Food

Photo of McCall's Cheese

Part of a nation's history lies in what people eat. Artifacts at the Museum document the history of food in the United States from farm machinery to diet fads.

More than 1,300 pieces of stoneware and earthenware show how Americans have stored, prepared, and served food for centuries. Ovens, cookie cutters, kettles, aprons, and ice-cream-making machines are part of the collections, along with home canning jars and winemaking equipment. More than 1,000 objects recently came to the Museum when author and cooking show host Julia Child donated her entire kitchen, from appliances to cookbooks.

Advertising and business records of several food companies—such as Hills Brothers Coffee, Pepsi Cola, and Campbell's Soup—represent the commercial side of the subject

Topic: Photography

Plate 61. Commissary Department, Headquarters Army of the Potomac

Text and photograph from Gardner's Photographic Sketchbook of the War, Vol. II. Negative by Timothy H. O'Sullivan, text and positive by Alexander Gardner.The commissary at General Headquarters of the Army of the Potomac was nothing less than an immense grocery establishment.
Description
Text and photograph from Gardner's Photographic Sketchbook of the War, Vol. II. Negative by Timothy H. O'Sullivan, text and positive by Alexander Gardner.
The commissary at General Headquarters of the Army of the Potomac was nothing less than an immense grocery establishment. Coffee, tea, sugar, molasses, bacon, salt pork, fresh beef, potatoes, rice, flour, &c., were always kept on hand in large quantities, and of the best quality. This institution was under the charge of Brevet Major J. R. Coxe, whose portly form adorns the photograph of "What do I want, John Henry?" Occasionally some command out of provisions would suddenly call on Major Coxe for a hundred thousand rations or more, and never was the gallant Major found unable to respond. Rain, snow, darkness, fathomless roads, or unexplored forests, never hindered his wagon trains. Upon him depended the sustenance of Headquarters, and the Commissary General and Staff. It was never his fault if they went hungry.
It was interesting in the last year of the war to witness the Virginia families flock to Headquarters for the purpose of purchasing supplies of the Commissary. Decrepit [sic] men, ladies, children, and family servants crowded the Commissary at stated periods for rations, carrying off their purchased provisions in the oddest vehicles, on horseback, and on foot, some individuals every week walking twenty miles to get their supplies. The provisions sold by the Commissary were disposed of at prices far below market rates, the Government only charging the cost price at wholesale; and as great care was taken in the selection of supplies by the Government agents, it was highly desirable to citizens to purchase rations. This was especially the case with respect to tea, coffee, and sugar, which were bought by the Government in as unadulterated a form as could be found.
Location
Currently not on view
date made
1864-02
maker
Gardner, Alexander
ID Number
1986.0711.0283.11
accession number
1986.0711
catalog number
1986.0711.0283.11

Books and tools

Currently not on view
Location
Currently not on view
date made
1930s-1950s
maker
Keppler, Victor
ID Number
PG.006261.W
catalog number
6261W
accession number
238737

Snow-covered railroad tracks

Currently not on view
Location
Currently not on view
date made
1930s-1950s
maker
Keppler, Victor
ID Number
PG.006261.X
catalog number
6261X
accession number
238737

Apple in ring of pie crust

Currently not on view
Location
Currently not on view
date made
1930s-1950s
maker
Keppler, Victor
ID Number
PG.006261.LL
catalog number
6261LL
accession number
238737

wine and cheeses

Currently not on view
Location
Currently not on view
date made
1930s-1950s
maker
Keppler, Victor
ID Number
PG.006264.K
catalog number
6264K
accession number
238737

