Advertising

Ivory Soap Ad

Advertising is meant to persuade, and the themes and techniques of that persuasion reveal a part of the nation's history. The Museum has preserved advertising campaigns for several familiar companies, such as Marlboro, Alka-Seltzer, Federal Express, Cover Girl, and Nike. It also holds the records of the NW Ayer Advertising Agency and business papers from Krispy Kreme Doughnuts, Carvel Ice Cream, and other companies. The Warshaw Collection of Business Americana comprises thousands of trade cards, catalogs, labels, and other business papers and images dating back to the late 1700s.

Beyond advertising campaigns, the collections encompass thousands of examples of packaging, catalogs, and other literature from many crafts and trades, from engineering to hat making. The collections also contain an eclectic array of advertising objects, such as wooden cigar-store Indians, neon signs, and political campaign ads.

Topic: Music

"The Battle of the Sewing Machines"

"The Battle of the Sewing Machines" was composed and arranged by F. Hyde for the piano, and was published in 1874 by Wm. A. Pond & Co. of 547 Broadway, N.Y., N.Y. The lithograph by R. Teller of 120 Wooster St., N.Y., N.Y., illustrates a "battle" of sewing machines.
Description
"The Battle of the Sewing Machines" was composed and arranged by F. Hyde for the piano, and was published in 1874 by Wm. A. Pond & Co. of 547 Broadway, N.Y., N.Y. The lithograph by R. Teller of 120 Wooster St., N.Y., N.Y., illustrates a "battle" of sewing machines. The Remington "army" is marching towards the fleeing Singer, Howe, Succor, Weed, and Willcox & Gibbs sewing machines. The soldiers are riding the Remington treadle machines like horses and are carrying Remington rifles. The Remington No. 2 sewing machine had just come out to market in June 1874. The family treadle machine with a drop-leaf table and two drawers would have cost $75.00.
On the top left of the sheet music, a woman is pictured sewing on a Remington machine in the Remington office at Madison Square, New York. In the right box is featured the Remington Works of Ilion, N.Y. The music consists of 11 pages, with such subtitles as: "Howe the battle began"; "Advent of all the best machines"; "Song of the Sewing Machine Man: 'How Can I Leave Thee'"; "Triumph of the Remington Sewing Machine," and "Home Sweet Home."
Location
Currently not on view
Date made
1874
referenced
Remington Sewing Machine Company
composer
Hyde, F.
publisher
William A. Pond & Co.
lithographer
Teller, R.
ID Number
1991.0130.01
catalog number
1991.0130.01
accession number
1991.0130

Autopiano

Advertising piece for Old Colony Piano Company of Brockton, Mass. Die-cut from celluloid sheet stock, one side carries the image of a player piano. The bookmark advertises the Autopiano, a player piano.Currently not on view
Description (Brief)
Advertising piece for Old Colony Piano Company of Brockton, Mass. Die-cut from celluloid sheet stock, one side carries the image of a player piano. The bookmark advertises the Autopiano, a player piano.
Location
Currently not on view
date made
after 1905
maker
Whitehead & Hoag Company
ID Number
2006.0098.0673
accession number
2006.0098
catalog number
2006.0098.0673

Match Safe

Metal match safe with hinged lid. The wrap-around plastic label shows an image of a Chickering grand piano on one side, and a Bradbury upright piano on the reverse. The match safe was an advertising piece for Kranz-Smith Piano Co.
Description (Brief)
Metal match safe with hinged lid. The wrap-around plastic label shows an image of a Chickering grand piano on one side, and a Bradbury upright piano on the reverse. The match safe was an advertising piece for Kranz-Smith Piano Co. of Baltimore, Md.
Description
Match safes were designed to hold friction matches. This one, made of metal covered with celluloid, has an image of a Chickering grand piano on one side, and a Bradbury upright on the other.
Location
Currently not on view
date made
ca 1906
advertiser
Kranz-Smith Piano Company
maker
Whitehead & Hoag Company
ID Number
2006.0098.0993
accession number
2006.0098
catalog number
2006.0098.0993

