Clothing & Accessories

Work, play, fashion, economic class, religious faith, even politics—all these aspects of American life and more are woven into clothing. The Museum cares for one of the nation's foremost collections of men's, women's, and children's garments and accessories—from wedding gowns and military uniforms to Halloween costumes and bathing suits.

The collections include work uniforms, academic gowns, clothing of presidents and first ladies, T-shirts bearing protest slogans, and a clean-room "bunny suit" from a manufacturer of computer microchips. Beyond garments, the collections encompass jewelry, handbags, hair dryers, dress forms, hatboxes, suitcases, salesmen's samples, and thousands of fashion prints, photographs, and original illustrations. The more than 30,000 artifacts here represent the changing appearance of Americans from the 1700s to the present day.

General HistoryThe uniform of the 5th New York Volunteer Infantry (Duryée's Zouaves), 1861, consisted of a distinctive jacket, vest, sash, baggy trousers, and fez.
Description
General History
The uniform of the 5th New York Volunteer Infantry (Duryée's Zouaves), 1861, consisted of a distinctive jacket, vest, sash, baggy trousers, and fez. The Zouave uniform adopted on both sides by many volunteer units during the first year of the Civil War was based on that of the elite Zouave battalion of the French Army, whose dashing appearance matched its fighting abilities. In their turn, the French Zouaves modeled their uniform and drill after the native dress and fearless tactics of their former Algerian opponents, encountered in the course of the colonial war of the 1830s.
ID Number
AF.24954.01
accession number
64127
catalog number
24954.01
This watch belonged to Sir Sandford Fleming, chief engineer of the Canadian Pacific Railway.
Description
This watch belonged to Sir Sandford Fleming, chief engineer of the Canadian Pacific Railway. About 1880, Fleming devised a plan for worldwide time zones and had a complicated watch made to reflect both zoned time and local time.
The maker of Fleming's watch is the London firm of Nicole, Nielsen & Co. Successor to a business founded by Swiss immigrants Adolphe Nicole and Jules Capt in the late 1830s, the firm made high-quality timepieces. Fleming ordered the watch through retailer E. White, also of London.
Fleming's first notions about time reform emerged on a trip to Ireland in 1876, when he missed a train because he misread a timetable. His initial plan concentrated on replacing the two twelve-hour designations of the day, A.M. and P.M., with a twenty-four hour system. Almost immediately, though, he expanded his ideas about time reform to propose a system he called variously "Terrestrial Time," "Cosmopolitan Time," and "Cosmic Time"-a division of the globe into twenty-four zones, each one hour apart and identified by letters of the alphabet.
As the 1880s began there was no binding international agreement about how to keep time for the world. Traditionally, each country used its own capital city or main observatory for measuring time and designating lines of longitude on national maps. After publication of the British Nautical Almanac began in 1767, many nations came to use Greenwich time for navigation and some scientific observations. Local mean time served for all other activities.
Added emphasis on Greenwich had come from North America when the railroads there voluntarily adopted a standard zoned time in 1883. In that system, the zones were based on meridians counted west from Greenwich, England, at zero degree of longitude.
Fleming was not the first or only proponent of world standard time. Quirico Filopanti, an Italian mathematics and engineering professor, for example, published a scheme based on twenty-four zones counted from Rome as prime meridian in 1858.
Organized international support emerged slowly for fixing a common prime meridian. Not until October 1884 did diplomats and technical specialists gather to act on scientific proposals. The International Meridian Conference, held in Washington, DC, recommended that the nations of the world establish a prime meridian at Greenwich, count longitude east and west from the prime meridian up to 180 degrees in each direction, and adopt a universal day beginning at Greenwich at midnight. Although the International Meridian Conference had no authority to enforce its suggestions, the meeting resulted in the gradual worldwide adoption of a time-zone based system with Greenwich as zero degrees.
The military and some civilian science, aviation and navigation efforts still use alphabet identifiers for time zones. The time of day in Zone Z is known as "Zulu Time." The zone is governed by the zero degree of longitude that runs through Greenwich.
Location
Currently not on view
Date made
ca 1880
maker
Nicole, Nielsen & Co.
