Art

Panorama of the Army of the Cumberland

The National Museum of American History is not an art museum. But works of art fill its collections and testify to the vital place of art in everyday American life. The ceramics collections hold hundreds of examples of American and European art glass and pottery. Fashion sketches, illustrations, and prints are part of the costume collections. Donations from ethnic and cultural communities include many homemade religious ornaments, paintings, and figures. The Harry T Peters "America on Stone" collection alone comprises some 1,700 color prints of scenes from the 1800s. The National Quilt Collection is art on fabric. And the tools of artists and artisans are part of the Museum's collections, too, in the form of printing plates, woodblock tools, photographic equipment, and potters' stamps, kilns, and wheels.

Topic: Architecture

Fearnaught Stallions

A color print of two chestnut horses (Lancet and Fearnaught Boy) with light manes pulling a cutter on a country road. They are joined by a T-shaped tongue, and their harnesses are light and handsome.
Description
A color print of two chestnut horses (Lancet and Fearnaught Boy) with light manes pulling a cutter on a country road. They are joined by a T-shaped tongue, and their harnesses are light and handsome. The driver is wearing a black coat with lapels, gloves, a boat-shaped hat, and a beaver rug over his knees. He is probably their owner David Nevins, Jr. A split rail fence borders the road. Mountains are in the distance, and the landscape is covered with snow.
Lancet and Fearnaught Boy were owned by David Nevins Jr. of Framingham, Massachusetts.
Haskell and Allen’s most memorable productions were their horse prints. A Boston based publisher of lithographs, the firm seems to have issued more large folio images than small. Haskell began as a print seller with Haskell and Ripley (1868) but in 1869 he began a partnership with George Allen. In 1873 they moved to 61 Hanover St in Boston where they prospered for a few years. They went bankrupt in 1878.
Location
Currently not on view
Date made
1875
maker
Haskell & Allen
artist
Eaton, L. G.
original artist
Leighton, Scott
ID Number
DL.60.3555
catalog number
60.3555

San Francisco in 1848

Color print of a city (San Francisco) beside a bay. Hills rise sharply from the shore. Sailing vessels and row boats are on the water.Currently not on view
Description (Brief)
Color print of a city (San Francisco) beside a bay. Hills rise sharply from the shore. Sailing vessels and row boats are on the water.
Location
Currently not on view
Date made
n.d.
maker
Maclure, Macdonald & Macgregor
ID Number
DL.60.3870
catalog number
60.3870

Winter Pleasure in the Country

Colored print of a one-horse sleigh and a two-horse sleigh driving down a snowy country road. They appear to be racing. A building appears in the background.Currently not on view
Description (Brief)
Colored print of a one-horse sleigh and a two-horse sleigh driving down a snowy country road. They appear to be racing. A building appears in the background.
Location
Currently not on view
date made
ca 1865
maker
Kimmel and Forster
ID Number
DL.60.2645
catalog number
60.2645
accession number
228146

Untitled (Park Setting)

Black and white print of a cobblestone road and sidewalk beside a park. Buildings can be seen in the background through the bare trees in the park. A lamplight on a ladder against a lamp post is visible in the lower left. Pedestrians stroll in the park.Currently not on view
Description (Brief)
Black and white print of a cobblestone road and sidewalk beside a park. Buildings can be seen in the background through the bare trees in the park. A lamplight on a ladder against a lamp post is visible in the lower left. Pedestrians stroll in the park.
Location
Currently not on view
Date made
n.d.
maker
Imbert and Company
ID Number
DL.60.3692
catalog number
60.3692

Boston Common

Color print of a tree-lined path in a park (Boston Common) with pedestrians strolling and people seated on benches. An iron fence lines a bank on the left side with a large building visible on the other side of the fence.Currently not on view
Description (Brief)
Color print of a tree-lined path in a park (Boston Common) with pedestrians strolling and people seated on benches. An iron fence lines a bank on the left side with a large building visible on the other side of the fence.
Location
Currently not on view
Date made
n.d.
maker
Haskell & Allen
ID Number
DL.60.3686
catalog number
60.3686

