Communications - Overview
Tools of communication have transformed American society time and again over the past two centuries. The Museum has preserved many instruments of these changes, from printing presses to personal digital assistants.
The collections include hundreds of artifacts from the printing trade and related fields, including papermaking equipment, wood and metal type collections, bookbinding tools, and typesetting machines. Benjamin Franklin is said to have used one of the printing presses in the collection in 1726.
More than 7,000 objects chart the evolution of electronic communications, including the original telegraph of Samuel Morse and Alexander Graham Bell's early telephones. Radios, televisions, tape recorders, and the tools of the computer age are part of the collections, along with wireless phones and a satellite tracking system.
"Communications - Overview" showing 18 items.
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Page from an advertising brochure for the Lowe Press manufactured by the Lowe Printing Company, Boston, about 1865
- Description
- One of the Lowe printing press advertisements included examples of the fonts of type available for sale with the Lowe Press kits. They were sold with three sizes and three fonts of type, described as both plain and fancy.
- The brochure reads: We have sold many Presses to the Army and Navy, to printers, druggists, medicine dealers, merchants, clergymen, lawyers, mechanics . . . in the country, the Canadas, and in other lands.
- Location
- Currently not on view
- date made
- 1865
- maker
- Lowe, Samuel W.
- manufacturer
- Watson, Joseph
- ID Number
- 2007.0162.014
- accession number
- 2007.0162
- catalog number
- 2007.0162.014
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Portrait of Abraham Lincoln
- Description
- William Pate & Co. of New York published this portrait of Lincoln in 1869. The engraver, Henry Gugler, is best known for his bank-note work. Although the copyright notice below the print indicates the source as an original painting by J. H. Littlefield, who was once a clerk in Lincoln's law office, the image was based on a photograph made in the Mathew Brady studio in 1864. Perhaps Littlefield made a painting after the photograph that Gugler then engraved. The Brady studio photograph of Lincoln also served as the model for the engraving that appeared on the five-dollar bill and for other portrait prints.
- Location
- Currently not on view
- Date made
- 1869
- engraver
- Gugler, Henry
- original artist
- Littlefield, J. H.
- artist attribution
- Brady, Mathew B.
- publisher
- William Pate & Co.
- ID Number
- GA*03352
- catalog number
- 03352
- accession number
- 23155
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Landscape in Normandy
- Description
- This signed and titled print, Prés Houlgate (Calvados) by Maxime Lalanne, was published in a portfolio of etchings titled Divertissements sur cuivre, 12 croquis (Entertainments on Copper, Twelve Sketches) in 1869. Houlgate is in Normandy in northwestern France. While Lalanne etched many views of the countryside, it was his city views that made his reputation.
- Location
- Currently not on view
- Date made
- 1869
- graphic artist
- Lalanne, Maxime
- publisher
- Cadart et Luce
- ID Number
- GA*14595
- catalog number
- 14595
- accession number
- 94830
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Portrait of Alexandre Tardieu
- Description
- Louis-Pierre Henriquel-Dupont’s etching reproduces an 1825 drawing by J. A. D. Ingres (1780–1867) of Pierre-Alexandre Tardieu (1756–1844). The print appeared in the Gazette des Beaux-Arts in 1860. Tardieu came from a dynasty of distinguished graphic artists, which dated back to the beginning of the 18th century. He was especially known for his engraved portraits. Henriquel-Dupont, like the subject of his print, also was famous for his engravings and was considered by some the most celebrated engraver of 19th-century France.
- Location
- Currently not on view
- Date made
- 1860
- original artist
- Ingres, Jean-Auguste-Dominique
- graphic artist
- Henriquel-Dupont, Louis-Pierre
- printer
- Drouart
- publisher
- Gazette des Beaux-Arts
- ID Number
- GA*14902
- catalog number
- 14902
- accession number
- 94830
- Data Source
- National Museum of American History, Kenneth E. Behring Center
- No Image Available
Anglo-American Telegraph Company Records, 1862-1947
- Notes
- The Anglo-American Telegraph Company was organized in 1865 as a joint British-American venture to lay an Atlantic telegraph cable. After three failed attempts by other telegraph companies, Anglo-American Telegraph Company successfully laid and operated the first trans-Atlantic cable in 1866. The company operated cables until 1912, when they were leased to Western Union
- Summary
- Records relating to the organization of the company, corporate and financial records. Corporate records include two volumes of the company's acts, charters, contracts and agreements, 1862-1883; minutes of board meetings relating to varied subjects, such as agreements between the company and other telegraph companies such as Western Union Telegraph concerning sales of property, details of trnsactions or purchases undertaken by the company. Financial records consist of nine volumes of "journals" showing monthly records of receipts, 1866-1912; nineteen volumes of ledgers reveal a detailed financial status of the company, 1866-1912; and nine volumes of cash books consist of the financial transactions of the company, 1904-early 1941. See also 1 folder of the Anglo-American Telegraph Company telegrams in the Warshaw Collection under the heading "Telegraphs"
- Cite as
- Anglo-American Telegraph Company Records, 1862-1947, Archives Center, National Museum of American History, Washington, DC
- Date
- 1862
- 1862-1947
- 1860-1920
- 1900-1950
- author
- Anglo-American Telegraph Company, Ltd
- collector
- Electricity and Modern Physics, Division of, NMAH, SI
- Subject
- Western Union Telegraph Company
- Data Source
- Archives Center - NMAH
Portrait of Abraham Lincoln
- Description
- Late in 1862, the Union League of Philadelphia commissioned Edward Dalton Marchant to paint Lincoln's portrait for exhibition in Independence Hall as a gesture of support for the president and the Union. Marchant engaged Philadelphia artist John Sartain to engrave the portrait, and mezzotint prints were published by Bradley and Company in 1864 to meet popular demand for the image. The original painting is part of the Union League’s collection, and the Museum owns two copies of the mezzotint print, one an early proof and this one from the standard edition.
