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.

Meissen two-handled bowl (Hausmaler)

TITLE: Meissen two-handled bowl (Hausmaler)MAKER: Meissen ManufactoryPHYSICAL DESCRIPTION: ceramic, porcelain, hard paste (overall material)MEASUREMENTS: L.
Description
TITLE: Meissen two-handled bowl (Hausmaler)
MAKER: Meissen Manufactory
PHYSICAL DESCRIPTION: ceramic, porcelain, hard paste (overall material)
MEASUREMENTS: L. (over handles) 6" 15.3 cm
OBJECT NAME: Bowl
PLACE MADE: Meissen, Saxony, Germany
DATE MADE: 1730-1740 Meissen
SUBJECT: The Hans Syz Collection
Art
Domestic Furnishing
Industry and Manufacturing
CREDIT LINE: Hans C. Syz Collection
ID NUMBER: 73.178
COLLECTOR/ DONOR: 274
ACCESSION NUMBER:
(DATA SOURCE: National Museum of American History, Kenneth E. Behring Center)
MARKS: Crossed swords in underglaze blue.
PURCHASED FROM: Adolf Beckhardt, The Art Exchange, New York, 1943.
This bowl is from the Smithsonian’s Hans Syz Collection of Meissen Porcelain. Dr. Syz (1894-1991) began his collection in the early years of World War II, when he purchased eighteenth-century Meissen table wares from the Art Exchange run by the New York dealer Adolf Beckhardt (1889-1962). Dr. Syz, a Swiss immigrant to the United States, collected Meissen porcelain while engaged in a professional career in psychiatry and the research of human behavior. He believed that cultural artifacts have an important role to play in enhancing our awareness and understanding of human creativity and its communication among peoples. His collection grew to represent this conviction.
The invention of Meissen porcelain, declared over three hundred years ago early in 1709, was a collective achievement that represents an early modern precursor to industrial chemistry and materials science. The porcelains we see in our museum collections, made in the small town of Meissen in Germany, were the result of an intense period of empirical research. Generally associated with artistic achievement of a high order, Meissen porcelain was also a technological achievement in the development of inorganic, non-metallic materials.
The bowl, which should have a cover, was made in the Meissen manufactory but painted outside by an independent artist. Hausmalerei is a German word that means in literal translation ‘home painting’, and it refers to the practice of painting enamels and gold onto the surface of blank ceramics and glass in workshops outside the manufactory of origin. Beginning in the seventeenth century the work of the Hausmaler varied in quality from the outstanding workshops of Nuremberg, Augsburg, and Breslau (now Wroclaw in Poland), to the less skilled efforts of amateur artists. Early Meissen porcelain was sought after for this purpose, and wealthy patrons of local enameling and gilding workshops purchased undecorated porcelain, often of out-moded or inferior quality, which was then enameled with subjects of their choice. Hausmalerei was at first acceptable to the early porcelain manufactories like Meissen and Vienna, and Meissen sent blank porcelain to Augsburg workshops for decoration, but as the market became more competitive they tried to eradicate the practice. It was a temptation for Meissen porcelain painters to take on extra work as Hausmaler to augment their low pay, and the manufactory cautioned or even imprisoned them if Hausmalerei activity was suspected or discovered.
The so-called Watteau scenes (Watteauszenen) cover a large group of objects produced entirely within the Meissen Manufactory as well as those painted outside. The paintings of Claude Gillot (1673-1722) Jean-Antoine Watteau (1684-1721) and Nicholas Lancret (1690-1743), all of whom worked in Paris, introduced the elegiac fête galante, scenes of languid and amorous pursuits in lush parkland settings, often featuring figures from the Italian Comedy. These artists in particular established a highly successful genre that was reproduced in prints and adapted for enamel painting by many of the porcelain manufactories and Hausmaler in the mid-eighteenth century.
This bowl, and originally its cover which is missing, was painted in the mid-eighteenth century with finely dressed figures playing musical instruments, probably in the workshop of Franz Ferdinand Mayer of Pressnitz, Bohemia (now Přísečnice in the Czech Republic).
On Hausmaler see Ulrich Pietsch, 2011, Early Meissen Porcelain: The Wark Collection from The Cummer Museum of Art and Gardens, pp. 43-46.
On Antoine Watteau see Thomas Crow, 1985, Painters and Public Life in Eighteenth-Century Paris, especially chapter II; Donald Posner, 1984, Antoine Watteau.
Hans Syz, J. Jefferson Miller II, Rainer Rückert, 1979, Catalogue of the Hans Syz Collection, pp. 542-543.
Location
Currently not on view
date made
ca 1740
1740
maker
Meissen Manufactory
ID Number
CE.73.178
catalog number
73.178
accession number
308538
collector/donor number
274