Rip Van Winkle

Rip Van Winkle, a short story by celebrated American author Washington Irving, was first published in 1819 without illustrations in “The Sketchbook of Geoffrey Crayon, Gent.” Best known for his popular stories of Rip Van Winkle and The Legend of Sleepy Hollow, Irving achieved acc
Description
Rip Van Winkle, a short story by celebrated American author Washington Irving, was first published in 1819 without illustrations in “The Sketchbook of Geoffrey Crayon, Gent.” Best known for his popular stories of Rip Van Winkle and The Legend of Sleepy Hollow, Irving achieved acclaim in Europe and the U.S. over the course of his successful writing career. Rip Van Winkle was included in “The Sketchbook of Geoffrey Crayon, Gent” while Irving was living in Europe. Thus, he was one of the earliest American authors to survive merely on his writing. Irving’s stories have remained an emblem of American culture as they were some of the first short stories that aimed to entertain rather than educate. The two best known Irving stories- Rip Van Winkle and The Legend of Sleepy Hollow have inspired artists to create beautiful illustrations like the one included in this print.
The gothic story Rip Van Winkle tells of an ordinary 19th century man who lives in the Dutch Kaatskills (currently the Catskills of New York). He struggles with his nagging wife, Dame Van Winkle, and in an effort to escape her on an especially bad day, he flees to the woods with his dog and his gun. While in the woods, he meets a stranger who is a representation of the spirits of Hendrick Hudson, and is instructed to serve these spirits a precious drink. Tempted, he tries the drink as well and ultimately becomes so drunk that he falls into a deep sleep. When he wakes, he thinks that it is merely the next morning, but it becomes clear that 20 years have passed. He is now an old widow with Loyalist sentiments that show he is living in the past, prior to the American Revolution. The story ends with Rip Van Winkle living a peaceful life in the home of his daughter, finally free from his wife’s nagging.
This print shows Rip Van Winkle sitting among four children of the village. Two of them are boys, while the other two appear to be girls, and they all gather around Rip Van Winkle who is balancing a toy sailboat in a tub of water. Two of the boys lie on the bench beside Rip Van Winkle while a young girl lies on his back. Also pictured are some animals, including Rip Van Winkle’s dog Woof, a cat curled up underneath the bench, and some type of bird with her chicks. The setting appears to be in some type of open or lean-to shed as there are tools leaning against the wall and the building is open to the elements, showing the forest and farmland of the region. At this point of the story, Rip Van Winkle is described as a man who was popular among the village children; he would spend time teaching them how to fly kites or recounting ghost stories with them gathered round.
Sarony, Major, & Knapp was one of the largest lithographic firms at the end of the 19th and the early of the 20th centuries. However, before it achieved this success it started out small in 1843 when Napoleon Sarony and James P. Major joined together to start a business. Later in 1857, Joseph F. Knapp joined the company making it Sarony, Major, & Knapp. At the time that this was printed, Knapp was not a part of the business, so it was just Sarony & Major.
Felix O. C. Darley (1822-1888), the artist behind the twelve best-known illustrations for The Legend of the Sleepy Hollow, is considered one of America’s best illustrators. The publisher was the American Art Union, (1839-1857) a subscription organization created to educate the public about American art and artists while providing support for American artists. For $5.00 members would receive admissions to the gallery showing, a yearly report, and an engraving of an original work, as well as any benefits each chapter might provide. Two special editions of the story, each with a set of six of Darley’s illustrations were published; the special edition including this illustration was published in 1850. This print is bound with five others at the back of a rebound book. The cover is of the earlier Rip Van Winkle edition published for the American Art Union but the title page and text are of Washington Irving’s The Legend of Sleepy Hollow.
Location
Currently not on view
date made
1848
maker
Sarony & Major
Darley, Felix Octavius Carr
ID Number
DL.60.2443
catalog number
60.2443
accession number
228146

Untitled (Soldiers and a family)