Picnic Gathering in Town Square

Stereo view by H.A. Doerr in San Antonio, Texas of a large group of men sitting on benches at long tables and eating in front of four buildings in a town, including wine and beer sales. Handwritten in ink on verso, "Mex. Breakfast." Printed or stamped on verso," H. A.
Description (Brief)
Stereo view by H.A. Doerr in San Antonio, Texas of a large group of men sitting on benches at long tables and eating in front of four buildings in a town, including wine and beer sales. Handwritten in ink on verso, "Mex. Breakfast." Printed or stamped on verso," H. A. Doerr, / Photographer / San Antonio, Tex." and NIC. TENGG, / Books / Stationery / & Newspapers. / San Antonio, Texas."
Location
Currently not on view
maker
Doerr, Henry A.
ID Number
2012.3033.0015
nonaccession number
2012.3033
catalog number
2012.3033.0015

Beef Stew

A Nickolas Muray 3-color carbro photograph. Advertisment for Petrie Wine. A bowl of stew with two glasses of red wine in foreground.Recto: Signed and dated by artist in lower right corner (pencil). Verso: Five Muray stamps. One Muray label.
Description (Brief)
A Nickolas Muray 3-color carbro photograph. Advertisment for Petrie Wine. A bowl of stew with two glasses of red wine in foreground.
Recto: Signed and dated by artist in lower right corner (pencil). Verso: Five Muray stamps. One Muray label. "#15" in upper left corner (pencil).
Description
Nickolas Muray was born in Szeged, Hungary on February 15, 1892. Twelve years after his birth, Muray left his native town and enrolled in a graphic arts school in Budapest. Enrolling in art school was the first step on a road that would eventually lead him to study a photographic printing process called three-color carbro. In the course of his accomplished career, Muray would become an expert in this process and play a key role in bringing color photography to America.
While attending art school in Budapest, Muray studied lithography and photoengraving, earning an International Engraver's Certificate. Muray was also introduced to photography during this time period. His combined interest in photography and printmaking led him to Berlin, Germany to participate in a three-year color-photoengraving course. In Berlin, Muray learned how to make color filters, a first step in the craft that would one day become his trademark. Immediately after the completion of the course, Muray found a good job with a publishing company in Ullstein, Germany. However, the threat of war in Europe forced Muray to flee for America in 1913. Soon after his arrival in New York, Muray was working as a photoengraver for Condé Nast. His specialty was color separations and half-tone negatives.
By 1920, Muray had established a home for himself in the up-and-coming artists' haven of Greenwich Village. He opened a portrait studio out of his apartment and continued to work part time at his engraving job. Harper's Bazaar magazine gave Muray his first big assignment in 1921. The project was to photograph Broadway star Florence Reed. The magazine was so impressed with his photographs that they began to publish his work monthly. This allowed him to give up his part time job and work solely as a photographer. It did not take long for Muray to become one of the most renowned portrait photographers in Manhattan. Muray spent much of the early 1920s photographing the most famous and important personalities in New York at the time.
In his spare time Muray enjoyed fencing. In 1927, he won the National Sabre Championship and in 1928 and 1932, he was on the United States Olympic Team. During World War II, Muray was a flight lieutenant in the Civil Air Patrol.
Location
Currently not on view
date made
ca 1948
maker
Muray, Nickolas
ID Number
PG.69.247.02
catalog number
69.247.02
accession number
287542

Soup

Currently not on view
Location
Currently not on view
date made
1930s-1950s
maker
Keppler, Victor
ID Number
PG.006261.T
catalog number
6261T
accession number
238737

Postcard of Main Street

Postcards, once used as souvenirs, now help us reflect on what a small part of Main Street America used to look like.
Description
Postcards, once used as souvenirs, now help us reflect on what a small part of Main Street America used to look like. As highways spread across the nation, Main Street views like this changed and in some cases disappeared as travelers were diverted to roadside eateries away from small towns.
Location
Currently not on view
Date made
1920s
ID Number
1986.3048.1587
nonaccession number
1986.3048
catalog number
1986.3048.1587

Photograph of Vegetable Hodgepodge for Burpee Seed Co.

