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 665 items.
Page 4 of 67
Portrait of Samuel P. Avery
- Description
- Samuel Putnam Avery (1818–1904), a New York-based art dealer and print collector, made annual buying excursions to Europe from 1867 to 1882 to look for decorative arts and paintings, some of which he commissioned directly from the artists. He also searched for prints to add to his own collection, seeking not just the original etchings valued today but also reproductive works by artists like Flameng, Jacquemart, and Rajon. French prints made up the core of his collection, almost 18,000 of which are now in the New York Public Library. Léopold Flameng etched this portrait of Avery in 1876 after a painting by Raimundo de Madrazo y Garreta. The Avery family gave the painting to the Metropolitan Museum in 1904. Madrazo (1841–1920) was a fashionable portrait and genre painter, resident in New York and Paris, who was promoted by Avery.
- Location
- Currently not on view
- Date made
- 1876
- original artist
- Madrazo y Garreta, Raimundo de
- graphic artist
- Flameng, Léopold
- ID Number
- GA*14576
- catalog number
- 14576
- accession number
- 94830
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Portrait of Lawrence Alma-Tadema
- Description
- Paul Rajon etched the portrait of Lawrence Alma-Tadema (1836–1912) during one of his annual six-month visits to England. Rajon first visited England in 1873 to execute a commission. He etched some original portraits, but most of his prints reproduced paintings by contemporary artists and old masters for publications. Alma-Tadema, a Dutch-born painter of neoclassical pictures, enjoyed a considerable success on the Continent and decided to move to London where his work was enthusiastically appreciated from the 1860s to 1890s. This print was intended not only for the European market but also for the United States, and it carries a U.S. copyright line. Rajon etched Alma-Tadema’s paintings as well as his portrait.
- Location
- Currently not on view
- Date made
- 1883
- graphic artist
- Rajon, Paul-Adolphe
- publisher
- Knoedler & Co.
- British and Foreign Artists' Association
- ID Number
- GA*14592
- catalog number
- 14592
- accession number
- 94830
- 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
Scottish Landscape
- Description
- Thomas Moran etched this rugged landscape, Bridge in the Pass of Glencoe, Scotland, in 1882 after his painting of the subject. He and his wife Mary Nimmo Moran, also an etcher, visited Scotland, her birthplace, in the spring of 1882 during a five-month stay (May–October) in the United Kingdom.
- This print is the first state of two. The second state was published by Estes and Lauriat of Boston in 1888. Moran showed this print in the New York Etching Club Exhibition in mid-January 1883. For the Club’s catalog of the exhibition, Moran etched a smaller version of this scene.
- The bridge, which is known as the Bridge of Three Waters, stands near the site in Glencoe where members of the MacDonald clan were massacred by soldiers from a Campbell regiment during a night in February 1692.
- Location
- Currently not on view
- Date made
- 1882
- graphic artist
- Moran, Thomas
- ID Number
- GA*14737
- catalog number
- 14737
- accession number
- 94830
- 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
Maine Coast
- Description
- James David Smillie etched Old Cedars, Coast of Maine, one of his best known prints, for the American Art Review, which published it in October 1880. The print reproduced his own watercolor, painted while on holiday in the summer of 1879 in Kennebunkport.
- For this print, as detailed in his journal, Smillie made a drawing of the watercolor and transferred it to a prepared plate. Originality was not an issue at this time. Artists sometimes etched replicas after their own work in other media. Most highly valued, however, were the etchings conceived and then drawn directly on the plate.
- The popularity of Old Cedars is indicated by the attempt of German painter-etcher Hans Friedrich Emanuel Schennis (1852–1918) to pass off his copy in reverse as the original print. However, Schennis’s fraud was exposed and the fake and the original were shown together in a New York exhibition in 1885.
- Location
- Currently not on view
- Date made
- 1880
- graphic artist
- Smillie, James David
- ID Number
- GA*14869
- catalog number
- 14869
- accession number
- 94830
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Dock Scene, Massachusetts
- Description
- Robert Swain Gifford’s etching Coal Pockets at New Bedford shows a grimy Massachusetts dock scene with a coal storage facility and a chimney belching smoke. Gifford pictured the southeastern Massachusetts coast, where he had lived as a boy, in many of his prints. As Sylvester R. Koehler noted in the American Art Review, which published the print in 1880, “The artist lifts the commonplace into the ideal, and teaches us to see beauty where our unguided eyes would have failed to discover it.” The print continued to be popular and was republished several times. In later impressions like this one, the date “-79’’ at bottom right has almost disappeared. Probably the publishers did not want the print to seem out of date.
- Location
- Currently not on view
- date made
- 1879
- graphic artist
- Gifford, Robert Swain
- maker
- Gifford, Robert Swain
- ID Number
- GA*14871.02
- catalog number
- 14871.02
- accession number
- 94830
- Data Source
- National Museum of American History, Kenneth E. Behring Center
First Love Letter
- Description
- Camille Piton made this etching to illustrate a catalog for an auction of works from the collection of J. C. Runkle, which was held in New York on March 8, 1883. Samuel P. Avery, art dealer and himself a collector, organized the sale and the catalog. The New York Times judged Piton’s effort as “handsomely etched.” Ludwig Knaus (1829–1910), the original artist of First Love Letter, was a German painter of sentimental genre scenes which were very popular in his day. Originally titled in German, his painting was known by its English title because it had been purchased by an American.
- Location
- Currently not on view
- Date made
- 1879
- original artist
- Knaus, Ludwig
- graphic artist
- Piton, Camille
- ID Number
- GA*14885
- catalog number
- 14885
- 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
Oath of Vargas
- Description
- Paul Rajon’s print of Le Serment de Vargas is made after a watercolor of the subject by Louis Gallait (1810–1887), not from the oil painting that is now in the Wallace Collection in London. Juan de Vargas is swearing an oath before the Duke of Alva, who was a governor of the Netherlands in the 16th century during the long struggle by the Dutch for independence from Spain, achieved at last in 1648. He pursued a bloody campaign against the Dutch Protestants. Louis Gallait was a Belgian painter of history, portraits, and genre.
- Location
- Currently not on view
- Date made
- 19th century
- original artist
- Gallait, Louis
- graphic artist
- Rajon, Paul-Adolphe
- printer
- Salmon, A.
- publisher
- Gazette des Beaux-Arts
- ID Number
- GA*14912
- catalog number
- 14912
- accession number
- 94830
- Data Source
- National Museum of American History, Kenneth E. Behring Center
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