The Railhead Dump at Ménil-la-Tour

A charcoal and watercolor sketch on brown paper mounted on a white matte paper sealed in the front with a glass sheet and backed by a plastic sheet wrapped in plastic wrap. The scene is of a railhead dump at Menil-la-Tour.
Description
A charcoal and watercolor sketch on brown paper mounted on a white matte paper sealed in the front with a glass sheet and backed by a plastic sheet wrapped in plastic wrap. The scene is of a railhead dump at Menil-la-Tour. Approximately nine men wearing blue, possibly French, are seen in the sketch all over the picture. Seven men are working around a tall pile of baled hay seen in the center of the sketch. Another two men are working on the right side, dragging a sheet. Several tall covered piles are seen besides the hay pile. Two flat cars are seen on the rails. Trash is seen in on the right side behind a lone tree. Behind the trash is a building.
The sketch is mostly colored, but it is not entirely sketched. The sky is colored blue. The tree and the grass are painted green. Other colors include light blue, red, and brown/pink for the ground.
Location
Currently not on view
date made
1918-06
maker
Smith, J. Andre
ID Number
AF.26058
catalog number
26058
accession number
64592

Quaker James Naylor's Entry into Bristol

Currently not on view
Location
Currently not on view
date made
ca 1700
ID Number
2014.0250.53.01
accession number
2014.0250
catalog number
2014.0250.53.01

Meissen stand for a tureen

MARKS: Crossed swords in underglaze blue; “2” impressed;”52” impressed.PURCHASED FROM: E. Pinkus, New York, 1961.This oval stand is from the Smithsonian’s Hans Syz Collection of Meissen Porcelain. Dr.
Description
MARKS: Crossed swords in underglaze blue; “2” impressed;”52” impressed.
PURCHASED FROM: E. Pinkus, New York, 1961.
This oval stand is from the Smithsonian’s Hans Syz Collection of Meissen Porcelain. Dr. Syz (1894-1991) began collecting in the early years of World War II, when he purchased eighteenth-century Meissen table wares from the Art Exchange run by the New York dealer Adolf Beckhardt (1889-1962). Dr. Syz, a Swiss immigrant to the United States, collected Meissen porcelain while engaged in a professional career in psychiatry and the research of human behavior. He believed that cultural artifacts have an important role to play in enhancing our awareness and understanding of human creativity and its communication among peoples. His collection grew to represent this conviction.
The invention of Meissen porcelain, declared over three hundred years ago early in 1709, was a collective achievement that represents an early modern precursor to industrial chemistry and materials science. The porcelains we see in our museum collections, made in the small town of Meissen in the German States, were the result of an intense period of empirical research. Generally associated with artistic achievement of a high order, Meissen porcelain was also a technological achievement in the development of inorganic, non-metallic materials.
The stand is from a large dinner service of which most pieces are Meissen but with some items made at the Höchst manufactory, presumably as replacements for items originally in the Meissen service. With a petal-shaped edge the plate has a molded foliate design on the flange and center known as the Gotzkowsky pattern, after the Berlin porcelain entrepreneur Johann Ernst Gotzkowsky (1710-1775), a pattern also known as “raised flowers” (erhabene Blumen) first modeled in 1741.
Following the appointment to the manufactory in 1733 of court sculptor Johann Joachim Kaendler (1706-1775), modeling techniques became more sophisticated. The process of creating shallow relief patterns was laborious and required considerable skill. The sources for designs in relief came from pattern books and engravings, especially those by the French designer Jean Bérain the Elder (1638-1711), and the Nuremberg designer Paul Decker (1677-1713) among many others. Later rococo designs in the French style were disseminated through the German states principally by François Cuvilliés the Elder (1695-1768). These designs were applied in architecture, interior stucco work and wood carving, furniture, wall coverings, and ceramics.
Painted in onglaze enamel are sprays of natural flowers and on the rim there is a gold diaper pattern.
European flowers began to appear on Meissen porcelain in about 1740 as the demand for Far Eastern patterns became less dominant and more high quality printed sources became available in conjunction with growing interest in the scientific study of flora and fauna.
The Meissen manufactory operated under a system of division of labor. Flower and fruit painters were paid less than workers who specialized in figures and landscapes, and most painters received pay by the piece rather than a regular wage. Decoration in gold was applied by specialists in gold painting and polishing at Meissen.
On relief patterns and three dimensional modeling at Meissen see Reinheckel, G., 1968, ‘Plastiche Dekorationsformen im Meissner Porzellan des 18 Jahrhunderts’ in Keramos, 41/42, Juli/Oktober.
On graphic sources for Meissen porcelain see Möller, K. A., “Meissen Pieces Based on Graphic Originals” in Pietsch, U., Banz, C., 2010, Triumph of the Blue Swords: Meissen Porcelain for Aristocracy and Bourgoisie 1710-1815, pp.85-93.
Hans Syz, J. Jefferson Miller II, Rainer Rückert, 1979, Catalogue of the Hans Syz Collection: Meissen Porcelain and Hausmalerei, pp. 410-411.
Location
Currently not on view
date made
ca 1750
1750
maker
Meissen Manufactory
ID Number
CE.245497.4
catalog number
245497.4
accession number
245497
collector/donor number
1224

