Art - Overview
The National Museum of American History is not an art museum. But works of art fill its collections and testify to the vital place of art in everyday American life. The ceramics collections hold hundreds of examples of American and European art glass and pottery. Fashion sketches, illustrations, and prints are part of the costume collections. Donations from ethnic and cultural communities include many homemade religious ornaments, paintings, and figures. The Harry T Peters "America on Stone" collection alone comprises some 1,700 color prints of scenes from the 1800s. The National Quilt Collection is art on fabric. And the tools of artists and artisans are part of the Museum's collections, too, in the form of printing plates, woodblock tools, photographic equipment, and potters' stamps, kilns, and wheels.
"Art - Overview" showing 158 items.
Page 1 of 16
St. Louis Sulphide Paperweight
- Description (Brief)
- In the 1700s, paperweights made from textured stone or bronze were part of the writer’s tool kit, which also included a quill pen and stand, inkpot, and blotter. By the mid-1800s, decorative paperweights produced by glassmakers in Europe and the United States became highly desired collectibles.
- Decorative glass paperweights reflected the 19th-century taste for intricate, over-the-top designs. Until the spread of textiles colorized with synthetic dyes, ceramics and glass were among the few objects that added brilliant color to a 19th-century Victorian interior. The popularity of these paperweights in the 1800s testifies to the sustained cultural interest in hand craftsmanship during an age of rapid industrialization.
- Glass production at Saint Louis was authorized by Louis XV in 1767. By 1782 the firm was creating high quality glass crystal, progressing into pressed glass in the 1800s. St. Louis produced paperweights from 1845 to about 1867.
- This St. Louis paperweight is known as a “sulphide,” meaning it contains a porcelain cameo—in this case an American eagle. The eagle is surrounded by concentric millefiori, in which colored glass canes are placed in rings around a center cane, including one date cane marked “1847.” Millefiore paperweights, first manufactured in Venice, consist of sections from rods of colored glass encased in a clear, colorless sphere. By the mid-nineteenth century, glass factories elsewhere in Europe were emulating the millefiore style.
- Location
- Currently not on view
- date made
- 1847
- maker
- St. Louis
- ID Number
- CE*65.480
- catalog number
- 65.480
- accession number
- 264964
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Baccarat Paperweight
- Description (Brief)
- In the 1700s, paperweights made from textured stone or bronze were part of the writer’s tool kit, which also included a quill pen and stand, inkpot, and blotter. By the mid-1800s, decorative paperweights produced by glassmakers in Europe and the United States became highly desired collectibles.
- Decorative glass paperweights reflected the 19th-century taste for intricate, over-the-top designs. Until the spread of textiles colorized with synthetic dyes, ceramics and glass were among the few objects that added brilliant color to a 19th-century Victorian interior. The popularity of these paperweights in the 1800s testifies to the sustained cultural interest in hand craftsmanship during an age of rapid industrialization.
- The French firm, Baccarat, was originally founded as the Verrerie Renaut in 1764, by request of the Bishop of Metz to the King of France, Louis XV. After the French Revolution, the company was re-named Verrerie de Baccarat. Peak production of Baccarat paperweights was between 1846 and1855.
- Millefiori, “Gridel” silhouette canes (said to be named after a young boy whose cut paper silhouettes inspired Baccarat’s glass workers), and an “1848” date cane are found in this Baccarat paperweight. Millefiore paperweights, first manufactured in Venice, consist of sections from rods of colored glass encased in a clear, colorless sphere. By the mid-nineteenth century, glass factories elsewhere in Europe were emulating the millefiore style.
- Location
- Currently not on view
- date made
- 1848
- maker
- Baccarat
- ID Number
- CE*67.231
- catalog number
- 67.231
- accession number
- 213138
- Data Source
- National Museum of American History, Kenneth E. Behring Center
St. Louis Paperweight
- Description (Brief)
- In the 1700s, paperweights made from textured stone or bronze were part of the writer’s tool kit, which also included a quill pen and stand, inkpot, and blotter. By the mid-1800s, decorative paperweights produced by glassmakers in Europe and the United States became highly desired collectibles.
