A length of J.A. Migel, Inc. silk Dress Goods "Moon Glo Satin". Lightweight silk cloth of close texture with a rich glossy surface. Julius A. Migel was a younger brother of Moses Charles Migel, founder of M.C. Migel & Co., Inc, silk manufacturer, renamed H.R. Mallinson & Co., Inc. in 1915. Mallinson, married to Linda Migel, had taken over as the president of M.C. Migel & Co. after his brother-in-law had retired. J.A. Migel was very briefly a partner with H.R. Mallinson, but left the firm in 1915 to form his own, eponymous, silk manufacturing concern. J.A. Migel used many of the marketing tools that his brother and H.R. Mallinson had succeeded with, but his company lasted only a few years.
Stewart Silk Co white crepe de chine fabric length. White color with some light purple splotches. Two staples with paper scraps attached in corner. Pinked cut edges.
John Wood Stewart was born in 1856 in New York City. In 1897 he acquired an interest in the Phillipsburg Silk Mill Company, which he later took over, expanding into South Easton, Pennsylvania, with a new mill and the addition of the Eastern Throwing Company, a throwing mill. The Perfect Dyeing and Finishing Company was also shortly added, and these three eventually incorporated to create the Stewart Silk Company. The company's mills were in Pennsylvania, the sales offices in New York City. John Stewart died in 1922. Commercial Factors Company purchased the Stewart Silk Mills in 1930.
Skein of "Cardinal" red organzine. A type of thrown silk; Usually used for warp yarns in fine silk fabrics. Manufacturer tag reads: "Organzine. Used for warp in ribbons and broad silks".
One of 66 examples of silk yarns of various types, dyed in the skein.. Original sample # 11. From a group of 145 samples of silk fabrics and yarns of various types, weaves, uses, and origins donated in 1913 by the National Silk Dyeing Co., of Paterson, New Jersey (America's "Silk City"), which was one of the largest and most comprehensive silk dyeing and printing firms in the U.S.
Skein of dark brown silk hosiery tram. A type of thrown silk used for making (machine knitting) silk hosiery (stockings) . Mfrs' tag reads: "Tram: Used in manufacturing silk hosiery." One of 66 examples of silk yarns of various types, dyed in the skein.. Original sample # 37. From a group of 145 samples of silk fabrics and yarns of various types, weaves, uses, and origins donated in 1913 by the National Silk Dyeing Co., of Paterson, New Jersey (America's "Silk City"), which was one of the largest and most comprehensive silk dyeing and printing firms in the U.S.,
Baby's sacque style coat sample; William Skinner and Sons Sunbak fabric, 1951.
Cream colored and hand embroidered baby sacque coat made from Skinner trademark Sunbak double-faced fabric - viscose rayon twill face with wool serge with brushed (?) pile. Fabric made in 1951 in Holyoke, MA. Pink, white, blue, and green floral embroidery on the front only. at the nexk and center front corners at the hem. 2.25 inch by 2.25 inch embroidery at hem, 4.5 inch length of three floral pieces at neck. Blanket stitching in pink used to finish all edges. Face is turned down onto wrong side and whipstitched in place in white thread. Fabric is 66% rayon and 34% wool. The sacque is cut in one piece with serged side seams. There are no shoulder seams or armscye. Flared hem and straight center front line. Pink ribbon center front is hand stitched onto garment. Brown spot stains and light discoloration throughout. Was clearly cut using pen to mark the cutting and stitching lines as marks are still visible. Pen was also used to mark outline for embroidered areas. Long pencil marks also visible on front.
Since England’s defense and prosperity depended heavily on mastery of the seas, it is not surprising that the Royal Society of London, established by royal charter in 1660, promoted projects pertaining to oceanic navigation. Nor is it surprising that Robert Hooke, the polymath who served as Curator of Experiments (1662-1672), understood that to know the depth of the sea may be “of good use, both Naval and Philosophical” and so sought ways to determine depths that would be better than the traditional lead line. This replica represents Hooke’s first depth sounder, presented to the Royal Society on September 30, 1663. When thrown overboard, the instrument would sink to the ocean floor; the wood sphere (6.5" diameter) would then detach from smaller lead sphere, and the time it took to rise to the surface would indicate depth. Since Hooke introduced a new model soon thereafter, we can assume that the original one did not work as well as expected.
Ref: [Robert Hooke], “An Appendix to the Directions for Seamen, bound for Voyages,” Philosophical Transactions 1 (1665-1666): 147-149. This describes the original model but depicts a later one.