ID Number
1990.0659.01
catalog number
1990.0659.01
accession number
1990.0659
The frontpiece (also known as shield or badge) of firefighting helmets has been a distinctive part of the American firefighter’s helmet since it was developed by Henry Gratacap in the early 19th century. These frontpieces displayed a variety of information.
Description (Brief)
The frontpiece (also known as shield or badge) of firefighting helmets has been a distinctive part of the American firefighter’s helmet since it was developed by Henry Gratacap in the early 19th century. These frontpieces displayed a variety of information. The fire company's name and number appeared, often alongside the city or town where it was based. The frontpiece could also include the owner's initials and rank. Most fire helmets had leather frontpieces, but frontpieces could also be made of metal, especially on presentation helmets or those worn in parades.
This black leather frontpiece was made around 1885. The frontpiece has "SNOW DRIFT" in white letters in a banner with a red background at top. A recessed white star is below the top banner. A white "2" with a crossed hook and ladder behind it is at the center. A cut out banner with the black initials "CWW" on a white background is at the bottom of the frontpiece. The initials "CWW" are likely the owner’s initials.
Location
Currently not on view
date made
ca 1885
maker
unknown
ID Number
2005.0233.1424
accession number
2005.0233
catalog number
2005.0233.1424
The frontpiece (also known as shield or badge) of firefighting helmets has been a distinctive part of the American firefighter’s helmet since it was developed by Henry Gratacap in the early 19th century. These frontpieces displayed a variety of information.
Description (Brief)
The frontpiece (also known as shield or badge) of firefighting helmets has been a distinctive part of the American firefighter’s helmet since it was developed by Henry Gratacap in the early 19th century. These frontpieces displayed a variety of information. The fire company's name and number appeared, often alongside the city or town where it was based. The frontpiece could also include the owner's initials and rank. Most fire helmets had leather frontpieces, but frontpieces could also be made of metal, especially on presentation helmets or those worn in parades.
This leather frontpiece was made by William H. Wilson Manufacturing Company located at 135 Bowery Street, New York, New York around 1885. The black leather shields has golden leather lettering on a dark red background that reads “WANNALANGET/1/MALDEN/CEM.”
Location
Currently not on view
date made
ca 1885
maker
Wilson, William H.
ID Number
2005.0233.1441
accession number
2005.0233
catalog number
2005.0233.1441
The traditional American leather firefighter’s helmet with its distinctive long rear brim, frontpiece, and crest adornment was first developed around 1821-1836 in New York City. Henry T.
Description
The traditional American leather firefighter’s helmet with its distinctive long rear brim, frontpiece, and crest adornment was first developed around 1821-1836 in New York City. Henry T. Gratacap, a New York City luggage maker by trade, is often credited as the developer of this style of fire helmet. Gratacap created a specially treated leather helmet with a segmented “comb” design that led to unparalleled durability and strength. The elongated rear brim (also known as a duckbill or beavertail) and frontpiece were 19th century innovations that remain the most identifiable feature of firefighter’s helmets. The body of the helmet was primarily designed to deflect falling debris, the rear brim prevented water from running down firefighters’ backs, and their sturdy crowns could aid, if necessary, in breaking windows.
This leather helmet was made by Cairns & Brother of New York, New York in the late 19th century. The helmet is painted white overall, with 16 combs, the four main combs are painted gold. An ivy-vine scrollwork pattern is stamped around the brim of the helmet, and the edge of the helmet is painted gold. The rear brim has a design of crossed hooks and ladders surrounded by a hose and trumpets, with an inset metal frontpiece that bears the inscription “J. McNally by Senate H & L Co. 1, Sing Sing, July 1886.” A metal eagle’s head mounted to the crown of the helmet serves as a frontpiece holder. The crudely-rendered frontpiece reads “CHEIF (sic) ENGINEER/C.F.D.” with a painting of a goose neck, piano-style hand-pump engine in the center. The frontpiece may not be original to the helmet.