Black & white print; military officers gathered outside tents near a windmill. A woman, a little girl are being greeted by an officer as an older gentleman looks on. Possibly a theater poster depicting a scene from an operetta.Currently not on view
Description (Brief)
Black & white print; military officers gathered outside tents near a windmill. A woman, a little girl are being greeted by an officer as an older gentleman looks on. Possibly a theater poster depicting a scene from an operetta.
Location
Currently not on view
Date made
n.d.
maker
Kendrick
ID Number
DL.60.3025
catalog number
60.3025
accession number
228146

The Old Oaken Bucket

Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This hand colored print is of a boy using an oaken bucket to drink from a well. He is accompanied by two dogs. His hat, jacket, and fishing pole are strewn about on the ground and he is shoeless. A house with two figures on the porch, a fence and a wooded landscape are in the background.
The lithographer Elijah Chapman Kellogg (1811–1881) was the youngest of the four Kellogg brothers, all of whom were lithographers. The brothers were born in Tolland, Connecticut, a small town located near Hartford, where the family business was established. E.C. Kellogg was the only brother among the Kelloggs to receive his professional training in Hartford, Ct. In 1840, Elijah Chapman Kellogg, along with his brother Edmund Burke Kellogg, took over the D.W. Kellogg & Co. after older brother Daniel Wright Kellogg moved west. Elijah and Edmund were responsible for most of the company’s partnerships. Elijah Chapman Kellogg retired in 1867.
date made
ca 1854
distributor
Ensign, Thayer and Company
lithographer
Kellogg, Elijah Chapman
ID Number
DL.60.2368
catalog number
60.2368
accession number
228146
maker number
458

Chimney Pieces, Houghton Hall

Two views of chimney pieces, Houghton Hall, Norfolk, England. Engraving in George P. Marsh's copy of The Houghton Gallery, vol. 1.Currently not on view
Description
Two views of chimney pieces, Houghton Hall, Norfolk, England. Engraving in George P. Marsh's copy of The Houghton Gallery, vol. 1.
Location
Currently not on view
date made
1784
engraver
Fourdrinier, Paul
architect
Ripley, Thomas
publisher
Boydell, John
ID Number
1978.0534.02.27
accession number
1978.0534
catalog number
1978.0534.02.27

Chimney Pieces, Houghton Hall

Two views of chimney pieces, Houghton Hall, Norfolk, England. Engraving in George P. Marsh's copy of The Houghton Gallery, vol. 1.Currently not on view
Description
Two views of chimney pieces, Houghton Hall, Norfolk, England. Engraving in George P. Marsh's copy of The Houghton Gallery, vol. 1.
Location
Currently not on view
date made
1784
engraver
Fourdrinier, Paul
architect
Ripley, Thomas
publisher
Boydell, John
ID Number
1978.0534.02.28
accession number
1978.0534
catalog number
1978.0534.02.28

The Proposal

Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater w
Description
Sentimental genre prints documented the social image of Victorian virtue through domestic scenes of courtship, family, home life, and images of the “genteel female.” Children are depicted studying nature or caring for their obedient pets as they learn their place in the greater world. Romantic scenes picture devoted husbands with their contented, dutiful wives. In these prints, young women educated in reading, music, needlework, the arts, the language of flowers, basic math and science are subjugated to their family’s needs.
These prints became popular as lithography was introduced to 19th Century Americans. As a new art form, it was affordable for the masses and provided a means to share visual information by crossing the barriers of race, class and language. Sentimental prints encouraged the artistic endeavors of schoolgirls and promoted the ambitions of amateur artists, while serving as both moral instruction and home or business decoration. They are a pictorial record of our romanticized past.
This hand colored print is of a seated woman with a man standing in front of her. The woman is wearing simple farm clothing, a yellow bonnet and apron over a red long sleeved dress. The man is wearing tan pants with a white shirt and blue vest and he is holding a straw hat. Beside the woman is a watering trough overflowing with water. A jug is between the trough and the woman; behind the man are two baskets. Multiple buildings can be seen in the background.
This print was produced by the lithographic firm of D.W. Kellogg & Co. Daniel Wright Kellogg (1807-1874) founded the company in 1830 Hartford, Connecticut. Before the opening of its first retail store in 1834, D.W. Kellogg & Co. lithography firm was well established and popular in United States, particularly in the South and the Southwest. As the founding member of the family company, Daniel Wright Kellogg established the initial growth and popularity of the firm. After he left the company it continued to flourish for decades under his younger brothers and other family members.
Location
Currently not on view
date made
ca 1835
maker
D.W. Kellogg and Company
ID Number
DL.60.2280
catalog number
60.2280
accession number
228146