Assembling Liberty Planes at Romorantin

A pencil and watercolor sketch on yellow paper that is mounted on a white matte paper sealed in the front with a glass sheet and backed by a plastic sheet wrapped in plastic wrap. The scene is of an airplane shop with workers assembling airplanes at Romorantin.
Description
A pencil and watercolor sketch on yellow paper that is mounted on a white matte paper sealed in the front with a glass sheet and backed by a plastic sheet wrapped in plastic wrap. The scene is of an airplane shop with workers assembling airplanes at Romorantin. Approximately ten people are seen in the sketch working on three different planes. The two main planes in the sketch do not have wings attached, but the propeller and the cockpit has been built. Clerestory windows are seen in the shop along with several ceiling lamps hanging above the planes. Only a select few parts of the painting are colored in brown.
Location
Currently not on view
date made
1918
associated date
1917 - 1918
associated person
War Department
Smith, J. Andre
maker
Smith, J. Andre
ID Number
AF.25929
catalog number
25929
accession number
64592

The Miracle

Currently not on view
Location
Currently not on view
Date made
1884?
date made
1884
graphic artist
Bianchi, Mose di Giosue
ID Number
GA.14593
catalog number
14593
accession number
94830

Warrior Killing a Soldier

Unknown artist, about 1894“Cheyenne Picture. Warrior Killing a Soldier.”Ink and watercolorThis drawing shows the victory of a Cheyenne warrior over a U.S. Army soldier.
Description
Unknown artist, about 1894
“Cheyenne Picture. Warrior Killing a Soldier.”
Ink and watercolor
This drawing shows the victory of a Cheyenne warrior over a U.S. Army soldier. The artist depicts the warrior counting coup on his enemy by touching the fallen soldier with his riding whip (quirt). Counting coup - in this instance touching an adversary in battle - was considered an act of bravery that could gain war honors. This single event took place during a larger battle against many adversaries, as indicated by the large number of rifles at the left.
Location
Currently not on view
Date made
ca 1875
date made
ca 1894
original artist
unknown
ID Number
GA.08111
accession number
1897.031963
catalog number
GA*08111
accession number
1897.31963

Meissen coffee pot and cover

MARKS: Crossed swrods in underglaze blue; "17" impressed.PURCHASED FROM: M.J.Ullmann, New York, 1948.This coffeepot is part of the Smithsonian’s Hans Syz Collection of Meissen Porcelain. Dr.
Description
MARKS: Crossed swrods in underglaze blue; "17" impressed.
PURCHASED FROM: M.J.Ullmann, New York, 1948.
This coffeepot is part of the Smithsonian’s Hans Syz Collection of Meissen Porcelain. Dr. Syz (1894-1991) began his collection in the early years of World War II, when he purchased eighteenth-century Meissen table wares from the Art Exchange run by the New York dealer Adolf Beckhardt (1889-1962). Dr. Syz, a Swiss immigrant to the United States, collected Meissen porcelain while engaged in a professional career in psychoanalysis and the research of human behavior. He believed that cultural artifacts have an important role to play in enhancing our awareness and understanding of human creativity and its communication among peoples. His collection grew to represent this conviction.
The invention of Meissen porcelain, declared over three hundred years ago early in 1709, was a collective achievement that represents an early modern precursor to industrial chemistry and materials science. The porcelains we see in our museum collections, made in the small town of Meissen in Germany, were the result of an intense period of empirical research. Generally associated with artistic achievement of a high order, Meissen porcelain was also a technological achievement in the development of inorganic, non-metallic materials.
This pear-shaped coffeepot, reminiscent of metal prototypes, has a wishbone handle with a domed lid that has a pine kernel on the top. The insects and flowers painted on the pot are in the style of prints published after the original botanical and insect studies by the Flemish artist Joris (Georg) Hoefnagel (1542-1601). Joris Hoefnagel, who became court painter to the Emperor Rudolf II in Prague, employed his nineteen year old son Jacob to engrave the plates for the publication in 1592 of the Archetypa Studiaque Patris Georgii Hoefnagelii. After his father’s death Jacob Hoefnagel succeeded him as court painter to Rudolf II.
Prints after the Hoefnagel originals were so much in demand among artists and craftworkers, that the Nuremberg publishers purchased the copperplates and produced several further editions in the seventeenth century. The Nuremberg printmaker and publisher, Christoph Weigel (1654-1725), produced another edition in the early eighteenth century, which explains why a visual source from the late sixteenth century appears on Meissen porcelain nearly one hundred and fifty years later. (See Cassidy-Geiger, M., Graphic Sources for Meissen Porcelain, in Metropolitan Museum Journal, Vol. 31, 1996, pp.99-126). However, when this coffeepot was made in 1740 the Hoefnagel style of trompe l’oeil was about to give way to the fashion for painting sprays of German flowers (deutsche blumen) on Meissen porcelain. This development indicated the beginnings of a preference for decorative motifs with local significance that struck a chord with an awakening sense of German national identity. By 1740, when this coffee pot was made, Meissen had a large, well-trained painting staff run by Johann Gregor Höroldt. Painters tended to specialize in figurative subjects, fruits and flowers, birds and animals, battle scenes, landscapes, harbor scenes, all of which were part of the repertoire by the middle of the eighteenth century. This coffeepot made in 1740 marks the transition from early modern sources of imagery to contemporary sources.
The seventeenth and eighteenth century expansion in the manufacture of consumer goods made more desirable and fashionable with ornamentation promoted the production of printed images and pattern books to which artisans could refer for their designs. The manufacturers of ceramics and printed textiles, interior painters and wallpaper makers, furniture makers, and embroiderers made use of these sources for surface decoration. When available, undecorated porcelain was taken into the workshops of professional enamel painters, the so-called Hausmaler or home painters. Amateur enamellers also painted white porcelain when they could acquire some.
On the history of the introduction of tea, coffee, and chocolate to Europe see Bowman, P.B., 1995, In Praise of Hot Liquors: The Study of Chocolate, Coffee and Tea-drinking 1600-1850.
On ornament see Snodin, M.,Howard, M., 1996, Ornament: A Social History Since 1450, especially the chapter “Ornament and the Printed Image”.
Syz, H., Rückert, R., Miller, J. J. II., 1979, Catalogue of the Hans Syz Collection: Meissen Porcelain and Hausmalerei, pp. 358-359.
Location
Currently not on view
date made
ca 1740
1740
maker
Meissen Manufactory
ID Number
1983.0565.49
collector/donor number
797
accession number
1983.0565
catalog number
1983.0565.49