Suit Skirt, worn by Ella Fitzgerald

Made of red fabric. This skirt is from the ensemble worn by jazz vocalist, Ella Fitzgerald, in an American Express Card advertisement, photographed by Annie Liebovitz. Sewn on the inside waistbandFCurrently not on view
Description

Made of red fabric. This skirt is from the ensemble worn by jazz vocalist, Ella Fitzgerald, in an American Express Card advertisement, photographed by Annie Liebovitz. Sewn on the inside waistband

F

Location
Currently not on view
advertiser
American Express Company
wearer
Fitzgerald, Ella
designer
Loper, Don
ID Number
1996.0342.007
accession number
1996.0342
catalog number
1996.0342.007

General Electric Radios

Currently not on view
Location
Currently not on view
date made
1946
depicted (sitter)
Sinatra, Frank
ID Number
2015.0215.0022
accession number
2015.0215
catalog number
.0022

Gorman's Original Philadelphia Church Choir Company

This black and white print is a profile bust portrait of actress Emma Henry wearing a plumed hat. The date and place, “Grand Opera House. Saturday Afternoon and Evening, Dec. 13, ’79,” are printed across the top in colored letters.Emma Henry was a successful stage actress.
Description
This black and white print is a profile bust portrait of actress Emma Henry wearing a plumed hat. The date and place, “Grand Opera House. Saturday Afternoon and Evening, Dec. 13, ’79,” are printed across the top in colored letters.
Emma Henry was a successful stage actress. She performed in the comic opera H.M.S. Pinafore at the Broadway Theatre in New York in the spring of 1879. That production was also presented by Gorman’s Philadelphia Church Choir Company and directed by John Philip Sousa. It’s possible that this poster is advertising her appearance in H.M.S. Pinafore later that year at the Grand Opera House which was probably the one in Manhattan which opened originally in 1868 as Pikes Opera House but was renamed a year later.
Gorman's Original Philadelphia Church Choir Company made its debut in the late 1870s with a performance of Gilbert and Sullivan's H. M. S. Pinafore. Composer and conductor John Philip Sousa (1854-1932) directed the production. The group was called the Amateur Opera Company before it changed its name to Gorman's Original Philadelphia Church Choir Company. Under Sousa's direction, the semi-amateur company continued to perform through 1879 in the Philadelphia area and New York. During this time Sousa met his wife, Jane van Middlesworth Bellis (ca 1862-1944), who had an understudy role in the production. The choir was one of several American musical companies that sprang up during that period, inspired by enthusiasm for the light operas of Gilbert and Sullivan.
This lithograph was produced by Henry Atwell Thomas. Henry Atwell Thomas (1834-1904) was an artist, portrait painter, and lithographer especially well known for his theatrical portraits. His New York firm was called H. A. Thomas Lith. Studio until 1887, when it became H. A. Thomas & Wylie Lithographic (sometimes cited as Lithography or Lithographing) Company.
Location
Currently not on view
Date made
1879 or before
depicted
Henry, Emma
maker
Thomas, Henry Atwell
ID Number
DL.60.3040
catalog number
60.3040
accession number
228146

Genl Tom Thumb & Wife, Com. Nutt & Minnie Warren at their marriage at Grace Church, N.Y., Feb. 10, 1863 by Currier & Ives

Color print, central image depicts General Tom Thumb and his bride, Lavinia Warren, flanked by Commodore Nutt and Minnie Warren, at their marriage at Grace Church, N.Y., Feb. 10, 1863.
Description (Brief)
Color print, central image depicts General Tom Thumb and his bride, Lavinia Warren, flanked by Commodore Nutt and Minnie Warren, at their marriage at Grace Church, N.Y., Feb. 10, 1863. This image is surrounded by small views of the midgets in a variety of costumes and roles with the largest of them being a view beneath the central image of a coach and horses labeled "Splendid Equipage of Genl. Tom Thumb & Suite, Cost over $2000."
Location
Currently not on view
Date made
1863
depicted
Thumb, Tom
Warren, Lavinia
Warren, Minnie
Nutt, Commodore George Washington Morrison
maker
Currier & Ives
ID Number
DL.60.3492
catalog number
60.3492

Jenny Lind by Nagel & Weingaertner and C. G. Crehenafter the daguerreotype by M.A. & S. Root,1850.