Still So Gently O'Er Me Stealing

Black and white comic print of two men, an Asian and a Caucasian, operate a device that has wires and sits on a small table. This is one of over 100 in a series of comic parodies of popular songs.Currently not on view
Description (Brief)
Black and white comic print of two men, an Asian and a Caucasian, operate a device that has wires and sits on a small table. This is one of over 100 in a series of comic parodies of popular songs.
Location
Currently not on view
date made
1875
maker
Vance, Parsloe and Company
ID Number
DL.60.2882
catalog number
60.2882
accession number
228146

Rome

Colored print; view of Rome showing the Castellos with Angelo at right, the Ponte S. Angelo spanning the Tiber River, and the Theatre di Appollo on the left bank. St. Peter's Cathedral, the Vatican, and other buildings appear in background.
Description (Brief)
Colored print; view of Rome showing the Castellos with Angelo at right, the Ponte S. Angelo spanning the Tiber River, and the Theatre di Appollo on the left bank. St. Peter's Cathedral, the Vatican, and other buildings appear in background. A variety of people stroll along the river and ride in gondolas and carriages.
Location
Currently not on view
date made
1870
maker
Schile, Henry
ID Number
DL.60.2470
catalog number
60.2470
accession number
228146

Red Lion Camp Meeting by Alfred Thompson Scott (artist) and P.S. Duval and Company (lithographers)

This colored print depicts a large camp meeting in a clearing in the forest. Camp meetings were a popular form of Protestant worship throughout the 19th century. Lasting several days, these open-air events often involved ecstatic communal prayer.
Description
This colored print depicts a large camp meeting in a clearing in the forest. Camp meetings were a popular form of Protestant worship throughout the 19th century. Lasting several days, these open-air events often involved ecstatic communal prayer. Hundreds and even thousands came from miles around for preaching and worship, and to enjoy the festival-like atmosphere. A circle of many tents surrounds a vast congregation with a pulpit in the center next to the preacher's tent. On the outskirts are many carriages and people.
The Red Lion camp meeting was held August 6-14, 1853, near Red Lion, New Castle County, Delaware. This religious revival was organized by the Methodist Episcopal Church and was presided over by several of their circuit preachers from the Philadelphia Conference. These included Reverend A. Atwood, P.F. Rev. Thomas Sumption, and Reverend R. Owen and Bishop Levy Scott. Given that the artist was the son of one of the sponsors of the event, this image can serve as a documented eyewitness account. The list of ministers is listed in the caption below the image.
Alfred Thompson Scott (1831-1914), son of Levi Scott, Methodist Episcopal Bishop of Delaware, was the original artist. This appears to be his earliest work. Scott partnered with daguerreotypist Nelson Carlisle, became a drawing and painting instructor for Wilmington’s Wesleyan Female College, and became a minister.
This print was produced by P.S. Duval and Company, A.T. Scott and Cyrus Stern. Peter S. Duval (ca. 1804/05-1886) was a French lithographer who immigrated to Philadelphia in 1831 to work for the lithographic firm of Childs & Inman. In 1837, he established his own lithographic firm in Philadelphia. During the 1840s, the firm's products included advertisements, book and periodical illustrations, sheet music covers, maps and portraits. By the end of that decade, Duval was winning awards for his work in chromolithography. He was also among the first to introduce steam power to the process of lithography. His son Stephen Orr Duval joined the company in 1858. The company headquarters suffered a disastrous fire in 1856 and Duval declared financial insolvency in 1859. However, he was able to reestablish his business, and he continued working till his retirement in 1869.
Cyrus Stern (1818-1891) was this print’s publisher/copyriter as well as an author and composer of other works. He was headquartered on Market Street in Wilmington, Delaware.
Location
Currently not on view
Date made
1853
lithographer
P. S. Duval and Company
artist
Scott, Alfred T.
publisher
Stern, Cyrus
ID Number
DL.60.2966
catalog number
60.2966
accession number
228146