- The half-length portrait depicts Lincoln seated at a table, holding a quill. A document beneath his arm reads: “Abraham Lincoln, Jan’y 1st, 1863, Will. H. Seward.” It references the signing of the Emancipation Proclamation, which took effect on that date. Part of a large statue is shown at the upper right, a classical figure of Liberty with a broken chain at her feet, another reference to the emancipation of the slaves.
- Location
- Currently not on view
- date made
- 1864
- depicted
- Lincoln, Abraham
- original artist
- Marchant, Edward Dalton
- graphic artist
- Sartain, John
- ID Number
- 1986.1013.01
- catalog number
- 1986.1013.01
- accession number
- 1986.1013
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Victor Hugo’s Bedroom
- Description
- Maxime Lalanne’s etching Le Chambre de Victor Hugo shows Hugo’s bedroom in Hauteville House on the Isle of Guernsey. The distinguished French author of works such as Les Misérables left Paris for political exile after a coup brought to power Louis Napoleon, later Napoleon III. The print was originally published as one of a suite of twelve to accompany a book titled Chez Victor Hugo par un Passant (At Victor Hugo’s House by a Passer-by). Hugo’s son Charles based his book on the reporting of Edmond Bacot, who visited Hugo in 1862. Lalanne etched this scene after one of the photographs Bacot took.
- Location
- Currently not on view
- Date made
- 1864
- publisher
- Cadart, A.
- graphic artist
- Lalanne, Maxime
- photographer
- Bacot, Edmond
- ID Number
- GA*14597
- catalog number
- 14597
- accession number
- 94830
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Officer and Laughing Girl after Vermeer
- Description
- Le Soldat et la Fillette Qui Rit is the only painting by Johannes Vermeer (1632–1675) that Jules Jacquemart etched. His first attempt to etch a painting in 1861 was a failure, as apparently he had been unable to work directly from the subject. Not until five years later in 1866 did he make a second attempt at etching a painting, this print after Vermeer. It was considered to be one of the best reproductive etchings of the time. The Vermeer painting now hangs in the Frick Collection, New York. But when Jacquemart etched it for the Gazette des Beaux-Arts, it was in the collection of Léopold Double, a French artillery officer, bibliophile, and art collector.
- Location
- Currently not on view
- Date made
- 1866
- original artist
- Vermeer, Jan
- graphic artist
- Jacquemart, Jules
- printer
- Delâtre
- publisher
- Gazette des Beaux-Arts
- ID Number
- GA*14601
- catalog number
- 14601
- accession number
- 94830
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Antique Jewels
- Description
- Jules Jacquemart reproduced these jewels in Bijoux Antiques (Musée Campana), working directly from the objects. He started by making detailed drawings or watercolors of the objects, but sometimes he etched them directly on the plate. This print was considered a still life by Jacquemart’s contemporaries. One enthusiastic author even praised him as “the most marvellous etcher of still-life who ever existed in the world. In the power of imitating an object set before him he has distanced all past work and no living rival can approach him.” This etching originally appeared in 1863 in the Gazette des Beaux-Arts, which first published one of his etchings in 1859. Of the almost 400 prints Jacquemart made, about two-thirds reproduce objects.
- The Museo Campana housed the art collection of the Marchese Giovanni Pietro Campana in Rome. When the collection was disbursed in 1861, France acquired a large part of the jewelry, which comprised mainly Etruscan, Greek, and Roman pieces, as well as some 19th-century work. The jewels were exhibited in Paris from 1862 and helped start a fashion for archeological jewelry. They can be viewed today in the Musée du Louvre, Paris.
- Location
- Currently not on view
- Date made
- 1863
- graphic artist
- Jacquemart, Jules
- printer
- Delâtre
- publisher
- Gazette des Beaux-Arts
- ID Number
- GA*14602.01
- catalog number
- 14602.01
- accession number
- 94830
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Arab Mourning
- Description
- Mariano Fortuny captured the intense grief of an Arab mourning a dead friend in this stark 1866 etching Arabe Veillant le Corps de son Ami.
- Fortuny had witnessed Moroccan life at first hand during several visits, the first in 1859, when he accompanied the troops of Spanish General Juan Prim. A nineteenth-century critic praised Fortuny’s scratchy (egratigné) and gritty (grignoté) etching technique as very original and of the greatest interest. Another critic commented on the remarkable effect of color in the print. Even in black and white, Fortuny’s much admired sense of color is evident.
- This print is one of twenty-eight Fortuny etchings issued by the Parisian publisher Goupil after the artist’s death in Rome at age thirty-six. Stephen Ferris, a great admirer of Fortuny, owned impressions of many of his prints.
- Location
- Currently not on view
- Date made
- 1866
- original artist
- Fortuny y Carbo, Mariano
- publisher
- Goupil & Cie.
- graphic artist
- Delatre
- ID Number
- GA*16763
- catalog number
- 16763
- accession number
- 119780
- Data Source
- National Museum of American History, Kenneth E. Behring Center