Machine Gun Emplacement

Oil painting on canvas of an American machine gun emplacement at Seicheprey, France. Two American soldiers in olive drab uniforms are sitting in the middle of a cemetery next to their Hotchkiss M1914 machine gun.
Description
Oil painting on canvas of an American machine gun emplacement at Seicheprey, France. Two American soldiers in olive drab uniforms are sitting in the middle of a cemetery next to their Hotchkiss M1914 machine gun. There are tombstones all around the soldiers, some of which have toppled over. A section of the rock wall surrounding the cemetery has been partially destroyed at right, giving the machine gunners a better sight line. The soldiers have positioned the gun on the rubble from the ruined wall, with the barrel of the gun pointing out of the cemetery. Signed by the artist at bottom left, "Harvey Dunn, Saishprey [sic], AEF"
Location
Currently not on view
date made
ca 1918
associated date
1917 - 1918
associated person
Dunn, Harvey Thomas
artist
Dunn, Harvey Thomas
ID Number
AF.25709
catalog number
25709
accession number
64592

Church of the Storm Country

Currently not on view
Location
Currently not on view
date made
ca 1937
maker
Kloss, Gene
ID Number
GA.19276
catalog number
19276
accession number
170056

Engraving of fish species "Pomotis heros, Pomotis fallax"

William Dougal (1822–1895) of Washington, D.C. engraved this print of fish species, "Pomotis heros [B&G] and Pomotis fallax [B&G]," after an original sketch by John H. Richard (c.1807–1881) of Philadelphia.
Description (Brief)
William Dougal (1822–1895) of Washington, D.C. engraved this print of fish species, "Pomotis heros [B&G] and Pomotis fallax [B&G]," after an original sketch by John H. Richard (c.1807–1881) of Philadelphia. The engraving was printed as Plate 2 in “Ichthyology of the Boundary” by Charles Girard (1822-1895), published in Volume 2, Part 2 of the Report on the United States and Mexican Boundary Survey. The volume was printed in 1859 by Cornelius Wendell of Washington, D.C.
Description
William Dougal (1822–1895) of Washington, D.C. engraved this print of “Pomotis heros [B&G]and Pomotis fallax [B&G];” now "Lepomis macrochirus" (Bluegill) and "Lepomis megalotis" (Longear sunfish); from an original sketch likely drawn by John H. Richard (c.1807–1881) of Philadelphia. The illustration was published as Plate 2 in the “Fishes” section of the second part of volume II of the Report on the United States and Mexican Boundary Survey, written by Charles Girard (1822–1895). The volume was printed in 1859 by Cornelius Wendell of Washington, D.C.
Location
Currently not on view
date of book publication
1859
original artist
Richard, John H.
graphic artist
Dougal, William H.
author
Girard, Charles
printer
Wendell, Cornelius
author
Emory, William H.
publisher
U.S. Department of the Interior
U.S. Army
ID Number
2009.0115.071
catalog number
2009.0115.071
accession number
2009.0115

Engraving of fish species "Anguilla tyrannus"