Fort Powell

On August 5, 1864, Union Rear Admiral David Farragut launched an attack on the Southern port of Mobile, Alabama, a favorite haven of Confederate blockade runners in the Gulf.
Description
On August 5, 1864, Union Rear Admiral David Farragut launched an attack on the Southern port of Mobile, Alabama, a favorite haven of Confederate blockade runners in the Gulf. Although the Union ironclad, the USS Tecumseh, sank upon entering the Bay, the admiral urged his sailors on, his orders eventually paraphrased into the famous quote, "Damn the torpedoes, full steam ahead!" The Union navy captured the Confederacy’s fearsome ironclad, the CSS Tennessee and the Bay’s defensive forts. The city itself remained under Southern control, but the Bay was effectively closed to blockade runners.
After a bombardment by Union ships, Confederate forces evacuated Fort Powell and destroyed its cannon, ensuring that they could not be used by the enemy. In this print, a rowboat carries men towards the fort, which is outfitted with a dozen dormitories for its defenders. To the right, a boat sails past.
Jules Manouvrier (1816-1872) was born in Bremen, Germany and arrived in New Orleans in 1838. Trained as a lithographer, he operated Manouvrier & Co. during the Civil War, producing sheet music covers and banknotes. From 1866 until his death in 1872, he partnered with Dionis Simon (1830-1876), another New Orleans-based lithographer.
Location
Currently not on view
Date made
n.d.
maker
Manouvrier, Jules
Simon, Dionis
ID Number
DL.60.3678
catalog number
60.3678

The Politician

Colored print of a young boy sitting on a stone bench in front of a tavern, reading "The Times." A mug rests on the bench beside him, and at his feet is a bag with a book and a slate. Other buildings and a church steeple in background.Currently not on view
Description (Brief)
Colored print of a young boy sitting on a stone bench in front of a tavern, reading "The Times." A mug rests on the bench beside him, and at his feet is a bag with a book and a slate. Other buildings and a church steeple in background.
Location
Currently not on view
date made
n.d.
maker
Altafulla, J.
ID Number
DL.60.2360
catalog number
60.2360
accession number
228146

"A Child of the State" by George Hoey

This colored theater print depicts a scene from a play A Child of the State in which a young woman stands outside a doorway at the top of the stairs. She is surrounded by nuns, and men in plain dress stand guard on each side of the doorway.
Description
This colored theater print depicts a scene from a play A Child of the State in which a young woman stands outside a doorway at the top of the stairs. She is surrounded by nuns, and men in plain dress stand guard on each side of the doorway. Four men and three women in elaborate clothing are in the foreground. The play was adapted by George Curtis Hoey (1852-1907), New York City playright/actor, from French melodrama called Les Orphelines de la Charite. There is a datebill or pasted on label indicating the play was performed: Park Theater, Dec 28, 29, & 30. The year is not included bit it was circa 1880, and George Hoey played the part of the character Gros- Rene.
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, while the less affluent including immigrants, people of color, and prostitutes sat in the balcony.
This chromolithograph was produced by the Forbes Lithograph Manufacturing Company. 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
ca 1880
ca 1880
maker
Forbes Lithograph Manufacturing Company
ID Number
DL.60.3013
catalog number
60.3013
accession number
228146

View from Ruggle's House Newburgh

Color print of a verandah and a rose-covered arbor lining a path down to a river (Hudson). Sail boats are visible on the river.Currently not on view
Description (Brief)
Color print of a verandah and a rose-covered arbor lining a path down to a river (Hudson). Sail boats are visible on the river.
Location
Currently not on view
Date made
n.d.
maker
Sowle & Shaw
ID Number
DL.60.3652
catalog number
60.3652