- Decorative glass paperweights reflected the 19th-century taste for intricate, over-the-top designs. Until the spread of textiles colorized with synthetic dyes, ceramics and glass were among the few objects that added brilliant color to a 19th-century Victorian interior. The popularity of these paperweights in the 1800s testifies to the sustained cultural interest in hand craftsmanship during an age of rapid industrialization.
- The French firm, Verrerie de Clichy, began operation after merging with another local glassworks in 1837. The height of paperweight production at the firm was 1846 to 1857. Glass production at Saint Louis was authorized by Louis XV in 1767. By 1782 the firm was creating high quality glass crystal, progressing into pressed glass in the 1800s. St. Louis produced paperweights from 1845 to about 1867.
- Concentric millefiori surround a central camel silhouette in this St. Louis paperweight. An “SL 1848” signature and date cane can barely be made out on the left side of this image. Millefiore paperweights, first manufactured in Venice, consist of sections from rods of colored glass encased in a clear, colorless sphere. By the mid-nineteenth century, glass factories elsewhere in Europe were emulating the millefiore style.
- Location
- Currently not on view
- date made
- 1848
- maker
- St. Louis
- ID Number
- CE*67.238
- catalog number
- 67.238
- accession number
- 213138
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Painting of the Lintin
- Description
- Lintin was built in 1834 on the Wear River in the city of Sunderland, England and owned by Porter. The ship was commanded by Captain J. Taylor, and weighed 558 tons. Lintin was later owned by Barton & Co. from 1846 to 1847 and captained by J. Gillman. Lintin was mostly involved in trade between Liverpool and Bombay.
- The painting shows a dual view of the Lintin arriving at Cape Town. The painting shows a house flag, a red background with a white circle, which indicates that the painting was created while she was still under the ownership of Barton & Co. The barque on the right is flying the same house flag. Artist Joseph Heard was born in 1799 in Whitehaven, Cumberland. Following a brief stay in London, Heard moved to Liverpool sometime after the mid 1820s. He shared a studio with his brother who painted portraits. Heard became extremely popular second only to Samuel Walters. Joseph died in 1859.
- Location
- Currently not on view
- date made
- 1846
- maker
- Heard, Joseph
- ID Number
- 2005.0279.026
- accession number
- 2005.0279
- catalog number
- 2005.0279.026
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Painting, Barque Otteren
- Description
- The was originally built as the barque Robert Barbour. It was built in 1862 by Brown in Richibucto, New Brunswick. Robert Barbour measured 146 feet long and 561 tons. Its first owners were Duff and Company and it traded between Liverpool and India. Around 1867 Robert Barbour was sold to J.C. Johnson of Norway and its name was changed to Otteren, which means "the otter" in English. The Otteren was listed as abandoned by Lloyds in 1886.
- The painting is a profile of Otteren with all its sails unfurled. A steamer to the right and several small sailing vessels to the left are visible. The ensign flown by the vessels is unique and is not readily recognized by Norwegians. At this time period Norway and Sweden were united under Sweden's monarch, as Norway had no king. Norway only began using its current flag in 1905 when a king from Denmark took the throne. Norway combined the flags, taking the yellow horizontal stripe of the Swedes and the Blue vertical bar of the Norwegians. In the painting the yellow bar is fading.
- Location
- Currently not on view
- date made
- 1849
- maker
- Maryford, W. Mitchell
- ID Number
- 2005.0279.040
- accession number
- 2005.0279
- catalog number
- 2005.0279.040
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Painting, Garrick
- Description
- The Garrick was built by Brown & Bell of New York in 1836. It measured 157 feet 6 inches in length, 35 feet 4 inches in beam, 21 feet in depth of hold, and 895 tons. It was owned by Edward Collins, manager and part owner of the Dramatic Line. It served the company as a transatlantic packet for 17 years, followed by 3 years in the James Foster Jr. Line (1854 to 1857). Garrick was the fastest packet of its generation. Its average westbound passage was 32 days, with the longest taking 54 days and the shortest taking 18 days.
