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David M. Sokol

(b Cheshire, CT, April 1, 1755; d Newark, NJ, Dec 12, 1811).

American silversmith and engraver. After training as a silversmith, he responded to the growing demand for copperplate-engraving by launching his own business in Newark in the 1770s, advertising in the New York and New Jersey newspapers as an engraver of tea sets and as a copperplate printer. Engraving bookplates, broadsides and occasional portraits provided his staple income; in later years, after American Independence, he was also able to meet the demand of nascent banks for individualized, intricately designed banknotes to counter forgery. Although the ephemeral nature of his work makes it difficult to evaluate his talent within the broader context of contemporary engraving, he achieved sufficient status to be elected as the representative of the Engravers’ Association to the Federal Procession of 1788. Three of his sons, Samuel Maverick, Andrew Maverick and the best-known, Peter Maverick (1780–1871), also became printmakers. The last established a partnership with Asher B. Durand between ...

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Arthur Silberman

[Haungooah]

(b Western Oklahoma, 1861; d Stecker, Oklahoma, Dec 14, 1940).

Native American Kiowa draughtsman, silversmith and beadworker. He was the son of Chief Dohasan III, keeper of one of the Kiowa pictographic calendar counts, and younger brother of Ohettoint (1852–1934), one of the Fort Marion artist–prisoners also known as Charlie Buffalo (see Native North American art, §IV, 2 and Howling Wolf). Silverhorn was a key cultural figure and the most significant and prolific Native American artist in the last part of the 19th century and the first part of the 20th. He probably learnt pictography at an early age. As a ceremonial leader, he was keeper of one of the sacred Kiowa medicine bundles. As a craftsman, he produced beadwork, war bonnets and jewellery made from German silver, an alloy of nickel, copper and zinc. For anthropologists, he illustrated religious ceremonies, myths and folklore, and painted model tipis and shields. Most of his works on paper and muslin are romantic evocations of the past and do not refer to specific events or individuals. An exception to his general output is the ...