[Robert Hooke], “Directions for Observations and Experiments to be made by Masters of Ships, Pilots, and other fit Persons in their Sea-Voyages,” Philosophical Transactions 2 (1667): 433-448. Here again, Hooke describes the original model but depicts a later one.
Thomas Birch, The History of the Royal Society of London for Improving of Natural Knowledge (London, 1756), vol. 1, pp. 307-308.
William Derham, Philosophical Experiments and Observations of Dr. Robert Hooke (London, 1726), pp. 225-230.
Robert P. Multhauf, “The Line-Less Sounder: An Episode in the History of Scientific Instruments,” Journal of the History of Medicine and Allied Sciences 15 (1960): 390-398.
A Lewis Hine silver print circa 1909. This image is one in a series of photographs made for The National Child Labor Committee. The image is of two newsboys standing in front of a restaraunt. The restauraunt is 'The Newark Lunch' located in New Jersey.
Description
Lewis Hine was born in Oshkosh, Wisconsin to a working class family. He was orphaned at the age of fifteen and forced into the workforce. While supporting himself, Hine managed to continue his education. After high school graduation he worked a few odd jobs and then in 1900 eventually enrolled at The University of Chicago. At the University Hine studied Sociology. While taking classes, Hine came to know Frank Manny a professor at the State Normal School. Manny had recently received a job offer to be the superintendent of the Ethical Culture School in New York City. Hine decided to join his new friend and in 1901 moved to New York to teach at Manny's school. Hine continued to pursue his degree in Sociology at New York University. It was during this period that Hine began to use a camera. At first, his interest in photography was simply as a means to educate students and to document school events. However, Hine was quick to take an interest in photography and ultimately this new medium would become the means through which he could express his growing social concerns, especially about child welfare.
In 1904, Hine began his first photo essay. In an attempt to counter growing anti-immigration sentiment amongst New Yorkers, and Americans in general, Hine began a project to photograph immigrant families arriving at Ellis Island. Instead of making them appear pathetic or even animalistic, as other photographers were doing, Hine photographed these people with a humanitarian eye. He depicted them as brave, dignified pioneers of a new land. Hine's camera was a 5x7-plate box-type on a tripod. Often he had to work in low light. If he was indoors, Hine usually had only one chance to photograph an image because after he used a magnesium flash powder to create artificial light the room would fill with smoke, obstructing the image.
In 1905, Hine received his degree from NYU and began considering a career in Sociological Photography. By 1908, he had left his teaching job for a full time position as an investigative photographer for The National Child Labor Committee (NCLC). His first commission from the NCLC was to photograph home workers, children and adults, in New York City tenements. Hine was horrified with what he saw, he described the conditions as "One of the most iniquitous phases of child slavery." Later that year Hine, on commission from the NCLC, left New York to photograph child laborers all over the United States. In 1909 Hine published his first photo essay on children at risk. The essay was comprised of material from the first years of his tour of the United States.
Throughout his career many more photo essays would follow, alerting the public to the plight of these American children who were obviously in such grave danger in their working environments.
Hine's work also took him to Europe in 1917. Funded by the Red Cross he photographed European refugees of World War I. In the 1920's, Hine returned to America and to Ellis Island to once again photograph newly arrived immigrants. Although Hine was a pioneer in 'Sociological Photography' and he had vastly increased public awareness about child labor, he still struggled to make a living.
In 1930, ten years before his death, Hine received the honor of photographing the construction of the Empire State Building. For a change, Hine focused on the joyful and productive side of labor instead of the dark side. Lewis Hine died in 1940. As a photographer, Hine left a resounding impact on the worlds of journalism and art, pioneering a new form of storytelling that today we call photojournalism.
This figure is part of an artist's proof or prototype set for a chess set made by Cybis and presented by President Nixon to the U.S.S.R.
According to the Cybis Archive, the White House commissioned the set to be presented during the 1972 Moscow Summit between President Richard Nixon and Soviet Premier Brezhnev. The set was inspired in part by the 14th-century Nine Heroes Tapestry, based on a 1310 poem by Jacques de Longuyon. The set was designed by Harry Burger, Jr.
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.
Whitall, Tatum & Company of Millville, New Jersey was formed in 1901 and employed first-rate craftsmen who created outstanding paperweights.
This Whitall, Tatum and Company pedestal paperweight features an opaque, rich yellow twelve-petal flower, freely suspended in a clear glass ball. The pointed center flower petals suggest that it is the work of glassmaker Emil Stanger.