Location
Currently not on view
date made
ca 1886
maker
Cairns & Brother
ID Number
2005.0233.0228
accession number
2005.0233
catalog number
2005.0233.0228
A shoehorn made of ivory-grained celluloid in the shape of a whale's tail. It was patented in May 1883.Celluloid shoehorn with a “Patd May 20, 1883” inscription.Ref: Martin Gysin and Emil Huber, “Shoe Horn and Jack,” U.S. Patent 271,704 (Feb. 6, 1883).Currently not on view
Description (Brief)
A shoehorn made of ivory-grained celluloid in the shape of a whale's tail. It was patented in May 1883.
Description
Celluloid shoehorn with a “Patd May 20, 1883” inscription.
Ref: Martin Gysin and Emil Huber, “Shoe Horn and Jack,” U.S. Patent 271,704 (Feb. 6, 1883).
Location
Currently not on view
date made
1883
ID Number
2006.0098.1585
catalog number
2006.0098.1585
accession number
2006.0098
The frontpiece (also known as shield or badge) of firefighting helmets has been a distinctive part of the American firefighter’s helmet since it was developed by Henry Gratacap in the early 19th century. These frontpieces displayed a variety of information.
Description (Brief)
The frontpiece (also known as shield or badge) of firefighting helmets has been a distinctive part of the American firefighter’s helmet since it was developed by Henry Gratacap in the early 19th century. These frontpieces displayed a variety of information. The fire company's name and number appeared, often alongside the city or town where it was based. The frontpiece could also include the owner's initials and rank. Most fire helmets had leather frontpieces, but frontpieces could also be made of metal, especially on presentation helmets or those worn in parades.
This Northern Liberty leather frontpiece was manufactured between 1860 and 1880. The frontpiece originally had white lettering that read “NORTHERN LIBERTY / HOSE” but many of the letters are now missing. The center of the shield is a faded painted image of Lady Liberty leaning against the shield of the United States, with a pole in her left hand with a liberty cap on top. The Northern Liberty Hose Company was founded in 1828 in the Northern Liberty neighborhood of Philadelphia. Its name was changed in 1859 to “Northern Liberty Hose and Steam Fire Engine Company No.4” when it acquired a steam fire engine. The company was active until 1871 when Philadelphia’s paid firefighting department was established. The same image of Lady Liberty can be seen an earlier Northern Liberty parade hat seen in object number 2005.0233.0073.
Location
Currently not on view
date made
ca 1860-1880
maker
unknown
ID Number
2005.0233.1442
accession number
2005.0233
catalog number
2005.0233.1442
The frontpiece (also known as shield or badge) of firefighting helmets has been a distinctive part of the American firefighter’s helmet since it was developed by Henry Gratacap in the early 19th century. These frontpieces displayed a variety of information.
Description (Brief)
The frontpiece (also known as shield or badge) of firefighting helmets has been a distinctive part of the American firefighter’s helmet since it was developed by Henry Gratacap in the early 19th century. These frontpieces displayed a variety of information. The fire company's name and number appeared, often alongside the city or town where it was based. The frontpiece could also include the owner's initials and rank. Most fire helmets had leather frontpieces, but frontpieces could also be made of metal, especially on presentation helmets or those worn in parades.
This leather frontpiece was made around 1880-1885. The brown frontpiece has a red banner at the top with raised white leather letters that originally read “FRIENDSHIP” but several of the letters are missing. Below the banner is a recessed white star and the recessed white Roman numerals “XII.” An empty cartouche with green background may have originally contained initials.
Location
Currently not on view
date made
1880-1885
maker
unknown
ID Number
2005.0233.1461
accession number
2005.0233
catalog number
2005.0233.1461
Color print of a wagon train descending a mountain road to a central level area beside a river. A wooden fenced structure is located to the left with tents and a number of parked wagons across from it.
Description (Brief)
Color print of a wagon train descending a mountain road to a central level area beside a river. A wooden fenced structure is located to the left with tents and a number of parked wagons across from it. This is an advertisement for Peter Schuttler, a prominent manufacturer of the wagons out of Chicago. Peter Schuttler was a German immigrant who learned his craft by working for a wagon maker in Sandusky, Ohio. In 1843 he moved to Chicago to start his own business by producing wagons for both the city and for Western travellers. By the 1850's, he had become a leading manufacturer of wagons partially due to the California Gold Rush, producing up to 1800 wagons a year. His son Peter took over the business when he died in 1865.
