Food

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

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
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 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
Currently not on view
Location
Currently not on view
date made
ca 1900s
maker
Ives, Frederick Eugene
ID Number
PG.007224C
accession number
251656
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
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
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
This framed photograph captures what was surely a familiar sight in 1911 at 1700 North Gay Street in Baltimore, Maryland. It shows a line of horse-drawn beer wagons with teamsters at the reins in front of the John F. Wiessner & Sons Brewery.
Description
This framed photograph captures what was surely a familiar sight in 1911 at 1700 North Gay Street in Baltimore, Maryland. It shows a line of horse-drawn beer wagons with teamsters at the reins in front of the John F. Wiessner & Sons Brewery. Portions of the large and ornate brewery building are visible in the photograph and, along with the long line of horses and wagons, suggest the success of the Wiessner family’s enterprise at the time.
John Frederick Wiessner, born in Bavaria, immigrated to Baltimore and established his brewery in 1863 on North Gay Street. In 1877, he had a new building constructed at the site and the upgraded brewery flourished, producing around 20,000 barrels per year by the 1880s. Wiessner died in 1904, and his sons continued to operate the brewery until 1920, when the enactment of the Eighteenth Amendment, prohibiting the manufacture and sale of alcoholic beverages, forced the brewery to close. In 1931, the American Malt Company purchased the historic building and began modernizing the plant. At the repeal of Prohibition in 1933, the company began producing beer under the American Brewery, Inc. label. The American Brewery operated at the site until 1973.
This photograph of the horse-drawn beer wagons in front of the J.F. Wiessner & Sons Brewery is part of a large collection of brewing material donated to the museum in 1967 by former brewmaster Walter Voigt, of Ruxton, Maryland, near Baltimore. Voigt’s collection consists of objects and archival materials reflecting the history of brewing in the mid-Atlantic region between 1870 and the beginnings of consolidation and large-scale, industrial production in the 1960s. His correspondence reveals an interest in preserving the history of brewing in America before brewmasters were “replaced by chemical engineers and highly trained chemists in modern laboratories.” Voigt’s papers are housed in the museum’s Archives Center, Collection #ACNMAH 1195, “Walter H. Voigt Brewing Industry Collection, 1935-1967.”
Location
Currently not on view
ID Number
AG.MHI-M-9491C
catalog number
MHI-M-9491C
accession number
276730
Currently not on view
Location
Currently not on view
Date made
2003
maker
Grace, Arthur
ID Number
2007.0115.01
accession number
2007.0115
catalog number
2007.0115.01
Currently not on view
Location
Currently not on view
date made
1930s-1950s
maker
Keppler, Victor
ID Number
PG.006261.O
catalog number
6261O
accession number
238737
A Nickolas Muray 3-color carbro photograph of hands holding three large tomatoes ca. 1940s. Campbell Soup advertisment.Verso: Four Muray stamps. "Campbell Soup Ad" (black pencil). "32" (black pencil).Nickolas Muray was born in Szeged, Hungary on February 15, 1892.
Description (Brief)
A Nickolas Muray 3-color carbro photograph of hands holding three large tomatoes ca. 1940s. Campbell Soup advertisment.
Verso: Four Muray stamps. "Campbell Soup Ad" (black pencil). "32" (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-1950s
commissioner
Campbell Soup Company
maker
Muray, Nickolas
ID Number
PG.69.247.11
catalog number
69.247.11
accession number
287542
Carbro color print, matted; Cheese and crackers with knife. Signed and dated on mat, pencil. Verso: handwritten "McCall's Cheese." This color photograph was used for the women's homemaking magazine, McCall's.Currently not on view
Description (Brief)
Carbro color print, matted; Cheese and crackers with knife. Signed and dated on mat, pencil. Verso: handwritten "McCall's Cheese." This color photograph was used for the women's homemaking magazine, McCall's.
Location
Currently not on view
date made
1936
maker
Outerbridge, Jr., Paul
ID Number
PG.006063
catalog number
6063
accession number
223759
catalog number
6063
A Nickolas Muray 3-color carbro photograph of uncooked pork loin and produce ca. 1930s-1940s. Advertisment for A&P.Recto: Signed by artist bottom right (pencil). Verso: Muray label. Muray stamp.
Description (Brief)
A Nickolas Muray 3-color carbro photograph of uncooked pork loin and produce ca. 1930s-1940s. Advertisment for A&P.
Recto: Signed by artist bottom right (pencil). Verso: Muray label. Muray stamp. "A&P ad" (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
ca 1930s-1940s
maker
Muray, Nickolas
ID Number
PG.69.247.13
catalog number
69.247.13
accession number
287542
Personal photograph of the Forbidden City Restaurant in Tokyo, Japan, owned by Cecilia Chiang and opened in 1951. It is an outside view of the restaurant and its large sign with the name in English and Japanese.
Description
Personal photograph of the Forbidden City Restaurant in Tokyo, Japan, owned by Cecilia Chiang and opened in 1951. It is an outside view of the restaurant and its large sign with the name in English and Japanese. Other signs with Japanese characters also appear in the background.