Frederick Eugene Ives (1856–1937) was a brilliant man interested in patenting his ideas (the first in 1881), but not so much in licensing them. Ives's first three-color single exposure camera was patented in 1899.
Description
Frederick Eugene Ives (1856–1937) was a brilliant man interested in patenting his ideas (the first in 1881), but not so much in licensing them. Ives's first three-color single exposure camera was patented in 1899. Over the next thirty years, Ives patented a variety of cameras and printing processes for color photography. After the Smithsonian hosted a show of Ives's photography company's work in late 1949 or early 1950, Associate Curator Alexander Wedderburn selected five prints for the color photography portion of the Photographic History Collection. This photograph represents the culmination of Ives's long series of patents and work with color photography.
Location
Currently not on view
Date made
1940s
maker
Ives Color Processes, Inc.
ID Number
PG.004680
accession number
187952
catalog number
4680

Concession Stand

Concession stands provided refreshments for park vistors.Currently not on view
Description
Concession stands provided refreshments for park vistors.
Location
Currently not on view
negative
1972
print
2003
maker
Horenstein, Henry
ID Number
2003.0169.088
accession number
2003.0169
catalog number
2003.0169.088

wine and cheeses

Currently not on view
Location
Currently not on view
date made
1930s-1950s
maker
Keppler, Victor
ID Number
PG.006264.L
catalog number
6264L
accession number
238737

#1 Orange, partly peeled

Currently not on view
Location
Currently not on view
date made
ca 1900s
maker
Ives, Frederick Eugene
ID Number
PG.007224C
accession number
251656

Community or Family Picnic

Currently not on view
Location
Currently not on view
ID Number
2017.3154.0010
nonaccession number
2017.3154
catalog number
2017.3154.0010

Doll Cooking Egg

A Nickolas Muray 3-color carbro photograph of a doll constructed of kitchen utensils "cooking" eggs and brewing coffee over an oven range.Verso: Two Muray labels. "6842/3", "McCalls" (black marker).Nickolas Muray was born in Szeged, Hungary on February 15, 1892.
Description (Brief)
A Nickolas Muray 3-color carbro photograph of a doll constructed of kitchen utensils "cooking" eggs and brewing coffee over an oven range.
Verso: Two Muray labels. "6842/3", "McCalls" (black marker).
Description
Nickolas Muray was born in Szeged, Hungary on February 15, 1892. Twelve years after his birth, Muray left his native town and enrolled in a graphic arts school in Budapest. Enrolling in art school was the first step on a road that would eventually lead him to study a photographic printing process called three-color carbro. In the course of his accomplished career, Muray would become an expert in this process and play a key role in bringing color photography to America.
While attending art school in Budapest, Muray studied lithography and photoengraving, earning an International Engraver's Certificate. Muray was also introduced to photography during this time period. His combined interest in photography and printmaking led him to Berlin, Germany to participate in a three-year color-photoengraving course. In Berlin, Muray learned how to make color filters, a first step in the craft that would one day become his trademark. Immediately after the completion of the course, Muray found a good job with a publishing company in Ullstein, Germany. However, the threat of war in Europe forced Muray to flee for America in 1913. Soon after his arrival in New York, Muray was working as a photoengraver for Condé Nast. His specialty was color separations and half-tone negatives.
By 1920, Muray had established a home for himself in the up-and-coming artists' haven of Greenwich Village. He opened a portrait studio out of his apartment and continued to work part time at his engraving job. Harper's Bazaar magazine gave Muray his first big assignment in 1921. The project was to photograph Broadway star Florence Reed. The magazine was so impressed with his photographs that they began to publish his work monthly. This allowed him to give up his part time job and work solely as a photographer. It did not take long for Muray to become one of the most renowned portrait photographers in Manhattan. Muray spent much of the early 1920s photographing the most famous and important personalities in New York at the time.
In his spare time Muray enjoyed fencing. In 1927, he won the National Sabre Championship and in 1928 and 1932, he was on the United States Olympic Team. During World War II, Muray was a flight lieutenant in the Civil Air Patrol.
Location
Currently not on view
date made
n.d.
maker
Muray, Nickolas
ID Number
PG.69.247.10
catalog number
69.247.10
accession number
287542