William Dougal (1822–1895) of Washington, D.C. is believed to have engraved this print of eel species Anguilla tyrannus (now Anguilla rostrata) after an original illustration by John H. Richard (c.1807-1881) also of Washington, D.C.
Description (Brief)
William Dougal (1822–1895) of Washington, D.C. is believed to have engraved this print of eel species Anguilla tyrannus (now Anguilla rostrata) after an original illustration by John H. Richard (c.1807-1881) also of Washington, D.C. The illustration was printed as Plate 40 in “Ichthology of the Boundary” by Charles Girard (1822–1895), published in Volume 2, Part 2 of the Report on the United States and Mexican Boundary Survey. The volume was printed in 1859 by Cornelius Wendell of Washington, D.C.
Description
William Dougal (1822–1895) of Washington, D.C. engraved this print of “Anguilla tyrannus [Grd]”, now "Anguilla rostrata" or American eel, from an original sketch likely drawn by John H. Richard (c.1807–1881) of Philadelphia. The illustration was printed as Plate 40 in the “Fishes” section of the second part of volume II of the Report on the United States and Mexican Boundary Survey, written by Charles Girard (1822–1895). The volume was printed in 1859 by Cornelius Wendell of Washington, D.C.
Location
Currently not on view
date of book publication
1859
publisher
U.S. Department of the Interior
printer
Wendell, Cornelius
author
Emory, William H.
Girard, Charles
original artist
Richard, John H.
graphic artist
Dougal, William H.
ID Number
2009.0115.106
catalog number
2009.0115.106
accession number
2009.0115

Engraving of fish species "Moniana rutila, Moniana formosa, Moniana gibbosa, Moniana aurata, Moniana frigida, Moniana couchi"

William Dougal (1822–1895) of Washington, D.C. engraved this print of six fish species after original sketches by John H. Richard (c.1807–1881) of Philadelphia.
Description (Brief)
William Dougal (1822–1895) of Washington, D.C. engraved this print of six fish species after original sketches by John H. Richard (c.1807–1881) of Philadelphia. The engraving was printed as Plate 30 in "Ichthyology of the Boundary” by Charles Girard (1822-1895), published in Volume 2, Part 2 of the Report on the United States and Mexican Boundary Survey. The volume was printed in 1859 by Cornelius Wendell of Washington, D.C. The fish species illustrated include: Moniana rutila [Grd], Moniana formosa [Grd], Moniana gibbosa [Grd], Moniana aurata [Grd], Moniana frigida [Grd], and Moniana couchi [Grd].
Description
William Dougal (1822–1895) of Washington, D.C. engraved this print of “Moniana rutila [Grd], Moniana formosa [Grd], Moniana gibbosa [Grd], Moniana aurata [Grd], Moniana frigida [Grd], Moniana couchi [Grd];” now "Cyprinella rutila" (Mexican shiner), "Cyprinella formosa" (Beautiful shiner), "Cyprinella leutrensis" (Red shiner), "Cyprinella proserpina" (Proserpine shiner), "Cyprinella lutrensis" (Red shiner), and "Cyprinella lutrensis" (Red shiner), from an original sketch by John H. Richard (c.1807–1881) of Philadelphia. The illustration was printed as Plate 30 in the “Fishes” section of the second part of volume II of the Report on the United States and Mexican Boundary Survey, written by Charles Girard (1822–1895). The volume was printed in 1859 by Cornelius Wendell of Washington, D.C.
Location
Currently not on view
date of book publication
1859
publisher
U.S. Department of the Interior
printer
Wendell, Cornelius
author
Emory, William H.
original artist
Richard, John H.
graphic artist
Dougal, William H.
author
Girard, Charles
publisher
U.S. Army
ID Number
2009.0115.096
catalog number
2009.0115.096
accession number
2009.0115

Engraving of toad and salamander species"Scaphiopus couchii, Amblystoma proserpina, Amblystoma texana"

William Dougal (1822–1895) of Washington, D.C. engraved this print ofdifferent reptile species after original illustrations by John H. Richard (c.1807-1881) of Philadelphia. The engraving was published as Plate 35 in “Reptiles of the Boundary” by S. F.
Description (Brief)
William Dougal (1822–1895) of Washington, D.C. engraved this print of
different reptile species after original illustrations by John H. Richard (c.1807-1881) of Philadelphia. The engraving was published as Plate 35 in “Reptiles of the Boundary” by S. F. Baird (1823–1887), published in Volume 2, Part 2 of the Report on the United States and Mexican Boundary Survey. The volume was printed in 1859 by Cornelius Wendell of Washington, D.C. The species illustrated describe: “Scaphiopus couchii [Baird], Ambytoma proserpina [B & G], and Ambystoma texana [Baird]”—; now Scaphiopus couchii (common name Couch’s spadefoot or Spadefoot toad), "Ambystoma mavortium" (common name Western tiger salamander) and "Ambystoma texanum" (common name Texas salamander).
Description
William Dougal (1822–1895) of Washington, D.C. engraved this print of “Scaphiopus couchii [Baird], Ambytoma proserpina [B & G], and Ambystoma texana [Baird]”—; now Scaphiopus couchii (Couch’s spadefoot or Spadefoot toad), "Ambystoma mavortium" (Western tiger salamander) and "Ambystoma texanum" (Texas salamander); from an original sketch by John H. Richard (c. 1807–1881) of Philadelphia. The illustration was printed as Plate 35 in the “Reptiles” section of the second part of volume II of the Report on the United States and Mexican Boundary Survey, written by S.F. Baird (1823–1887). The volume was printed in 1859 by Cornelius Wendell of Washington, D.C.
Location
Currently not on view
date of book publication
1859
author
Baird, Spencer Fullerton
original artist
Richard, John H.
graphic artist
Dougal, William H.
printer
Wendell, Cornelius
author
Emory, William H.
publisher
U.S. Department of the Interior
U.S. Army
ID Number
2009.0115.059
catalog number
2009.0115.059
accession number
2009.0115

