, he established himself as a leading historian of typography and published more than five hundred bibliography books, among them the Chicago-themed The First Printers of Chicago: With a Bibliography of the Issues of the Chicago Press, 1836–1850 (1927) and A Bibliography of Chicago Imprints, 1835–1850 (1944). Although he is the only named author of these books, McMurtrie employed several researchers and writers and distributed the workload among them. In 1936, he had planned to write and publish a four-volume history of printing in the United States, but only two books covering the Middle and Southern Atlantic states would be finished. In 1936, McMurtrie was invited to direct a Federal Works Progress Administration project that aimed to organize and create archival systems and spaces. Called the American Imprints Inventory, the ambitious federal work relief project endeavored to compile “a comprehensive listing of all early American imprints extant in American libraries, archives, and historical institutions.” As director, McMurtrie encountered an array of difficulties that led to his involuntary resignation in 1941. Afterwards, the Newberry Library in Chicago carried on the project and eventually deposited over fifteen million unpublished cards at the Library of Congress. His second involvement with another WPA initiative led to thousands periodical indexes but went unpublished and was later transferred to Michigan State University. McMurtrie used his personal imprint Eyncourt Press to publish a few pieces of erotica and The Stone Wall: An Autobiography (1930), written by Ruth White Fuller (1864–1935) under the pen name Mary Casal. Considered one of the earliest books in American literature to tell the life story of a lesbian, The Stone Wall is likely the namesake of the Greenwich Village tearoom founded that same year by Vincent Bonavia. The reference to the book title may have signaled that lesbians were welcome there. Later known as the Stonewall Inn, the gay bar and tavern became the pivotal site of the 1969 riots that sparked the LGBTQ liberation movement. McMurtrie’s publication of erotica and The Stone Wall via Eyncourt Press may seem uncharacteristic of his overall design and research practice. However, his series of articles on prostitution and sexuality, with titles such as “Attraction Between Inverts of the Opposite Sex” and “Lesbian Assemblies,” from the 1910s provide some precedent for these interests. In 1944, Douglas C. McMurtrie died of heart disease at the age of fifty-six. At the time of his death, he was living at 950 Michigan Avenue in Evanston and working on a book about the European underground press. He was buried in Graceland Cemetery. McMurtrie and his wife Adele Kohler, who were married in 1915, had three children: Havelock Hayden, Helen Josephine Hodgson, and Thomas Baskerville.
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, Douglas C. Appropriate Typographical Style in Public Health Printing. Greenwich, Connecticut: Condé Nast Press, 1924. McMurtrie, Douglas C. Bibliography of the Education and Care of Crippled Children: A Manual and Guide to the Literature Relating to Cripples Together with an Analytical Index. New York: Douglas C. McMurtrie, 1913. McMurtrie, Douglas C. “Intelligent Book Collecting Requires Specialization.” The Paterson Morning Call, March 7, 1940. McMurtrie, Douglas C. “Locating the Printed Source Materials for United States History.” The Mississippi Valley Historical Review 31, no. 3 (1944): 369–406. McMurtrie, Douglas C. “Papermaking: The History and Technique of an Ancient Craft.” The American Historical Review 49, no. 1 (1943): 82–83. McMurtrie, Douglas C. “Rebuilding of Crippled Host After the War.” The Charlotte News, May 5, 1918. McMurtrie, Douglas C. “Reducing the Cost of Disability in the Hardware Trade.” American Artisan and Hardware Record 77, no 11 (1919): 26. McMurtrie, Douglas C. The Duty of the Medical Profession in the Reconstruction of the War Cripple. New York: American Red Cross, 1918. McMurtrie, Douglas C. The First Printers of Chicago: With a Bibliography of the Issues of the Chicago Press, 1836–1850. Chicago: Cuneo Press, 1927. McMurtrie, Douglas C. “The First Printers of Illinois.” Journal of the Illinois State Historical Society 26, no. 3 (1933): 202–221. McMurtrie, Douglas C. “The Medical Professional After the War.” American Medical Association Journal 71 (November 16, 2018): 1663–64. McMurtrie, Douglas C. The Typography of a Small Newspaper: An Address at the Meeting of the Illinois Press Association. Chicago: Ludlow Typograph Company, 1928. McMurtrie, Douglas C. Typography of Magazines and House Organs. Chicago: Privately printed, 1935. McMurtrie, Douglas C. Typography Which Delivers the Sales Message: Proofs of Alternative Settings of the Same Copy to Illustrate a Talk by Douglas C. McMurtrie. Chicago: Ludlow Typograph Company, 1938. “McMurtrie, Expert on Printing, Dies.” Windsor Star, September 30, 1944. “Newspaper Composing Room Executives Hear Widely-Known Typography Expert: Douglas C. McMurtrie of Chicago Addresses 52 Members of Association at Semi-Annual Banquet, on Effective Advertising Displays.” Burlington Free Press, May 20, 1940. “The Future Welfare of Our Men Crippled in the Service.” Morning Chronicle, May 13, 1918. “To Tell How to Aid War-Made Cripples: Douglas C. McMurtrie Will Make Three Addresses.” Democrat and Chronicle, August 27, 1918