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 154 items.
Page 1 of 16
[Art in New York; interior view.] 25 interpositive
- Notes
- Currently stored in box 1.2.16 [17]
- Date
- 1900-1910
- publisher
- Underwood & Underwood
- H.C. White Co
- Local number
- RSN 8130
- Video number 07294
- Data Source
- Archives Center - NMAH
Tiffany Floor Lamp
- Description
- This lamp, from about 1900, is a compelling example of Louis Comfort Tiffany's ability to transform a design aesthetic inspired by nature into a fabulous decorative furnishing. The bamboo design is carried throughout the lamp. The dome-shaped 24" shade is constructed of green fibrillated glass with yellow mottling to create long tapering bamboo leaves and shoots against an opalescent geometric panel ground. The bamboo stalks appear to be growing against a wire trellis. The 62" integrated brown patinated bronze sectioned bamboo stem base is topped with a matching bamboo-inspired heat cap with a seedpod finial.
- The lamp was a bequest from the estate of Mary Marvin Breckinridge Patterson, a generous Washington philanthropist. Following in the family tradition of supporting charitable, cultural, and preservation organizations, Mrs. Patterson was the source of numerous gifts and donations to the Smithsonian Institution and its museums and libraries. She was the daughter of Isabella Goodrich and attorney John Cabell Breckinridge. Her maternal grandfather was inventor and industrialist B. F. Goodrich. Her paternal great-grandfather was John C. Breckinridge, vice president of the United States and a military figure. She began her career as a freelance photojournalist and filmmaker. One of her first film subjects was the Frontier Nursing Service in Kentucky. During World War II, she was hired by Edward R. Murrow as a staff broadcaster for CBS in Berlin. Her photographs were published in National Geographic, Life and Harper's Bazaar. In 1940 she married American diplomat Jefferson Patterson and took on the role of diplomatic wife.
- Date made
- ca 1889-1920
- user
- Patterson, Mary Marvin Breckinridge
- manufacturer
- Tiffany Studios
- ID Number
- 2003.0276.01
- catalog number
- 2003.0276.01
- accession number
- 2003.0276
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Cut Glass Bowl
- Description
- From its founding in 1846, the Smithsonian Institution was assumed to be the keeper of the national collections, although the "United States National Museum" did not emerge as a formal entity until 1858. Natural history and anthropology artifacts were the focus of the Museum's earliest collecting efforts, but by the late 19th century the Museum was collecting household goods, manufactured for the American and European market, that demonstrated technological and artistic advances in a wide range of industries. Between 1885 and 1920, American glass companies played an important role in building the new collections by donating examples of their currently fashionable glassware.
- T. G. Hawkes & Company of Corning, New York, donated examples of their work to the Museum in 1917 and 1918, showcasing their rich or brilliant-cut glass. This bowl, donated by the firm in 1917, is cut and engraved, but also mounted in sterling silver—a newly fashionable style at the time.
- Location
- Currently not on view
- Date made
- ca 1917
- maker
- T. G. Hawkes & Co.
- ID Number
- CE*59.147a
- catalog number
- 59.147a
- accession number
- 61165
- Data Source
- National Museum of American History, Kenneth E. Behring Center
The Last Moment of the Emperor Maximilian
- Description
- This relief print from The Magazine of Art dramatically illustrates the final moments before the execution of the Mexican Emperor Maximilian I in 1867. An Austrian noble by birth, Maximilian was installed by Napoleon III of France. French forces had invaded Mexico in 1862, after President Benito Juárez suspended payments on its foreign debt. Despite a major victory by Mexican forces at the Battle of Puebla on May 5, 1862, the French seized control of large sections of Mexico, including the capital. Maximilian was initially supported by Mexican conservatives in a backlash against the changes instituted by the Mexican War of Reform (1857–1861). However, once on the throne, his support of a free press, open universities, land reform, and other progressive ideas of the day proved to be out of step with his conservative constituency and the Catholic Church. Menaced by the government of the United States, victorious after its own civil war, and the rising success of Mexican nationalist forces, the French withdrew their military support of Maximilian, the last emperor of Mexico. This historic image is one of 45,000 artistic and commercials prints housed in the Graphic Arts Collection of the National Museum of American History.
- Location
- Currently not on view
- Date made
- ca 1890
- graphic artist
- Babbage, T.
- publisher
- Magazine of Art
- ID Number
- 1996.0197.350
- catalog number
- 1996.0197.350
- accession number
- 1996.0197
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Presentation Vase
- Description
- This elegant silver vase was presented to Willard A. Smith, Chief of the Department of Transportation exhibits at the World’s Colombian Exposition in 1893. The Exposition was held in Chicago to celebrate the 400th anniversary of Christopher Columbus’s “discovery” of America. The Exposition was a great success as a world’s fair, and demonstrated to the international community that Chicago had recovered from the Great Chicago Fire of 1871.
- Presenting silver objects has always been a means of expressing gratitude and acknowledging deeds and accomplishments in American culture. It took Tiffany & Co. six months to construct this costly Art Nouveau style vase. Its decoration takes the form of the Transportation Building. The distinct semi-circular arches are the work of architect James Sullivan, who designed the building that housed the Department of Transportation exhibits. Medallions circling the vase celebrate the progress in the modes of land and water transportation, while representations of the Department of Transportation exhibitions adorn the vase as well.
- Location
- Currently not on view
- Date made
- 1894
- user
- Smith, Willard A.
- maker
- Tiffany & Co.