This image was a copy of a 1875-1880 stereo viewby Thurlow of Manitou Springs.
Location
Currently not on view
Date made
n.d.
date made
ca 1885
maker
Clay & Company
ID Number
DL.60.3753
catalog number
60.3753
A color print of a race track scene. The spectators in two grandstands and behind the fence cheer the winning horse as he crosses the finish line with his jockey, a full length ahead of the next competitor. A large pack of horses and jockeys follow.
Description
A color print of a race track scene. The spectators in two grandstands and behind the fence cheer the winning horse as he crosses the finish line with his jockey, a full length ahead of the next competitor. A large pack of horses and jockeys follow. The judge at the finish line observes with folded hands. Two American flags rise above the stands.
Location
Currently not on view
Date made
1887
maker
Currier & Ives
ID Number
DL.60.3241
catalog number
60.3241
This print is one of fifteen chromolithographs that were included in the 1889-1890 folio "Sport or Fishing and Shooting" published by Bradlee Whidden of Boston and edited by A.C. Gould.
Description (Brief)
This print is one of fifteen chromolithographs that were included in the 1889-1890 folio "Sport or Fishing and Shooting" published by Bradlee Whidden of Boston and edited by A.C. Gould. These prints are based on watercolors that were commissioned for the publication, and illustrated by prominent American artists. Each folio illustration was accompanied by a single leaf of descriptive text followed by an account of the depicted sporting scene. The publication was advertised as having been reviewed for accuracy by a renowned group of anglers and hunters prior to printing.
This print was originally titled and numbered on the text page as 1. Killing Salmon. Henry Sandham. Two fishermen are depicted standing on a boulder beside a stream. They are bringing in a large salmon on a fishing line and a metal hook. A large fish lies behind them, already landed.
The artist was Henry Sandham (1842-1910), a Canadian born illustrator and artist of hunting and fishing scenes.
Location
Currently not on view
date made
1889
publisher; copywriter
Bradlee Whidden
lithographer
Forbes Lithograph Manufacturing Company
artist
Sandham, Henry
ID Number
DL.60.2733
catalog number
60.2733
accession number
228146
Color print of the yard in front of a carriage shed. Two horses hitched to sulkies stand on either side of a large carriage pulled by two horse. A dog and three men on horseback are in the right foreground.
Description (Brief)
Color print of the yard in front of a carriage shed. Two horses hitched to sulkies stand on either side of a large carriage pulled by two horse. A dog and three men on horseback are in the right foreground. Advertisement for Brewster & Co., manufacturer of carriages.
Description
A color print of yard in front of a white shed with sign: “Hiram Woodruff.” There is a stir of activity as horses are hitched to sulkies. Men ride up on horseback, and two men in formal attire ride out of yard in open buggy with a high dashboard and low wheels, drawn by two horses. Dogs are underfoot. A black stable boy tends a horse. A portion of a white frame farmhouse seen to the right, with trees and grass in the distance.
Known as one of the leading lithography firms of the mid-19th Century, Endicott and Company was formed in 1852 as the successor to William Endicott and Company following the death of George Endicott in 1848 and William Endicott in 1852. The original partners of Endicott and Company were Sarah Endicott (William’s widow) and Charles mills. However, in 1853 the senior partner was Sarah and William’s son Frances Endicott. The company often did work for Currier and Ives and employed the well-known artist Charles Pearson. In 1856 the company was awarded a diploma for the best specimen of lithography at the 28th Annual Fair of the American Institute.
Location
Currently not on view
Date made
1862
publisher
Brewster & Co.
maker
Endicott and Company
artist
Oertel, Johannes Adam Simon
ID Number
DL.60.3563
catalog number
60.3563
In 1883 the United States participated in a sort of world’s fair of fishing called The London International Fisheries Exhibition, held at the Royal Horticulture Society in London. Congress instructed the U. S.