Genl. Taylor

Color print, half length profile portrait of a man in military uniform (Zachary Taylor). Green drape in left background; right background depicts a battle scene.Currently not on view
Description (Brief)
Color print, half length profile portrait of a man in military uniform (Zachary Taylor). Green drape in left background; right background depicts a battle scene.
Location
Currently not on view
Date made
n.d.
depicted
Taylor, Zachary
publisher
Thomas S. Husted & Co.
maker
Lewis & Brown
ID Number
DL.60.3188
catalog number
60.3188

Country Place of Worship

Black and white print of men, children and horses outside a small wooden church in the woods. A dog and turtle are also depicted.Currently not on view
Description (Brief)
Black and white print of men, children and horses outside a small wooden church in the woods. A dog and turtle are also depicted.
Location
Currently not on view
Date made
n.d.
publisher
American Sunday School Union
maker
Kollner, August
ID Number
DL.60.2986
catalog number
60.2986
accession number
228146

View of Agua Fria Town

Black and white print on blue paper of a small town in a hilly wooded area. Men work in fields in the foreground.Currently not on view
Description (Brief)
Black and white print on blue paper of a small town in a hilly wooded area. Men work in fields in the foreground.
Location
Currently not on view
Date made
n.d.
maker
Quirot & Company
ID Number
DL.60.3818
catalog number
60.3818

Douglas & Stanton Hospitals, Washington, D.C.

The Douglas and Stanton hospitals, two of about 25 hospitals opened in the Capital and Alexandria to care for wounded Union soldiers, were located at I and 2nd Streets and opened in early 1862.
Description
The Douglas and Stanton hospitals, two of about 25 hospitals opened in the Capital and Alexandria to care for wounded Union soldiers, were located at I and 2nd Streets and opened in early 1862. “Douglas Row,” composed of the three large brick houses near the center of the print, was constructed in 1856-1857 through an investment by Senator Stephen Douglas, the Northern Democratic candidate who ran against Lincoln in the 1860 Election. Upon its completion, Douglas and his wife moved into one of the homes, and Senator Henry Rice of Minnesota and Vice President John C. Breckinridge purchased the others. Douglas died shortly after the outbreak of war, and his widow, Adele, and Senator Rice offered their homes to the government for use as a military hospital. The government accepted and also seized the home of Breckinridge, who had become a major general in the Confederate Army. Stanton Hospital was erected in the vacant square outside of Douglas Row and was named after Secretary of War Edwin Stanton.
Washington D.C. hospitals were supported by 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. Nurses and inspectors belonging to commission provided suggestions that helped to reform the U.S. Army Medical Bureau. 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.
Charles Magnus (1826-1900) was born Julian Carl Magnus in Germany and immigrated with his family to New York City sometime between 1848 and 1850. During the 1850s, he learned the printing business while working with his brother on a German language weekly newspaper, the Deutsche Schnellpost. He later began his own lithographer firm, producing city views and commercial letterhead designs. During the Civil War, he designed pro-Union envelopes and illustrated song sheets. The firm’s Washington, D.C. branch also produced small, hand-colored scenes of Union camps and hospitals. Soldiers purchased these picturesque scenes of camp life to send home to calm the worries of anxious family members.
Location
Currently not on view
Date made
1864
maker
Magnus, Charles
ID Number
DL.60.3740
catalog number
60.3740

Store Front Dijon France April 6 1919

Currently not on view
Location
Currently not on view
date made
1919-04-06
date presented
1919-04-21
associated date
1919-04-06
1919-04-21
ID Number
AF.310601
catalog number
310601
accession number
64137

The Mining Business in Four Pictures

Black and white print depicting four views of life in the California mining business: "Going into it" shows two miners with prospecting gear; "Making Something" shows them discovering gold in a pan; "Making Nothing" depicts them beside a large empty hole; "Going out of it" depict
Description (Brief)
Black and white print depicting four views of life in the California mining business: "Going into it" shows two miners with prospecting gear; "Making Something" shows them discovering gold in a pan; "Making Nothing" depicts them beside a large empty hole; "Going out of it" depicts them walking toward town.
Location
Currently not on view
Date made
n.d.
maker
Britton & Rey
ID Number
DL.60.3878
catalog number
60.3878

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