The image on this lithographic stone was prepared to print an image in the publication "United States Exploring Expedition, During the Years 1838, 1839, 1840, 1841, 1842," Volume 10, "Geology - Atlas," 1849. The image depicts "Australian Fossils, Plate 9." The images was prepared by the lithographic firm Sarony & Major after illustrations by James Dwight Dana.
Description
The firm of Sarony & Major of Philadelphia, working between 1846 and 1857, prepared this lithographic printing stone after a drawing by James Dwight Dana (1813–1895) depicting Australian fossils. The lithographic illustration was published as Plate 4 in U.S. Exploring Expedition publication Volume X, Geology, by James D. Dana, 1849.
The image on this lithographic stone was prepared to print an image in the publication "United States Exploring Expedition, During the Years 1838, 1839, 1840, 1841, 1842," Volume 10, "Geology - Atlas," 1849. The image depicts "Australian Fossils, Plate 4." The images was prepared by the lithographic firm Sarony & Major after illustrations by James Dwight Dana.
Description
The firm of Sarony & Major of Philadelphia, working between 1846 and 1857, prepared this lithographic printing stone after a drawing by Expedition Mineralogist James Dwight Dana (1813–1895) depicting Australian fossils. The lithographic illustration was published as Plate 4 in U.S. Exploring Expedition Volume X, Geology, by James D. Dana, 1849.
P. S. Duval and Company (ca 1840s-1858) of Philadelphia produced this chromolithographic print from an original illustration by John M. Stanley (1814-1872). The image of "Wooden Ware, etc." was published as Plate X in Volume 2, following page 116 of Appendix E (Indian Antiquities) by Thomas Ewbank (1792-1870) in the report describing "The U.S. Naval Astronomical Expedition to the Southern Hemisphere during the Years 1849, 1850, 1851, and 1852" by James M. Gillis (1811-1865). The volume was printed in 1855 by A. O. P. Nicholson (1808-1876) of Washington, D.C.
Mounted gelatin silver print of Edward Weston's Shell, 1927. The photograph shows a nautilus shell in profile view looking on the side with the opening to the shell's interior; the shell rests on a dark black background. The photograph was printed by Edward's son Cole Weston from his father's original negative.
Edward Weston was influential in the modern photography movement beginning in the 1930s. He is well known for photographing the natural surroundings of his home on the California coast. Weston created striking works of art, some abstract, some more traditional images. A leader in American photography of the 20th century, Weston's prints were first exhibited at the Smithsonian in 1947. Afterwards, he remained interested in the national photography collection. At times, Weston recommended photographers to curators for collecting opportunities, and eventually donated a selection of his work and several cameras to the Photographic History Collection.
Souvenir box commemorating the World's Columbian Exposition held in Chicago, Illinois in 1893. The box's lid decorated with a multicolored aerial view of the Exposition's fair grounds and features attached seas shells. A sticker on the bottom of the box reads "Regd. No. 414356.
The 1893 World's Columbian Exposition was an assertive statement about American culture and identity. Celebrating the 400th anniversary of Christopher Columbus' arrival in the New World. The fair was created by American business, political and artistic leaders to exhibit American progress and to proclaim America's arrival as an economic and cultural force on the world scene. The Columbian Exposition's centerpiece was the remarkable Ferris Wheel, invented and designed to challenge the 1889 Paris Exposition's Eiffel Tower as the world's most modern wonder. The Fair was an enormous success, having 27 million visitors during its May through October run.
In addition to exhibits relating to agriculture, science and industry, the Fair hosted a variety of cultural displays, including an exhibit of American art and performances from artists such as the Chicago Symphony Orchestra and John Philip Sousa. The exotic Midway attractions featured performers such as ragtime pianist Scott Joplin and the dancer Little Egypt.
The African American community was essentially excluded except as performers and for the allowance of a single day for coloreds only. Black leaders disagreed on the proper response to this slight, some encouraging participation, while others demanding a change in policy, continuing America's ongoing national discussion about racial representation and exclusion.