Description
In 1883 the United States participated in a sort of world’s fair of fishing called The London International Fisheries Exhibition, held at the Royal Horticulture Society in London. Congress instructed the U. S. Commissioner of Fisheries to prepare “a complete and systematic representative exhibition of the fisheries of the United States,” to be presented under the auspices of the Department of State and to draw upon the resources of the Smithsonian Institution. It would be an understatement to say that the resulting exhibit was comprehensive. It dealt with the biology of marine and freshwater animals of all species, the geography of American fishing fields, the technology of fishing equipment and food processing, the science of deep sea research, the demographics of people involved in the fishing industry, and the anthropology of fishermen and anglers, which included a study of their games, hobbies, and appearance.
These trousers were displayed in the “Section E. – XXII. FISHERMEN AND ANGLERS” portion of the United States entry at the Exhibition. It featured large photographs, anglers’ apparel, a collection of fishermen’s wool and oiled cotton, rubber apparel such as mittens and boots, and “Lay figures [or mannequins] of fishermen of different classes, showing costumes."
This pair of trousers is made from heavy-duty cotton, woven in a small-scale plaid of brown, tan, red, and orange. The trousers have a 9” concealed two-button fly, a back yoke, and a waistband that originally had six suspender buttons as well as a button and buttonhole at the center front above the fly. One of the four front suspender buttons is now missing. A pair of short belts sewn to the back yoke span a V-shaped vent at the center back of the yoke and waistband. The left belt ends with a black japanned metal buckle.
The cutting and sewing techniques used here were very simple, and suggest that these trousers were inexpensive factory-made goods. All buttons are made of white metal pressed over a molded form, with four holes in a slightly dished center surrounded by a textured rim. All seams were sewn with brown thread, and all buttons were attached with off-white thread. There was no attempt to turn under any edge, raw or selvedge, except along the ½” hem at each ankle. Each slightly tapered pant leg was cut in one piece and double top-stitched along the inseam. Most other seams and edges are top-stitched with a single line of stitching. The muslin pocket bag over each hip was inserted into an almost vertical slit cut into each side of the trousers just below the waistband; a dart extends 1.5” beyond the lower end of each pocket to reinforce it. The trouser legs are cut with the grain of the fabric running up and down, while the waistband, back yoke, and back belts are cut with the grain going sideways. This is made obvious by the fact that the red stripes in the fabric appear only in the cross-wise weft threads, while the orange stripes appear only in the vertical warp. The fabric has a vertical repeat of 1.0625” and a horizontal repeat of 0.75”. The waist measure, excluding the back vent, is 38.75”, and the overall length is 42.125”.
To read the catalog of the London International Fisheries Exhibition, including a description of the American exhibits that were on display, link to The Fisheries Exhibition Literature. Volume XII. Official catalogue. Awards of the International Juries (London: William Clowes and Sons, 1884).
This Web entry was made possible in part by a generous grant from The National Association of Men’s Sportswear Buyers, in memory of Joseph S. Klein.
Date made
1883
date made
1878-1888
1878-1883
ID Number
CS.310128.022
catalog number
310128.022
accession number
310128
In 1883, the United States participated in a sort of world’s fair of fishing called The London International Fisheries Exhibition, held at the Royal Horticulture Society in London. Congress instructed the U.S.
Description
In 1883, the United States participated in a sort of world’s fair of fishing called The London International Fisheries Exhibition, held at the Royal Horticulture Society in London. Congress instructed the U.S. Commissioner of Fisheries to prepare “a complete and systematic representative exhibition of the fisheries of the United States,” to be presented under the auspices of the Department of State and to draw upon the resources of the Smithsonian Institution.
It would be an understatement to say that the resulting exhibit was comprehensive. It dealt with the biology of marine and freshwater animals of all species, the geography of American fishing fields, the technology of fishing equipment and food processing, the science of deep sea research, the demographics of people involved in the fishing industry, and the anthropology of fishermen and anglers, which included a study of their games, hobbies, and appearance.
This shirt was displayed in the “Section E. – XXII. FISHERMEN AND ANGLERS” portion of the United States entry at the Exhibition. It featured large photographs, anglers’ apparel, a collection of fishermen’s wool and oiled cotton and rubber apparel such as mittens and boots, and “Lay figures [or mannequins] of fishermen of different classes, showing costumes." A note attached to the shirt when it came to the National Museum at the end of the exhibition states that it was of a type “Worn chiefly by cooks on fisheries vessels and others also in the summer.”