Engraving of fish species "Otolithus drummondii"

William Dougal (1822–1895) of Washington, D.C. engraved this print of the fish species Otolithus drummondii [Richards] after original sketches by John H. Richard (c.1807–1881) of Philadelphia.
Description (Brief)
William Dougal (1822–1895) of Washington, D.C. engraved this print of the fish species Otolithus drummondii [Richards] after original sketches by John H. Richard (c.1807–1881) of Philadelphia. The engraving was printed as Plate 6 in “Ichthyology of the Boundary” by Charles Girard (1822-1895), published in Volume 2, Part 2 of the Report on the United States and Mexican Boundary Survey. The volume was printed in 1859 by Cornelius Wendell of Washington, D.C.
Description
William Dougal (1822–1895) of Washington, D.C. engraved this print of “Otolithus drummondii [Richards]”, now "Cynoscion nebulosus" or Spotted seatrout, from an original sketch likely drawn by John H. Richard (c.1807–1881) of Philadelphia. The illustration was printed as Plate 6 in the “Fishes” section of the second part of volume II of the Report on the United States and Mexican Boundary Survey, written by Charles Girard (1822–1895). The volume was printed in 1859 by Cornelius Wendell of Washington, D.C.
Location
Currently not on view
date of book publication
1859
original artist
Richard, John H.
graphic artist
Dougal, William H.
printer
Wendell, Cornelius
author
Emory, William H.
publisher
U.S. Department of the Interior
author
Girard, Charles
publisher
U.S. Army
ID Number
2009.0115.075
catalog number
2009.0115.075
accession number
2009.0115

Engraving of frog species "Batrachyla longipes, Heloecetes clarii, Ylarana fusca, Acris archeta"

William Dougal (1822–1895) of Washington, D.C. engraved this print ofdifferent reptile species after original illustrations by John H. Richard (c.1807-1881) of Philadelphia. The illustration was printed as Plate 37 in “Reptiles of the Boundary” by S.F.
Description (Brief)
William Dougal (1822–1895) of Washington, D.C. engraved this print of
different reptile species after original illustrations by John H. Richard (c.1807-1881) of Philadelphia. The illustration was printed as Plate 37 in “Reptiles of the Boundary” by S.F. Baird (1823–1887), published in Volume 2, Part 2 of the Report on the United States and Mexican Boundary Survey. The volume was printed in 1859 by Cornelius Wendell of Washington, D.C. The species illustrated include: “Batrachyla longipes [Baird], Heloecetes clarkia [Baird], Hylarana fusca [Baird], and Acris archeta [sic] [Baird]," now "Eleutherodactylus longipes" (common names Long–footed frog, Long–footed robber frog, or Longfoot robber frog), "Pseudacris clarkia" (common names Clark’s tree frog, Clark’s striped tree frog, or Spotted chorus frog), Hylarana fusca [Baird], and "Acris gryllus" (common name Cricket frog).
Description
William Dougal (1822–1895) of Washington, D.C. engraved this print of “Batrachyla longipes [Baird], Heloecetes clarkia [Baird], Hylarana fusca [Baird], and Acris archeta [sic] [Baird]," now "Eleutherodactylus longipes" (Long–footed frog, Long–footed robber frog, or Longfoot robber frog), "Pseudacris clarkia" (Clark’s tree frog, Clark’s striped tree frog, or Spotted chorus frog), Hylarana fusca [Baird], and "Acris gryllus" (Cricket frog); from an original sketch by John H. Richard (c.1807–1881) of Philadelphia. The illustration was printed as Plate 37 in the “Reptiles” section of the second part of volume II of the Report on the United States and Mexican Boundary Survey, written by S.F. Baird (1823–1887). The volume was printed in 1859 by Cornelius Wendell of Washington, D.C.
Location
Currently not on view
date of book publication
1859
author
Baird, Spencer Fullerton
original artist
Richard, John H.
graphic artist
Dougal, William H.
printer
Wendell, Cornelius
author
Emory, William H.
publisher
U.S. Department of the Interior
U.S. Army
ID Number
2009.0115.061
catalog number
2009.0115.061
accession number
2009.0115