This black and white lithograph is a 3/4 length portrait of Jenny Lind wearing a formal gown with a lace shawl and holding a handkerchief in her lap. Her signature serves as the title. This print is modeled after a well-known daguerreotype by M. A. and S.
Description
This black and white lithograph is a 3/4 length portrait of Jenny Lind wearing a formal gown with a lace shawl and holding a handkerchief in her lap. Her signature serves as the title. This print is modeled after a well-known daguerreotype by M. A. and S. Root and is on thin, white paper which has been pasted to heavier cream-colored paper.
Jenny Lind (1820-1887) was an opera singer often described as “The Swedish Nightingale” for the range, purity, and melodiousness of her soprano voice. Born Johanna Maria Lind in Stockholm, Lind trained at the Royal Dramatic Theatre, began performing in her teens, and was soon creating a sensation on tours throughout Europe. When she made her London debut in 1847, frenzied theatergoers set off a stampede as they entered the theater. Queen Victoria was among those who attended that opening night performance. The Danish writer Hans Christian Andersen is said to have fallen in love with Lind and to have written fairy tales with her in mind, including “The Nightingale.” She also won the admiration of composers like Robert Schumann, Hector Berlioz, and Felix Mendelssohn, who became a close friend. In addition to Lind’s vocal gifts, she was greatly admired as a model of piety, simplicity, and generosity. In 1849, although only 29 years old, she announced her retirement from opera and turned to performing Romantic and Swedish folk songs. She resumed her operatic career in 1850, when she launched an American tour under the management of the showman P. T. Barnum. He promoted her arrival with such fanfare that she was greeted by a crowd numbering in the thousands when she sailed into New York’s harbor. She traveled across the United States and to Cuba and Canada in the year that followed, often donating her profits to the endowment of free schools in Sweden and other charitable causes. Lind and Barnum ended their partnership in 1851, but she continued to tour on her own for another year.
In 1852, Jenny Lind married her accompanist, Otto Goldschmidt, and continued to appear in occasional European concerts as Jenny Lind Goldschmidt. She died of a cerebral hemorrhage at the age of 67. Although critics have debated whether her talent measured up to her reputation, her legendary popularity lives on in memorials and monuments around the world. She has inspired books, films, and a series of Swedish banknotes, while schools, streets, parks, hospitals, pies, clothing, and cigars all carry her name. Even a clipper ship, the USS Nightingale, and the Gold Rush town of Jenny Lind, California have been named in her honor.
This lithograph was produced by Nagel & Weingaertner and C. G. Crehen. Louis Nagel was born in Germany ca. 1817 and began working in New York as early as 1844. There he was involved in two partnerships, Nagel & Mayer (1846) and Nagel & Weingaertner (1849-1856). In 1857, he moved to San Francisco. Charles G. Crehen (1829-ca 1891) was a portrait painter, lithographer, and printer in New York.
Marcus Aurelius Root (1808-1888) was a photographer and daguerreotypist born in Granville, Ohio. He studied painting and penmanship before turning to daguerreotyping and became one of the early practitioners of the new art. He worked in Mobile, Alabama; New Orleans, Louisiana; St. Louis, Missouri; and Philadelphia, Pennsylvania, and then in 1849 established a gallery in New York with his brother Samuel. The Root brothers were the first to produce daguerreotypes of Jenny Lind. After being disabled in a train accident, Marcus Root devoted himself to writing about photographic history and aesthetics. His book The Camera and The Pencil: Or the Heliographic Art, published in 1864, argued that photographers should be as highly esteemed as artists, and that much more was involved in photography than simply operating a camera. In recognition of his pioneering achievements, Root's daguerreotypes of famous people were included in an exhibition at the 1876 American centennial celebration in Philadelphia.
Samuel Root (ca. 1819-1889) was a daguerreotypist born in Granville, Ohio. He learned the art of daguerreotyping from his brother Marcus and the two opened a gallery in New York in 1849. Samuel Root later moved to Dubuque, Iowa, where he opened another daguerreotype business. He also published photographic books on Dubuque residences and businesses.
Location
Currently not on view
Date made
1850
copyright holder; publisher
Schaus, William
depicted
Lind, Jenny
maker
Nagel & Weingaertner
Crehen, C.G.
original artist
M.A. & S. Root
maker
Crehen, C.G.
ID Number
DL.60.3066
catalog number
60.3066
accession number
228146