The long-sleeved pull-over shirt is made of cotton woven in a small plaid of white and orange threads on a blue ground. The orange threads appear only in the warp. The unshaped shirt body is cut of one length of fabric from the back hem to the front hem, so that there is no seam over the shoulders. The rectangular collar is double-thickness, folded on the outer edge and seamed on the sides, and is three inches wide before being turned over when worn.
One pair of eyelets is worked on the collar at the front neck, directly above ten pairs of worked eyelets along both sides of the shirt body’s ten-inch-long neck opening. The eyelets are laced with an orange cotton cord. The tapered sleeves are set onto the straight edge of the body, and each has a cuff with one small, four-holed, wide-rimmed white china button sewn onto its front. The back body of the shirt is eased into the collar. The corners of the front and back shirt-tails are rounded below short side vents. The center back length of the shirt body is 32.75 in. (83.19 cm).
To read the catalog of the London International Fisheries Exhibition, including a description of the American exhibits that were on display, link to The Fisheries Exhibition Literature. Volume XII. Official catalogue. Awards of the International Juries . (London: William Clowes and Sons, 1884.)
This Web entry was made possible in part by a generous grant from the National Association of Men’s Sportswear Buyers, in memory of Joseph S. Klein.
Date made
1878 - 1888
maker
unknown
ID Number
CS.310128.020
catalog number
310128.020
accession number
310128
A color print of an advertising poster. The scene is a race track in front of a judge’s stand. The winning horse, still hitched to his sulky and driver, is getting a blanket thrown over his back. Other horses covered in blankets are being led away. Men push the sulkys.
Description
A color print of an advertising poster. The scene is a race track in front of a judge’s stand. The winning horse, still hitched to his sulky and driver, is getting a blanket thrown over his back. Other horses covered in blankets are being led away. Men push the sulkys. The driver of the winning horse gestures to the judges in the stand with his whip. The spectators are dressed in sporty suits and converse on the track in groups of three or four. The surrounding area has wooded hills.
Worth was a noted comic and genre artist. He was born in February of 1834 in New York City. He sold his first comic sketch to Nathaniel Currier in 1855 and later became one of the most popular of the artists whose work was lithographed by Currier and Ives. Though best known for his comics he also did make may racing scenes. He lived for many years on Long Island, though eventually he moved to Staten Island. Worth died in 1917.
Location
Currently not on view
Date made
1889
maker
Currier & Ives
Worth, Thomas
ID Number
DL.60.3229
catalog number
60.3229
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
This print is one of fifteen chromolithographs that were included in the 1889-1890 folio "Sport or Fishing and Shooting" published by Bradlee Whidden of Boston and edited by A.C. Gould.
Description (Brief)
This print is one of fifteen chromolithographs that were included in the 1889-1890 folio "Sport or Fishing and Shooting" published by Bradlee Whidden of Boston and edited by A.C. Gould. These prints are based on watercolors that were commissioned for the publication, and illustrated by prominent American artists. Each folio illustration was accompanied by a single leaf of descriptive text followed by an account of the depicted sporting scene. The publication was advertised as having been reviewed for accuracy by a renowned group of anglers and hunters prior to printing.
This print was originally titled and numbered on the text page as 11. Hunting the [Virginia] Deer. A.B. Frost. It depicts a hunter crouched behind a log, aiming a rifle at a stag.
The artist was Arthur Burdette Frost (1851-1928), known for his wildlife and sporting scenes even though he had an aversion to deer hunting. Frost was a noted illustrator (Uncle Remus), even though he was color blind.
Location
Currently not on view
date made
1889
publisher; copywriter
Bradlee Whidden
lithographer
Forbes Lithograph Manufacturing Company
artist
Frost, Arthur Burdette
ID Number
DL.60.2720
catalog number
60.2720
accession number
228146
Colored print of hunter and his dog. The hunter is loading his rifle and looking over his shoulder at a woodcock that is flying away.Currently not on view
Description (Brief)
Colored print of hunter and his dog. The hunter is loading his rifle and looking over his shoulder at a woodcock that is flying away.