Location
Currently not on view
ID Number
2011.0236.04
catalog number
2011.0236.04
accession number
2011.0236
A Nickolas Muray dye transfer photograph of apples. One apple is cut, one is whole. A knife lays across the fruit.Recto: Signed by artist bottom right (pencil). Verso: Muray stamp. Muray label."Apples" (pencil).
Description (Brief)
A Nickolas Muray dye transfer photograph of apples. One apple is cut, one is whole. A knife lays across the fruit.
Recto: Signed by artist bottom right (pencil). Verso: Muray stamp. Muray label."Apples" (pencil). "#50" (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 1964
maker
Muray, Nickolas
ID Number
PG.69.247.14
catalog number
69.247.14
accession number
287542
Currently not on view
Location
Currently not on view
Date made
1941
ID Number
2006.3018.01
nonaccession number
2006.3018
catalog number
2006.3018.01
Some fans traveled great distances to participate in music festivals, and would camp nearby. This couple brought a grill to make a meal or two.Currently not on view
Description
Some fans traveled great distances to participate in music festivals, and would camp nearby. This couple brought a grill to make a meal or two.
Location
Currently not on view
negative
1972
print
2003
maker
Horenstein, Henry
ID Number
2003.0169.097
accession number
2003.0169
catalog number
2003.0169.097
This photograph shows thirty-nine men posing for the camera outside the Eigenbrot Brewery in Baltimore, Maryland, in 1888.
Description
This photograph shows thirty-nine men posing for the camera outside the Eigenbrot Brewery in Baltimore, Maryland, in 1888. The men are not identified, but their clothing and various positions—some seated and others standing on top of barrels—indicates a mixed group of perhaps owners, managers, and workers at the Eigenbrot Brewery. The men seated in front wearing coats, ties, and more formal hats are also holding beer steins. Looming behind them are six huge beer casks, one of which includes the six point brewers’ star (Brauerstern) on its end.
German immigrants made a significant impact on brewing history in Baltimore. In the mid-nineteenth century, individuals established their own companies or formed partnerships to build breweries for small-scale, local production. These early efforts grew quickly with the adoption of new technologies and transportation systems as well as the rapid expansion of markets. Although Henry Eigenbrot was American-born, he benefitted from the business successes of these German immigrants, particularly Ferdinand Joh, his father-in-law. Joh had established a brewery with another immigrant, Philip Odenwald, in 1862, and after Odenwald’s death a decade later, Joh went into business for himself. After Joh’s death, Eigenbrot inherited the brewery in 1876, at which time the company already had its own bottling plant. By 1891, Eigenbrot was producing 14,000 barrels annually and, with a new partner and plant expansions, production increased to 45,000 barrels per year by 1895. At the turn of the twentieth century, the brewery was producing 100,000 barrels per year. The Eigenbrot brewery remained in business until the start of Prohibition in 1920.
This photograph is part of a large collection of brewing material donated to the museum in 1967 by former brewmaster Walter Voigt, of Ruxton, Maryland, near Baltimore. Voigt’s collection consists of objects and archival materials reflecting the history of brewing in the mid-Atlantic region between 1870 and the beginnings of consolidation and large-scale, industrial production in the 1960s. His correspondence reveals an interest in preserving the history of brewing in America before brewmasters were “replaced by chemical engineers and highly trained chemists in modern laboratories.” Voigt’s papers are housed in the museum’s Archives Center, Collection #ACNMAH 1195, “Walter H. Voigt Brewing Industry Collection, 1935-1967.”
Location
Currently not on view
ID Number
AG.MHI-M-9491A
catalog number
MHI-M-9491A
accession number
276730
Currently not on view
Location
Currently not on view
maker
Heyman, Ken
ID Number
1982.0545.211
accession number
1982.0545.211
catalog number
82.545.211
Currently not on view
Location
Currently not on view
date made
1935
maker
Fletcher, Christine B.
ID Number
PG.004161B.15
catalog number
4161B.15
accession number
152565
A Nickolas Muray dye transfer photograph of the interior of a house and woman in blue dress preparing a cake roll. For McCall's Magazine Homemaking cover ca. 1938.Recto: Signed by artist in lower right (pencil). Verso: Muray label. Two Muray stamps.
Description (Brief)
A Nickolas Muray dye transfer photograph of the interior of a house and woman in blue dress preparing a cake roll. For McCall's Magazine Homemaking cover ca. 1938.
Recto: Signed by artist in lower right (pencil). Verso: Muray label. Two Muray stamps. "McCall Mag - Homemaking Cover" (black marker). "1938" (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
1938
maker
Muray, Nickolas
ID Number
PG.69.247.16
catalog number
69.247.16
accession number
287542
Currently not on view
Location
Currently not on view
maker
Keighley, Alexander
ID Number
PG.003539
accession number
67941
catalog number
3539
Currently not on view
Location
Currently not on view
maker
Mortensen, William
ID Number
PG.004746.7
accession number
194219
catalog number
4746.7
Currently not on view
Location
Currently not on view
date made
1926-01
maker
Petrocelli, Joseph
ID Number
PG.003986.11
accession number
117570
catalog number
3986.11

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