Birch, Wambold & Backus San Francisco Minstrels

This black and white print contains oval bust portraits of three men, along with three smaller heads of black cherubs with wings, a pan flute, and a lyre. Overprinted directly onto the poster in blue ink is the advertisement of the location and dates of some performances.
Description
This black and white print contains oval bust portraits of three men, along with three smaller heads of black cherubs with wings, a pan flute, and a lyre. Overprinted directly onto the poster in blue ink is the advertisement of the location and dates of some performances. The notification printed on top in blue reads: “Newark Opera House, Saturday, June 1st / Birch, Wambold & Backus.” Below the portraits is the statement “San Francisco Minstrels from their / Opera House Broadway & 29th Street, New York, ” which was designed to convey Broadway legitimacy on a trio from New York and New Jersey that first established themselves on the west coast.
Charles Backus (1831-1883), Billy Birch (1831-1897), and D. S. Wambold (1836-1889) belonged to a performing group called the San Francisco Minstrels that was founded in San Francisco in the mid-1860s, in part to make fun of what they viewed as the elitist tastes of San Francisco opera and serious drama fans. They went on to appear on New York-area stages for the next two decades, becoming one of the highest paid minstrel groups of their time. Like other minstrel performers, they performed in blackface and parodied what was considered in the period stereotypical African-American mannerisms and behavior, but they also poked fun at the social and political mores of white society. These performers were said to be a favorite of American author Mark Twain.
Charles Backus was born in Rochester, New York, and moved to San Francisco, California, in 1852. He performed with minstrel groups and circuses in countries around the world, including England, Australia, Egypt, India, and China, before helping form the San Francisco Minstrels with Birch and Wambold in 1864. Known as a talented mimic, his specialties included social parody and imitations of popular actors.
William Birch was a comedian born in Utica, New York, who began appearing in small town minstrel shows in his early teens. He crisscrossed the United States performing with various minstrel groups before helping establish the San Francisco Minstrels, where he was celebrated for his originality and clever word play.
David S. Wambold was born in Elizabethtown, New Jersey. He joined a small minstrel group when he was just 13 years old and toured with other shows in the United States and Europe before helping form the San Francisco Minstrels. His tenor voice made him one of the most highly praised ballad singers of his time.
This lithograph was produced by Henry Atwell Thomas. Henry Atwell Thomas (1834-1904) was an artist, portrait painter, and lithographer especially well known for his theatrical portraits. His New York firm was called H. A. Thomas Lith. Studio until 1887, when it became H. A. Thomas & Wylie Lithographic (sometimes cited as Lithography or Lithographing) Company.
Location
Currently not on view
Date made
n.d.
depicted
Birch, William
Wambold, David
Backus, Charles
referenced
San Francisco Minstrels
maker
Thomas, Henry Atwell
ID Number
DL.60.3027
catalog number
60.3027
accession number
228146

Union Volunteer Refreshment Saloon of Philadelphia.