- ID Number
- DL*63.821
- catalog number
- 63.821
- 63.281
- accession number
- 245502
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Egyptian Street Scene
- Description
- James David Smillie etched Frederick Arthur Bridgman’s painting of a Middle Eastern street scene Lady of Cairo Visiting for the American Art Review issue of June 1881. Commenting on the issue, the New York Times noted that Smillie had been “particularly happy in his drawing” of the donkey, which appears prominently in the print.
- A catalogue raisonné of Smillie’s prints has estimated that about 10,000 impressions of this scene were made, primarily for use as art magazine illustrations. To produce such a large number of prints from a copper plate, a soft metal that deteriorates with use, the publishers would have had to face the copper by electroplating. In this process (known as “steel facing”), a thin layer of iron is deposited on the copper plate.
- Frederick Arthur Bridgman (1847–1928) trained with Jean-Léon Gérôme in Paris and later was known as “the American Gérôme.” He made a number of trips from his Paris base to North Africa and Egypt to sketch and collect artifacts for his paintings of Egyptian and Algerian subjects.
- Location
- Currently not on view
- Date made
- 1881
- original artist
- Bridgman, Frederick Arthur
- graphic artist
- Smillie, James David
- ID Number
- GA*14802
- catalog number
- 14802
- accession number
- 94830
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Wheeler's N.Y. Battery coming into action--Battle of Gettysburg. 5567 interpositive
- Notes
- Currently stored in box 3.2.9 [201]
- Date
- 1900-1910
- publisher
- Underwood & Underwood
- Local number
- RSN 20494
- Data Source
- Archives Center - NMAH
Oil Painting, Black Ball Packet Ship Isaac Webb
- Description
- Operating out of New York, the Black Ball Line pioneered scheduled packet ship service to Liverpool, England in 1818, and the firm continued operating until it was dissolved in 1879. Its success resulted from focusing on the lucrative passenger trade, at a time when immigration to the United States was at its highest level.
- In 1851, the massive three-deck packet Isaac Webb was the seventh and last Black Baller launched from the shipyard of famous New York shipbuilder William H. Webb, who also owned a 1/16 share of the ship. Named after the builder’s father, the Isaac Webb measured 185 feet in length and 1,359 tons. It made about four round trips per year between New York and Liverpool, England from 1851–1879. The average length of a passage was 37 days, with the shortest voyage recorded as 25 days.
- In June 1863, while westbound from Liverpool to New York with 658 passengers, the Isaac Webb was captured by the Confederate commerce raider Florida. A bond for a $40,000 ransom freed the ship to complete the passage. In late December 1866, while westbound for New York, the Webb encountered a gale so cold that it killed three crew, and several others were badly frostbitten. On the same passage nearly two years later, another powerful gale killed the captain.
- The Isaac Webb continued to sail after the Black Ball Line closed. In late October 1880, while bound from Europe to New York, it was abandoned at sea by its crew of 24, who were rescued by a passing steamship bound for Boston. British marine painter Samuel Walters completed this oil painting around 1851, when the ship was new.
- Date made
- 1851
- ship was launched
- 1851
- ship made transatlantic voyages from New York and Liverpool
- 1851-1880
- ship was abandoned
- 1880-10
- shipping firm
- Black Ball Line
- shipbuilder
- Webb, William H.
- ship's namesake
- Webb, Isaac
- maker
- Walters, Samuel
- ID Number
- TR*317527
- catalog number
- 317527
- accession number
- 229943
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Skylight and Plaster Panels from RMS Majestic
- Description
- Built in 1890 by Belfast shipbuilders Harland & Wolff, the RMS Majestic was designed for luxury ocean travel. Like its sister ship, the RMS Teutonic, which was launched the previous year, the Majestic was built for the White Star Line’s service between Liverpool and New York.
- The interior of the Majestic was opulent. Staterooms featured colored glass screens over the ports, while the smoking room walls were embossed with gilded leather and mahogany panels. Skylights, or lanterns, were installed in the ship’s dining rooms and other common areas. The lantern domes were designed to allow natural light to filter into the Majestic’s interior spaces.
- The lantern in the Majestic's first class dining saloon was designed by British architect George Thomas Robinson. It was made up of 56 individual pieces, including eight plaster friezes, leaded stained glass and wood paneling. The plaster friezes depicted the “shipbuilder’s art from the early days of the Spanish Armada to the Battle of Trafalgar.”
- When the Majestic was broken up in 1914, parts of the first class dining saloon lantern were sold to a ship salvage company, including the plaster panels. Several of these were paired with a smaller lantern from the ship and installed in the executive board room of Thomas W. Ward Ltd., in Sheffield, England. In the early 1970s, the director of the company donated this lantern and the plaster panels from the Majestic to the Smithsonian. He pointed out that the lantern had been saved three times, once when the ship was broken up and twice during the world wars of the twentieth century. He thought it fitting to donate this survivor to the United States “in memory of the many very gallant merchant seamen . . . who served in the Atlantic during the two World Wars.”
- date made
- 1890
- ship was broken up
- 1914
- lantern and panels were donated to the Smithsonian
- 1970s
- architect
- Robinson, George Thomas
- ID Number
- TR*336295
- accession number
- 1978.0206
- catalog number
- 336295
- Data Source
- National Museum of American History, Kenneth E. Behring Center
[Empty classroom with photographs on wall in Saratoga Springs, New York. Active no. 24 : interpositive]
- Notes
- Currently stored in box 1.2.16 [17]
- Date
- 1895
- 1900-1910
- publisher
- Underwood & Underwood
- H.C. White Co
- Local number
- RSN 8129
- Data Source
- Archives Center - NMAH
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