Location
Currently not on view
date made
1880
copyright holder
Zink, C. H.
maker
Earle, L. C.
ID Number
DL.60.2678
catalog number
60.2678
accession number
228146
Black and white print of a large room filled with young men engaged in a variety of initiation pranks. Hazing devices include: blindfolds, dunce caps, tub of water, women's clothing, white sheets, an animal head, Greek helmet, musical instruments, etc.Currently not on view
Description (Brief)
Black and white print of a large room filled with young men engaged in a variety of initiation pranks. Hazing devices include: blindfolds, dunce caps, tub of water, women's clothing, white sheets, an animal head, Greek helmet, musical instruments, etc.
Location
Currently not on view
date made
ca 1862
publisher
Chatfield, Charles C.
maker
Punderson & Crisand
Giles, John Lawrence
artist
Sargent, C. A.
ID Number
DL.60.2436
catalog number
60.2436
accession number
228146
This black and white tinted print depicts the first of eight scenes based on George Cruikshank's The Bottle. The series shows the progressive degeneration of a family due to the evils of drinking. This print is an interior scene of a man, a woman, and three children.
Description
This black and white tinted print depicts the first of eight scenes based on George Cruikshank's The Bottle. The series shows the progressive degeneration of a family due to the evils of drinking. This print is an interior scene of a man, a woman, and three children. The man and woman are seated at a table, and he is pouring a drink for her. They are surrounded by comfortable middle-class furnishings that include a fireplace with stove insert, pictures on the wall, and a clock on the mantle. A cat and a kitten play by the fire near the two younger children.
This series of prints is by the English artist George Cruikshank (1792-1878). Cruikshank’s father, Isaac Cruikshank, was an artist who specialized in song sheets and caricatures and trained George and his brother Robert Cruikshank in these arts. George started as a caricaturist for magazines and children’s books. His most famous works included The Bottle and The Drunkard’s Children, designed and etched by Cruikshank to show the wickedness of alcohol. Cruikshank's father and brother were both alcoholics and he himself drank heavily until he took a vow of abstinence in 1847. These prints were published by David Bogue, who published most of Cruikshank’s other works in the 1850s. David Bogue, (1807–1856) was born in Scotland and moved to London in 1836. Bogue began working in Charles Tilt's bookshop as a publisher and bookseller in 1836 and became Tilt's partner in 1840. Bogue bought the shop in 1843. He was the principle publisher of Cruikshank’s short-lived periodicals, brief illustrated stories, and the Comic Almanack 1835-53. David Bogue published The Bottle series in 1847. Bogue suffered from heart disease and died in 1856 at the age of 48. There is no information available about the lithographer of this series however the inscription on the print reads COPYRIGHTED BY M. MARQUES, 1885.
Location
Currently not on view
date made
ca 1885
copyright holder
Marques, M.
maker
unknown
original artist
Cruikshank, George
ID Number
DL.60.2385
catalog number
60.2385
accession number
228146
Black and white print containing facsimiles of twelve leading newspapers, each of which frames a bust portrait of its owner or editor, except center portrait which has no newspaper "frame". Facsimiles of signatures appear below with printed titles of papers.Currently not on view
Description (Brief)
Black and white print containing facsimiles of twelve leading newspapers, each of which frames a bust portrait of its owner or editor, except center portrait which has no newspaper "frame". Facsimiles of signatures appear below with printed titles of papers.
Location
Currently not on view
date made
1882
depicted
Weed, Thurlow
lithographer
Buek & Lindner
publisher
Root & Tinker
ID Number
DL.60.2435
catalog number
60.2435
accession number
228146
Currently not on view
Location
Currently not on view
date made
1887
maker
Muybridge, Eadweard
ID Number
PG.002511
catalog number
2511
accession number
65115
Currently not on view
Location
Currently not on view
date made
1887
maker
Muybridge, Eadweard
ID Number
PG.002491
catalog number
2491
accession number
65115
Currently not on view
Location
Currently not on view
date made
1887
maker
Muybridge, Eadweard
ID Number
PG.002461
catalog number
2461
accession number
65115

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