This colorful chromolithograph contains an animated scene of the Union volunteer refreshment saloon located near the Navy Yard at Swanson and Washington Avenues in Philadelphia, as it appeared in November of 1863.
Description
This colorful chromolithograph contains an animated scene of the Union volunteer refreshment saloon located near the Navy Yard at Swanson and Washington Avenues in Philadelphia, as it appeared in November of 1863. Located on a railroad hub linking the North and the South, the saloon was staffed by volunteers and provided relief for Union troops to soldiers on their way to or returning from battlefields in the South. Its services included warm meals, temporary housing, medical services, and washing facilities. From its opening on May 27, 1861, to its closing on December 1, 1865, over 800,000 men were assisted in this saloon and served over 1,025,000 meals. In the print, a crowd of civilians and a few wounded soldiers line the street to welcome a formation of soldiers who parade down the road towards the saloon. At the right, men another unit depart the saloon and board a Philadelphia, Wilmington, & Baltimore railroad car, bound for the battlefront. A band dressed in road uniforms performs patriotic songs while American flags are waved in the crowd and dot the skyline of the scene. The names of men who were involved in collecting donations for the saloon are listed in the lower margin along with the names of its committee members.
The Philadelphia saloons received support from the United States Sanitary Commission, a relief agency approved by the War Department on June 18, 1861 to provide assistance to sick, wounded, and travelling Union soldiers. Although the leaders of the Commission were men, the agency depended on thousands of women, who collected donations, volunteered as nurses in hospitals, and offered assistance at rest stations and refreshment saloons. They also sponsored Sanitary Fairs in Northern cities, raising millions of dollars used to send food, clothing, and medicine to Union soldiers.
The print was created by James Fuller Queen, a pioneering chromolithographer active in Philadelphia, who served in a Civil War militia between 1862 and 1863. Its printer, Thomas S. Sinclair, was a Scottish immigrant to Philadelphia who worked in the lithographic shop of John Collins, before taking over the business the next year. His firm was profitable into the 1880s, producing maps, city views, certificates, book illustrations, political cartoons, sheet music covers, and fashion advertisements.
Location
Currently not on view
Date made
1861
lithographer
Sinclair, Thomas
artist
Queen, James
ID Number
DL.60.3799
catalog number
60.3799

James H. Wallick's Bandit King Co.

This colored print is a stereotypical depiction of composer and lyricist Fred Lyons as "Old Bob," seated in a bar and playing a banjo with a donkey named "Calamity Jane" braying at his side.
Description
This colored print is a stereotypical depiction of composer and lyricist Fred Lyons as "Old Bob," seated in a bar and playing a banjo with a donkey named "Calamity Jane" braying at his side. Fred Lyons was a popular 19th Century African American minstrel entertainer who composed many songs including "Paint All De Little Black Sinners White" and “Dem Chickens Roost too High,” published in 1887.
James H. Wallick (ca 1839-1908) was born in Hurley, New York. Sources have suggested varying possibilities for his birth name, including Patrick J. Fubbins, James Henry Wheeler, or James H. Fubbins Wallick. There has also been speculation that he took the last name Wallick to link himself to the actor James William Wallack, Sr. James Wallick appeared in melodramas and circuses before achieving his best-known success in The Bandit King, a touring Wild West show based on the life of outlaw Jesse James, recast as a hero named Joe Howard. Wallick created, produced, and starred in the drama, which offered stock features of the genre like horses, buffalo, and riding and sharpshooting tricks. In addition, the shows sometimes featured Robert J. Ford, James's real-life killer. Wallick’s other productions included The Cattle King and The Mountain King. He made and lost several fortunes over the course of his career and suffered from heavy debt. He committed suicide in 1908.
This chromolithograph was published by the Great Western Printing Company, which was probably based in St. Louis, Missouri.
Location
Currently not on view
Date made
n.d.
depicted
Lyons, Fred
Wallick, James H.
maker
Great Western Printing Company
ID Number
DL.60.3035
catalog number
60.3035
accession number
228146