- The painting shows Garrick preparing to pick up a Liverpool pilot boat (#12) off the Great Orme, North Wales. The Welsh Mountains can be seen in the distance. The ship is shown reducing sail, with an approaching pilot cutter converging on the opposite tack. The cathead suspends the anchor and shows it ready to be dropped. According to the British marine painting authority A.S. Davidson, this picture is typical of Sam Walters because of the four deck hands that can be seen at the bow, at ease. One has the brim of his hat turned down, looking comfortable. Davidson also confirmed that the date of the painting coincides with the date the particular cutter (no. 12) went into service. Although the Marryat Code flown by the vessel is ambiguous, the identity of the ship can be confirmed through the name-board at the bow and the appropriate full length figurehead.
- Samuel Walters (1811-1882) was a British marine painter. He was the son of English shipwright, seaman, and marine painter, Miles Walters. Walters assisted his father with ship portraits. In the 1840s he set up his own studio in Bootle, England.
- Location
- Currently not on view
- date made
- 1842
- maker
- Walters, Samuel
- ID Number
- 2005.0279.065
- accession number
- 2005.0279
- catalog number
- 2005.0279.065
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Man with a Broken Pitcher
- Description
- La Cruche Cassée etched by Charles Jacque shows a seated man with a broken pitcher in his left hand, at which he gestures with his right. Shards from the pitcher lie on the floor, and a basket tilts off the edge of the table, on which sits an empty glass. It appears that Jacque is chronicling the kind of mishap that can befall the drinking man. Before concentrating on depictions of rural life, Jacque made caricatures for a satiric magazine. In his prints, however, he presented the life of rural people sympathetically, not satirically.
- Location
- Currently not on view
- Date made
- 1844
- graphic artist
- Jacque, Charles Émile
- ID Number
- GA*14706
- catalog number
- 14706
- accession number
- 94830
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Hinds' Honey and Almond Cream [advertisement]
- Summary
- Caption: "For the hands, face, skin and complexion." Color illustration showing various ethnic figures in back and foreground, including Uncle Sam (right, with an American flag in his hat), leprechauns, Asians, etc. Printer credit to Forbest Lith Co., Boston & N.Y
- Date
- 1890
- 1910
- 19th century
- advertiser
- A.S. Hinds
- printer
- Forbes Lith. Co. (Boston & N.Y.)
- Local number
- AC0060-0000053 (AC Scan No.)
- Data Source
- Archives Center - NMAH
No More Chinese / cheap labor / Celluloid / Cuffs, Collars / & Bosoms [trade card]
- Summary
- A female figure in patriotic dress, holding a shield marked "invention," points to the "cheap labor" text, while a Chinese man at left holds his head, possibly weeping, while Uncle Sam looks on with a smile. A sign says "Gon Up / Chinese / laundry" and the caption at the bottom is: "'Othello' s occupation gone' the handwriting on the wall."
- Date
- 1880
- 1890
- 19th century
- advertiser
- Donaldson Brothers (Five Points, New York)
- Local number
- AC0060-0000079, AC0060-0000080 (AC Scan Nos.)
- Data Source
- Archives Center - NMAH
Uncle Sam Supplying the World with Berry Brothers' Architectural Finishes. [Trade card]
- Summary
- Uncle Sam at left giving John Bull some varnish. Other nationalities in background: Holland walking away at right with can of varnish. Back text lists four kinds of varnish for sale. Possibly used at Chicago World's Fair of 1893
- Date
- 1890
- 1910
- 19th century
- advertiser
- Berry Brothers
- Subject
- World's Columbian Exposition (1893 : Chicago, Ill.)
- Local number
- AC0060-0000166 (AC Scan No.)
- AC0060-0000167 (Scan No.)
- Data Source
- Archives Center - NMAH
