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- Charley & Edie Harper Art Studio: Celebrating 60 Years of Creating Art Together, 2006 - Charley Harper (1922-2007) and Edie McKee (1922-2010) met at the Art Academy of Cincinnati in 1940 and married in 1947. Both practiced art for the remainder of their lives, with Charley ultimately gaining fame for his unique style of illustrating wildlife. This trade catalog, published the year before Charley passed away, celebrated the Harpers' 60-year marriage and noteworthy careers.
- 2006
- Collections - Artifact
Charley & Edie Harper Art Studio: Celebrating 60 Years of Creating Art Together, 2006
Charley Harper (1922-2007) and Edie McKee (1922-2010) met at the Art Academy of Cincinnati in 1940 and married in 1947. Both practiced art for the remainder of their lives, with Charley ultimately gaining fame for his unique style of illustrating wildlife. This trade catalog, published the year before Charley passed away, celebrated the Harpers' 60-year marriage and noteworthy careers.
- Circus Performer Irene Woodward, circa 1885 - Irene Woodward, also known as "La Belle Irene," is pictured in this cabinet card. During Woodward's stage career, she billed herself as "The Original Tatooed Lady," appearing at Bowery district dime museums like Bunnell's, and went on tours of Europe. Woodward's tattoos were inked by tattoo pioneer Samuel O'Reilly and his apprentice, Charles Wagner.
- circa 1885
- Collections - Artifact
Circus Performer Irene Woodward, circa 1885
Irene Woodward, also known as "La Belle Irene," is pictured in this cabinet card. During Woodward's stage career, she billed herself as "The Original Tatooed Lady," appearing at Bowery district dime museums like Bunnell's, and went on tours of Europe. Woodward's tattoos were inked by tattoo pioneer Samuel O'Reilly and his apprentice, Charles Wagner.
- Two "Iris" by Kimiake Higuchi, 1996 - New centers of glassmaking emerged as studio glass spread in the 1980s, creating a truly international movement. In Japan, studio glass artist Kimiake Higuchi referenced the Art Nouveau style of the 1890s for inspiration. She revived a popular glassmaking technique known as "pate-de-verre" to achieve opaque finishes and used color schemes and botanical motifs that further echo the Art Nouveau.
- 1996
- Collections - Artifact
Two "Iris" by Kimiake Higuchi, 1996
New centers of glassmaking emerged as studio glass spread in the 1980s, creating a truly international movement. In Japan, studio glass artist Kimiake Higuchi referenced the Art Nouveau style of the 1890s for inspiration. She revived a popular glassmaking technique known as "pate-de-verre" to achieve opaque finishes and used color schemes and botanical motifs that further echo the Art Nouveau.
- Greenfield Village Tintype Studio - Tintypes were a popular type of mid-1800s "wet-plate" photography. This studio was built in 1929 in Greenfield Village and a tintypist and Ford Motor Company employee, Charles Tremear, was hired to create tintypes for Greenfield Village visitors. In this studio, in addition to Village visitors, Tremear made portraits of many celebrities, including Thomas Edison, Joe Louis and Walt Disney.
- October 20, 1929
- Collections - Artifact
Greenfield Village Tintype Studio
Tintypes were a popular type of mid-1800s "wet-plate" photography. This studio was built in 1929 in Greenfield Village and a tintypist and Ford Motor Company employee, Charles Tremear, was hired to create tintypes for Greenfield Village visitors. In this studio, in addition to Village visitors, Tremear made portraits of many celebrities, including Thomas Edison, Joe Louis and Walt Disney.
- Orchard Box by Kimiake Higuchi, 2007 - New centers of glassmaking emerged as studio glass spread in the 1980s, creating a truly international movement. In Japan, studio glass artist Kimiake Higuchi referenced the Art Nouveau style of the 1890s for inspiration. She revived a popular glassmaking technique known as "pate-de-verre" to achieve opaque finishes and used color schemes and botanical motifs that further echo the Art Nouveau.
- 2007
- Collections - Artifact
Orchard Box by Kimiake Higuchi, 2007
New centers of glassmaking emerged as studio glass spread in the 1980s, creating a truly international movement. In Japan, studio glass artist Kimiake Higuchi referenced the Art Nouveau style of the 1890s for inspiration. She revived a popular glassmaking technique known as "pate-de-verre" to achieve opaque finishes and used color schemes and botanical motifs that further echo the Art Nouveau.
- Portrait of Countess Magri, circa 1895 -
- circa 1895
- Collections - Artifact
Portrait of Countess Magri, circa 1895
- "Vase Tulip" by Kimiake Higuchi, 1999 - New centers of glassmaking emerged as studio glass spread in the 1980s, creating a truly international movement. In Japan, studio glass artist Kimiake Higuchi referenced the Art Nouveau style of the 1890s for inspiration. She revived a popular glassmaking technique known as "pate-de-verre" to achieve opaque finishes and used color schemes and botanical motifs that further echo the Art Nouveau.
- 1999
- Collections - Artifact
"Vase Tulip" by Kimiake Higuchi, 1999
New centers of glassmaking emerged as studio glass spread in the 1980s, creating a truly international movement. In Japan, studio glass artist Kimiake Higuchi referenced the Art Nouveau style of the 1890s for inspiration. She revived a popular glassmaking technique known as "pate-de-verre" to achieve opaque finishes and used color schemes and botanical motifs that further echo the Art Nouveau.
- "Burial Box Type VII" by Howard Ben Tre, 1979 -
- 1979
- Collections - Artifact
"Burial Box Type VII" by Howard Ben Tre, 1979
- Postcard, "The Free Library of Philadelphia, Frankford Branch, Frankford Avenue and Overington Street," circa 1915 - Until the 20th century, most book collections were not available to everyday Americans. They were either privately owned, accessible only by paid subscription, or stored away haphazardly. In some communities, wealthy citizens funded libraries. Philadelphia philanthropist George Seckel Pepper bequeathed $225,000 to establish The Free Library of Philadelphia in 1889. Over time, the Free Library system grew to include many neighborhood branches.
- circa 1915
- Collections - Artifact
Postcard, "The Free Library of Philadelphia, Frankford Branch, Frankford Avenue and Overington Street," circa 1915
Until the 20th century, most book collections were not available to everyday Americans. They were either privately owned, accessible only by paid subscription, or stored away haphazardly. In some communities, wealthy citizens funded libraries. Philadelphia philanthropist George Seckel Pepper bequeathed $225,000 to establish The Free Library of Philadelphia in 1889. Over time, the Free Library system grew to include many neighborhood branches.
- Postcard, "The Free Library of Philadelphia, Logan Branch, Wagner Avenue and Old York Road," circa 1910 - Until the 20th century, most book collections were not available to everyday Americans. They were either privately owned, accessible only by paid subscription, or stored away haphazardly. In some communities, wealthy citizens funded libraries. Philadelphia philanthropist George Seckel Pepper bequeathed $225,000 to establish The Free Library of Philadelphia in 1889. Over time, the Free Library system grew to include many neighborhood branches.
- circa 1910
- Collections - Artifact
Postcard, "The Free Library of Philadelphia, Logan Branch, Wagner Avenue and Old York Road," circa 1910
Until the 20th century, most book collections were not available to everyday Americans. They were either privately owned, accessible only by paid subscription, or stored away haphazardly. In some communities, wealthy citizens funded libraries. Philadelphia philanthropist George Seckel Pepper bequeathed $225,000 to establish The Free Library of Philadelphia in 1889. Over time, the Free Library system grew to include many neighborhood branches.