Haverly's European Mastodon Minstrels

Colored print of a large band performing on the steps of the Capitol (south wing), during the inauguration of the president. A row of Honor Guards stands at attention on the steps, to either side of the band. A large crowd looks on.
Description
Colored print of a large band performing on the steps of the Capitol (south wing), during the inauguration of the president. A row of Honor Guards stands at attention on the steps, to either side of the band. A large crowd looks on. Haverly's United Mastodon Minstrels was a blackface performers created in 1877, when J. H. Haverly merged four of his companies. The group included a brass band and a drum corp. The shows included lavish scenery and often a circus act.
Entertainment entrepreneur J. H. (Jack) Haverly (1837-1901) was born Christopher Haverly near Bellefonte, Pennsylvania. He launched his show business career in 1864 in Toledo, Ohio, where he purchased a variety theater. Inspired by entrepreneurs like P. T. Barnum, Haverly went on to manage other theaters, and he created minstrel and comic performance groups on the East Coast and in the Middle West. In the late 1870s he consolidated his troupes into a single company called the United Mastodon Minstrels which included forty performers, along with a brass band and drum corps. The group continued to grow and at one point had more than a hundred members. Around the same time, Haverly took control of a black performing group called Charles Callender's Original Georgia Minstrels, which he renamed Haverly’s Colored Minstrels. He promoted their performances as authentic depictions of black life, even creating a mock plantation with costumed actors portraying slaves and overseers. Haverly’s troupes toured the United States, usually appearing at his own theaters in cities like New York, Philadelphia, Chicago, and San Francisco. They also traveled to England and Scotland. Featuring lavish stage sets, extravagant special effects, and performers in blackface makeup and exotic costumes, his innovations inspired the creation of smaller minstrel shows during the late nineteenth century.
This chromolithograph was produced by the Strobridge Lithographing Company. The Strobridge firm was founded in Cincinnati, Ohio ca 1847 by lithographer Elijah J. Middleton (cited in some sources as Elijah C. Middleton). Middleton was known as one of the pioneers of chromolithography in the United States. By 1854 another lithographer, W. R. Wallace, along with the bookseller Hines Strobridge (1823-1909) had joined the firm as partners. After the Civil War, Strobridge acquired sole ownership of the company and renamed it after himself. Strobridge and Company became especially well known for circus, theater, and movie posters. After leaving the company, Elijah Middleton established a reputation as a portrait publisher, producing prints of George and Martha Washington, Daniel Webster, and other American historical figures.
Location
Currently not on view
date made
ca 1880
maker
Strobridge Lithographing Company
ID Number
DL.60.2482
catalog number
60.2482
accession number
228146

Speech of Robert Emmet, Esq.

Colored lithographic print commemorating the death of Robert Emmet, for leading an 1803 uprising in Dublin. The Goddess of Liberty stands on a tomb holding the hearts of murdered patriots in her hand.
Description (Brief)
Colored lithographic print commemorating the death of Robert Emmet, for leading an 1803 uprising in Dublin. The Goddess of Liberty stands on a tomb holding the hearts of murdered patriots in her hand. To the right is the Figure of Death attacking Lord Norbury, the judge who sentenced Emmet for High Treason. The Scales of Justice lie broken by his side. To the left of the tomb is a representation of the Maid of Erin weeping over murdered Innocence (two children). Beneath the image is the text of Robert Emmet's speech delivered at trial.
Location
Currently not on view
date made
n.d.
depicted
Emmet, Robert
publisher; distributor
Smith, William
depicted
Norbury, Lord
maker
Schnabel & Finkeldey
ID Number
DL.60.2412
catalog number
60.2412
accession number
228146