Engraving of fish species "Belone scrulator"

William Dougal (1822–1895) of Washington, D.C. engraved this print of fish species, "Belone scrulator [Grd]," after an original sketch by John H. Richard (c.1807–1881) of Philadelphia.
Description (Brief)
William Dougal (1822–1895) of Washington, D.C. engraved this print of fish species, "Belone scrulator [Grd]," after an original sketch by John H. Richard (c.1807–1881) of Philadelphia. The engraving was printed as Plate 13 in “Ichthyology of the Boundary” by Charles Girard (1822-1895), published in Volume 2, Part 2 of the Report on the United States and Mexican Boundary Survey. The volume was printed in 1859 by Cornelius Wendell of Washington, D.C.
Description
William Dougal (1822–1895) of Washington, D.C. engraved this print of “Belone scrulator [Grd]”, now "Strongylura marina" or Atlantic needlefish, from an original sketch by John H. Richard (c.1807–1881) of Philadelphia. The illustration was printed as Plate 13 in the “Fishes” section of the second part of volume II of the Report on the United States and Mexican Boundary Survey, which was written by Charles Girard (1822–1895). The volume was printed in 1859 by Cornelius Wendell of Washington, D.C.
Location
Currently not on view
date of book publication
1859
publisher
U.S. Department of the Interior
original artist
Richard, John H.
graphic artist
Dougal, William H.
printer
Wendell, Cornelius
author
Girard, Charles
Emory, William H.
publisher
U.S. Army
ID Number
2009.0115.058
catalog number
2009.0115.058
accession number
2009.0115

Engraving of fish species "Ictiobus tumidus, Pytchostomus albidus, Luxilus leptosomus"

William Dougal (1822–1895) of Washington, D.C. engraved this print of three fish species after original sketches by John H. Richard (c.1807–1881) of Philadelphia.
Description (Brief)
William Dougal (1822–1895) of Washington, D.C. engraved this print of three fish species after original sketches by John H. Richard (c.1807–1881) of Philadelphia. The engraving was printed as Plate 19 in "Ichthyology of the Boundary” by Charles Girard (1822-1895), published in Volume 2, Part 2 of the Report on the United States and Mexican Boundary Survey. The volume was printed in 1859 by Cornelius Wendell of Washington, D.C. The fish species illustrated include: Ictiobus tumidus [Grd], Ptychostomus albidus [Grd], and Luxilus leptosomus [Grd].
Description
William Dougal (1822–1895) of Washington, D.C. engraved this print of “Ictiobus tumidus [Grd], Ptychostomus albidus [Grd], and Luxilus leptosomus [Grd]”—now "Ictiobus bubalus" (Smallmouth buffalofish), "Moxostoma albidum" (Longlip jumprock), and "Notemigonus crysoleucas" (Golden shiner or Golden shiner minnow); from an original sketch by John H. Richard (c.1807–1881) of Philadelphia. The illustration was printed as Plate 19 in the “Fishes” section of the second part of volume II of the Report on the United States and Mexican Boundary Survey, written by Charles Girard (1822–1895). The volume was printed in 1859 by Cornelius Wendell of Washington, D.C.
Location
Currently not on view
date of book publication
1859
publisher
U.S. Army
author
Girard, Charles
original artist
Richard, John H.
graphic artist
Dougal, William H.
printer
Wendell, Cornelius
author
Emory, William H.
publisher
U.S. Department of the Interior
ID Number
2009.0115.067
catalog number
2009.0115.067
accession number
2009.0115

Engraving of fish species "Caragnus esculentus, Doliodon carolinus, Chorinemus lanceolatus, Chloroscombrus cambraeus, Argyreiosus capillaris, Vomer setapinnis"