Milk and Eggs

Currently not on view
Location
Currently not on view
date made
1930s-1950s
maker
Keppler, Victor
ID Number
PG.006261.I
catalog number
6261I
accession number
238737

Three men preparing for a meal

Currently not on view
Location
Currently not on view
ID Number
2013.0327.0940
catalog number
2013.0327.0940
accession number
2013.0327

Fruit Salad

A Nickolas Muray 3-color carbro photograph of fruit salad in a glass bowl ca. 1940s. Mazola advertisment.Verso: Muray label. Muray stamp. "Mazola Ad" (black pencil). "Carbro made from ektachrome" (black pencil).Nickolas Muray was born in Szeged, Hungary on February 15, 1892.
Description (Brief)
A Nickolas Muray 3-color carbro photograph of fruit salad in a glass bowl ca. 1940s. Mazola advertisment.
Verso: Muray label. Muray stamp. "Mazola Ad" (black pencil). "Carbro made from ektachrome" (black pencil).
Description
Nickolas Muray was born in Szeged, Hungary on February 15, 1892. Twelve years after his birth, Muray left his native town and enrolled in a graphic arts school in Budapest. Enrolling in art school was the first step on a road that would eventually lead him to study a photographic printing process called three-color carbro. In the course of his accomplished career, Muray would become an expert in this process and play a key role in bringing color photography to America.
While attending art school in Budapest, Muray studied lithography and photoengraving, earning an International Engraver's Certificate. Muray was also introduced to photography during this time period. His combined interest in photography and printmaking led him to Berlin, Germany to participate in a three-year color-photoengraving course. In Berlin, Muray learned how to make color filters, a first step in the craft that would one day become his trademark. Immediately after the completion of the course, Muray found a good job with a publishing company in Ullstein, Germany. However, the threat of war in Europe forced Muray to flee for America in 1913. Soon after his arrival in New York, Muray was working as a photoengraver for Condé Nast. His specialty was color separations and half-tone negatives.
By 1920, Muray had established a home for himself in the up-and-coming artists' haven of Greenwich Village. He opened a portrait studio out of his apartment and continued to work part time at his engraving job. Harper's Bazaar magazine gave Muray his first big assignment in 1921. The project was to photograph Broadway star Florence Reed. The magazine was so impressed with his photographs that they began to publish his work monthly. This allowed him to give up his part time job and work solely as a photographer. It did not take long for Muray to become one of the most renowned portrait photographers in Manhattan. Muray spent much of the early 1920s photographing the most famous and important personalities in New York at the time.
In his spare time Muray enjoyed fencing. In 1927, he won the National Sabre Championship and in 1928 and 1932, he was on the United States Olympic Team. During World War II, Muray was a flight lieutenant in the Civil Air Patrol.
Location
Currently not on view
date made
1940s
maker
Muray, Nickolas
ID Number
PG.69.247.09
catalog number
69.247.09
accession number
287542

Elderly woman holding two cups

Currently not on view
Location
Currently not on view
maker
Harbutt, Charles
ID Number
PG.72.14.060

Fly

Currently not on view
Location
Currently not on view
date made
1930s-1950s
maker
Keppler, Victor
ID Number
PG.006261.Q
catalog number
6261Q
accession number
238737

Steak and Tomatoes on a plate

Currently not on view
Location
Currently not on view
ID Number
PG.004735K
accession number
192657
catalog number
4735K

Cheese

Currently not on view
Location
Currently not on view
date made
1950
ID Number
PG.004735J
accession number
192657
catalog number
4735J

Still life with silver-top decanter

Currently not on view
Location
Currently not on view
date made
1930s-1950s
maker
Keppler, Victor
ID Number
PG.006261.L
catalog number
6261L
accession number
238737

Strawberry Shortcake

Currently not on view
Location
Currently not on view
maker
Keppler, Victor
ID Number
PG.006261.GG
catalog number
6261GG
accession number
238737

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