Emma Abbott Grand Opera Company

This black and white print is a full-length portrait of two lovers on a balcony with tree branches and leaves in the foreground.
Description
This black and white print is a full-length portrait of two lovers on a balcony with tree branches and leaves in the foreground. The production is likely an abridged version of Roméo et Juliette , an 1867 opera in five acts by Charles Gounod to a French libretto by Jules Barbier and Michel Carré, based on Romeo and Juliet by William Shakespeare. A datebill or printed label contains information about a performance at Park Theatre: “Two Nights / Tuesday and Wednesday, March 1 and 2/ Grand Matinee Wednesday P. M.”
The Park Theater was built in 1798 on Park Row in Manhattan and was New York City’s premiere performance space in the early 19th Century. It attracted a diverse audience with each class sitting in its preferred section. Working class men sat in the pit; members of the upper class and women in the boxes; the least affluent sat or stood in the balcony. This included immigrants, people of color, and prostitutes.
Emma Abbott (1850-1891) was an American opera soprano whose popular appeal earned her the title "the people's prima donna." Born in Chicago, she began studying music at an early age and made her debut as a singer and guitar player in Peoria, Illinois in 1859. Emma Abbott toured the Midwest professionally as a teenager and eventually moved to New York City, where she sang in the choir of the Universalist Church of the Divine Paternity. The congregation included wealthy members like P.T. Barnum, Horace Greeley and the Carnegies, and when Abbot left to study music in Europe, the church helped fund her efforts. After stays in Milan and Paris, she joined London's Royal Opera and made her debut at Covent Garden in 1876. Her contract was canceled, however, when she refused to appear as the courtesan Violetta in Verdi’s La Traviata , claiming the character was immoral.
After returning to the New York stage, she and her husband Eugene Wetherell established the Abbott English Opera Company in 1878, which was said to be among the earliest American opera companies founded by a woman. Among the notable roles she sang with the company was Juliette in Gounod’s Romeo et Juliette . Her company became known for charging low ticket prices, performing operas in English translation with abridged musical pieces, and introducing songs from hymns and other sources. She also made use of modern marketing techniques. Although attacked by critics for taking a lowbrow approach, Emma Abbot has been credited with helping expand the middle-class audience for opera. She continued to sing professionally until her death from pneumonia at the age of forty.
This lithograph was produced by the Forbes Lithograph Manufacturing Company and Joseph E. Baker. Joseph E. Baker (1837-1914) was a lithographer, cartoonist, and pencil portraitist who became especially well known for an 1860 portrait of Abraham Lincoln. He began his printing career as an apprentice at J. H. Bufford & Co. in 1857, and eventually became John Bufford’s principal draftsman and illustrator of sheet music. During the Civil War Baker produced political cartoons and lithographs for Bufford. He also did playbills and advertisements for the Forbes Company. Baker later worked for Armstrong & Company, remaining active until 1888.
The Forbes Lithograph Manufacturing Company was founded by William H. Forbes (ca 1836-1915), who immigrated to the United States from Liverpool, England in 1848. Forbes became an apprentice in the lithography business while still a boy and established William H. Forbes and Company in Boston in 1861. The firm expanded to become Forbes Lithograph Manufacturing Company in 1875 with hundreds of employees and offices in Boston, New York, Chicago, and London. During World War II the company became a major printer of allied military currency but went out of business later in the twentieth century.
Location
Currently not on view
Date made
n.d.
depicted
Abbott, Emma
maker
Baker, Joseph E.
Forbes Lithograph Manufacturing Company
ID Number
DL.60.3028
catalog number
60.3028
accession number
228146

Come and Join Us Brothers.

Besides freeing all slaves held in areas of the United States under rebellion, the Emancipation Proclamation also allowed for black men to enlist in the United States Army. Around 190,000 African-Americans fought for the Union and made up one tenth of the entire Federal Army.
Description
Besides freeing all slaves held in areas of the United States under rebellion, the Emancipation Proclamation also allowed for black men to enlist in the United States Army. Around 190,000 African-Americans fought for the Union and made up one tenth of the entire Federal Army. Their successes in battle dispelled existing arguments that black men could not be trusted to bear arms. Despite this, they were only paid half as much a white soldiers, were often assigned menial tasks, and provided inferior clothing and medical care. The U.S.C.T. suffered an extremely high casualty rate, and 40,000 perished by the war’s end.
This print, published by the Supervisory Committee for Recruiting Colored Regiments, served as a recruitment poster for the U.S.C.T. In the illustration, 18 African American soldiers look out at potential black volunteers, calling upon them to join the fight in liberating those who remained enslaved. A black drummer boy plays in the lower right. The soldiers’ white commanding officer stands on the left, since black men could not become commissioned officers until the final months of the war. The men are stationed near Philadelphia at Camp Penn, the largest camp that exclusively trained U.S. Colored Troops. This image was based on a photograph taken in Philadelphia, in February 1864, of either Company C or G of the U.S.C.T.’s 25th Regiment.
Peter S. Duval, a French-born lithographer, was hired by Cephas G. Childs in 1831 to work for the firm of Childs & Inman in Philadelphia. Duval formed a partnership with George Lehman, and Lehman & Duval took over the business of Childs & Inman in 1835. From 1839 to 1843, Duval was part of the lithography and publishing house, Huddy & Duval. He established his own lithography firm in 1843, and was joined by his son, Stephen Orr Duval, in 1858.
Location
Currently not on view
Date made
1863 -1865
maker
P.S. Duval & Son Lith.
ID Number
DL.60.3320
catalog number
60.3320