William Dougal (1822–1895) of Washington, D.C. engraved this print of a fish species after an original sketch by John H. Richard (c.1807–1881) of Philadelphia.
Description (Brief)
William Dougal (1822–1895) of Washington, D.C. engraved this print of a fish species after an original sketch by John H. Richard (c.1807–1881) of Philadelphia. The engraving was printed as Plate 1 in “Ichthyology of the Boundary” by Charles Girard (1822-1895), published in Volume 2, Part 2 of the Report on the United States and Mexican Boundary Survey. The volume was printed in 1859 by Cornelius Wendell of Washington, D.C. Species represented in the engraving include:
Figs. 1- 3 - Caragnus esculentus [Grd], Fig. 4 - Doliodon carolinus [Grd],
Fig. 5 - Chorinemus lanceolatus [Grd], Fig. 6 - Chloroscombrus carribaeus [Grd], (Atlantis bumper), Fig. 7 -- Argyreiosis capillaris [De Kay], and Fig. 8 - Vomer setapinnis [Grd]; now "Oligoplites saurus" (Leatherjacket).
Description
William Dougal (1822–1895) of Washington, D.C. engraved this print of “Caragnus esculentus [Grd], Doliodon carolinus [Grd], Chorinemus lanceolatus [Grd], Chloroscombrus carribeaus [Grd], Argyreiosis capillaris [De Kay], and Vomer setapinnis [Grd]; now "Oligoplites saurus" (Leatherjacket), "Trachinotus carolinus" (Florida pompano), "Oligoplites saurus" (Leatherjacket), "Chloroscombrus carribaeus" (Atlantic bumper), and "Selene setapinnis" (Atlantic moonfish or horsefish); from an original sketch by John H. Richard (c.1807–1881) of Philadelphia. The illustration was printed as Plate 11 in the “Fishes” section of the second part of volume II of the Report on the United States and Mexican Boundary Survey, written by Charles Girard (1822–1895). The volume was printed in 1859 by Cornelius Wendell of Washington, D.C.
Location
Currently not on view
date of book publication
1859
original artist
Richard, John H.
graphic artist
Dougal, William H.
printer
Wendell, Cornelius
author
Emory, William H.
publisher
U.S. Department of the Interior
author
Girard, Charles
publisher
U.S. Army
ID Number
2009.0115.080
catalog number
2009.0115.080
accession number
2009.0115

The Artillery School at Saumur

Currently not on view
Location
Currently not on view
date made
1918-07
artist
Smith, J. Andre
ID Number
AF.26059
catalog number
26059
accession number
64592

Presentation Vase

This elegant silver vase was presented to Willard A. Smith, Chief of the Department of Transportation exhibits at the World’s Colombian Exposition in 1893. The Exposition was held in Chicago to celebrate the 400th anniversary of Christopher Columbus’s “discovery” of America.
Description
This elegant silver vase was presented to Willard A. Smith, Chief of the Department of Transportation exhibits at the World’s Colombian Exposition in 1893. The Exposition was held in Chicago to celebrate the 400th anniversary of Christopher Columbus’s “discovery” of America. The Exposition was a great success as a world’s fair, and demonstrated to the international community that Chicago had recovered from the Great Chicago Fire of 1871.
Presenting silver objects has always been a means of expressing gratitude and acknowledging deeds and accomplishments in American culture. It took Tiffany & Co. six months to construct this costly Art Nouveau style vase. Its decoration takes the form of the Transportation Building. The distinct semi-circular arches are the work of architect James Sullivan, who designed the building that housed the Department of Transportation exhibits. Medallions circling the vase celebrate the progress in the modes of land and water transportation, while representations of the Department of Transportation exhibitions adorn the vase as well.
Date made
1894
user
Smith, Willard A.
maker
Tiffany & Co.
ID Number
DL.63.821
catalog number
63.821
63.281
accession number
245502

Watching for the Return

Currently not on view
Location
Currently not on view
date made
ca. 1890s
maker
Stieglitz, Alfred
ID Number
PG.004124
catalog number
4124
accession number
147001

On the Wire

Oil painting on canvas of two American soldiers carrying another soldier on a stretcher along a line of barbed wire. The stretcher bearers are in uniform and are wearing helmets with their gas mask bags hanging from their necks.
Description
Oil painting on canvas of two American soldiers carrying another soldier on a stretcher along a line of barbed wire. The stretcher bearers are in uniform and are wearing helmets with their gas mask bags hanging from their necks. The soldier in front is looking up into the distance as he walks, while the soldier in back is walking with his head bowed. The soldier on the stretcher is wrapped in a blanket and his face is white; he is either severely injured or dead. The sky is gray with faint light coming from the left. A line of fog is rolling in from the left, slightly obscuring the soldiers and the barbed wire. At the bottom of the painting among the grass are tiny red and blue flowers. Signed by the artist at bottom left, "Harvey Dunn, 1918"
Location
Currently not on view
date made
1918
associated date
1917 - 1918
associated person
Dunn, Harvey Thomas
artist
Dunn, Harvey Thomas
ID Number
AF.25719
catalog number
25719
accession number
64592

Battle of the Marne

Pastel and watercolor drawing on paper of American soldiers advancing during the Second Battle of the Marne. Soldiers in uniform with guns and bayonets drawn advance up a hill that is covered in long grass with blue and red flowers.
Description
Pastel and watercolor drawing on paper of American soldiers advancing during the Second Battle of the Marne. Soldiers in uniform with guns and bayonets drawn advance up a hill that is covered in long grass with blue and red flowers. In the background at left is a cluster of trees, one of which has almost been cut in half and leans in the direction of the soldiers. In the background at right is a war torn village. The sky overhead is full of dark blue and gray clouds.
Location
Currently not on view
date made
1918
associated date
1917 - 1918
associated person
Dunn, Harvey Thomas
artist
Dunn, Harvey Thomas
ID Number
AF.67520M
catalog number
67520M
accession number
229290

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