Rosita, The Star of Seville

Currently not on view
Location
Currently not on view
date made
ca. 1890
depicted (sitter)
Tejero, Rosita
maker
Moreno & Lopez Photographic Studio
ID Number
1982.0589.19
catalog number
1982.0589.19
accession number
1982.0589

Louie's Rock City Ladies Night

Currently not on view
Location
Currently not on view
date made
1977 - 1989
ID Number
1982.0564.13
catalog number
1982.0564.13
accession number
1982.0564

Couple at table - violinist in background

Currently not on view
Location
Currently not on view
date made
1930s-1950s
maker
Keppler, Victor
ID Number
PG.006263.V
catalog number
6263.V
accession number
238737

When a Man Loves a Woman

Currently not on view
Location
Currently not on view
Date made
1986 - 1991
distributor
Priority Records
user
California Raisins Advisory Board
maker
Priority Records
ID Number
1991.3182.34
catalog number
1991.3182.34
nonaccession number
1991.3182

California Raisin

The California Raisins are sculpted clay figures used as advertising and merchandising characters by the California Raisin Advisory Board. The figures were first developed by Will Vinton Productions in 1986 based on caricatures of African American rhythm-and-blues groups.
Description
The California Raisins are sculpted clay figures used as advertising and merchandising characters by the California Raisin Advisory Board. The figures were first developed by Will Vinton Productions in 1986 based on caricatures of African American rhythm-and-blues groups. The California Raisins are often accompanied by a soundtrack of “I Heard It Through the Grapevine,” originally popularized by singer Marvin Gaye. The Raisins released numerous studio albums in the 1980s, starred in a cartoon series, and were nominated for an Emmy for their 1988 “Meet the Raisins” mockumentary. These figures were used in the Claymation advertisements from 1986 through 1991.
Location
Currently not on view
date made
1986 - 1991
user
California Raisins Advisory Board
producer
Will Vinton Productions
maker
Will Vinton Productions
ID Number
1991.3182.02
catalog number
1991.3182.02
nonaccession number
1991.3182

Sheet of Four California Cool Dancing Raisins Stickers

Currently not on view
Location
Currently not on view
Date made
1986 - 1991
user
California Raisins Advisory Board
maker
Will Vinton Productions
ID Number
1991.3182.35
catalog number
1991.3182.35
nonaccession number
1991.3182

Calfiornia Raisins Armature

Currently not on view
Location
Currently not on view
Date made
1986 - 1991
user
California Raisins Advisory Board
maker
Will Vinton Productions
ID Number
1991.3182.05
catalog number
1991.3182.05
nonaccession number
1991.3182

Pencil Sketches of the California Raisins

Sixteen original pencil sketches used in the California Raisins advertising campaign, circa 1986 to 1991.
Description (Brief)
Sixteen original pencil sketches used in the California Raisins advertising campaign, circa 1986 to 1991. Four drawings feature the California Raisins characters, eleven are the storyboard for “The Robot” television commercial, and one is a large sheet with multiple sketches of the California Raisins characters with corrections in red ink. The clay-animated California Raisin television commercial series, produced by Will Vinton Productions for the Raisin Growers Association, was a spoof on rhythm and blues groups of the 1960s and 1970s with their highly choreographed stage acts. Marvin Gaye’s hit song, “Heard it Through the Grapevine,” was the theme song for the campaign.
Location
Currently not on view
Date made
1986 - 1991
user
California Raisins Advisory Board
maker
Will Vinton Productions
ID Number
1991.3182.20
catalog number
1991.3182.20
nonaccession number
1991.3182

Miss Traumeri

Currently not on view
Location
Currently not on view
Date made
1895
original artist
Reed, Ethel
publisher
Lansom, Wolffe, & Co.
ID Number
GA.22604
catalog number
22604
accession number
290753

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