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- "Battle Scenes of the Rebellion" Battle of Chattanooga, Civil War Panorama - In the 1880s, Thomas Clarkson Gordon, a self-taught artist and Civil War veteran, created a panorama depicting scenes from the Civil War. Gordon stitched together 15 paintings -- each 7 by 14 feet -- into a canvas roll more than 100 feet long. He toured his multi-paneled panorama throughout eastern Indiana, retelling the history of the conflict through his vivid illustrations.
- 1863
- Collections - Artifact
"Battle Scenes of the Rebellion" Battle of Chattanooga, Civil War Panorama
In the 1880s, Thomas Clarkson Gordon, a self-taught artist and Civil War veteran, created a panorama depicting scenes from the Civil War. Gordon stitched together 15 paintings -- each 7 by 14 feet -- into a canvas roll more than 100 feet long. He toured his multi-paneled panorama throughout eastern Indiana, retelling the history of the conflict through his vivid illustrations.
- Oil Painting, Fort Ticonderoga by George Washington Mark, circa 1845 - George Washington Mark was a successful house, sign, and furniture painter in Greenfield, Massachusetts, in the early 1800s. Sometime in the 1830s and 40s, he tried his hand at more artistic endeavors creating paintings of local interest -- generally landscapes and historic subjects. Around 1845, Mark painted this work depicting the ruins of New York's historic Fort Ticonderoga.
- circa 1845
- Collections - Artifact
Oil Painting, Fort Ticonderoga by George Washington Mark, circa 1845
George Washington Mark was a successful house, sign, and furniture painter in Greenfield, Massachusetts, in the early 1800s. Sometime in the 1830s and 40s, he tried his hand at more artistic endeavors creating paintings of local interest -- generally landscapes and historic subjects. Around 1845, Mark painted this work depicting the ruins of New York's historic Fort Ticonderoga.
- Oil Painting, "Fun On the Fourth" by Tompkins H. Matteson, 1840-1850 -
- 1840-1850
- Collections - Artifact
Oil Painting, "Fun On the Fourth" by Tompkins H. Matteson, 1840-1850
- Powerhouse, River, and Dam, 1924 - In 1924-25 the Ford Motor Company ran a series of sixteen dramatic advertisements in the <em>Saturday Evening Post</em> and <em>Country Gentleman</em> magazines. The effectiveness of the ads was due in large part to the specially commissioned artwork that accompanied the descriptive text. The restricted palette employed in the original art was imposed by the "duotone" process used for color reproduction.
- 1924
- Collections - Artifact
Powerhouse, River, and Dam, 1924
In 1924-25 the Ford Motor Company ran a series of sixteen dramatic advertisements in the Saturday Evening Post and Country Gentleman magazines. The effectiveness of the ads was due in large part to the specially commissioned artwork that accompanied the descriptive text. The restricted palette employed in the original art was imposed by the "duotone" process used for color reproduction.
- "View near Anthony's Nose, Hudson Highlands," by Thomas Chambers, 1840-1850 -
- 1840-1850
- Collections - Artifact
"View near Anthony's Nose, Hudson Highlands," by Thomas Chambers, 1840-1850
- Light Snow in the Pass, Painted by Virgil M. Exner circa 1970 - Though best remembered for his design work under Harley Earl at General Motors Corporation, at Raymond Loewy's industrial design firm, at Studebaker Corporation, and in Chrysler Corporation's Advanced Styling Studio, Virgil Exner made time to practice the fine arts. Exner painted this scenic piece during "retirement" (he continued work on design projects from home until his death in late 1973).
- circa 1885
- Collections - Artifact
Light Snow in the Pass, Painted by Virgil M. Exner circa 1970
Though best remembered for his design work under Harley Earl at General Motors Corporation, at Raymond Loewy's industrial design firm, at Studebaker Corporation, and in Chrysler Corporation's Advanced Styling Studio, Virgil Exner made time to practice the fine arts. Exner painted this scenic piece during "retirement" (he continued work on design projects from home until his death in late 1973).
- Pastel Painting, "Rochester Union Academy," by M. Perkins, 1840-1850 -
- 1840-1850
- Collections - Artifact
Pastel Painting, "Rochester Union Academy," by M. Perkins, 1840-1850
- Letter from Samuel Finley Breese Morse to Stephen Van Rensselaer, 1834 -
- September 22, 1834
- Collections - Artifact
Letter from Samuel Finley Breese Morse to Stephen Van Rensselaer, 1834
- Advertising Layout Painted by William L. Mitchell, "Packard," 1933 - Bill Mitchell joined General Motors' Art and Colour Section in 1935 and served as GM's head of design from 1958 to 1977. Mitchell created this advertising layout for Packard in 1933 while he was working for the Barron Collier Advertising Agency in New York City.
- 1933
- Collections - Artifact
Advertising Layout Painted by William L. Mitchell, "Packard," 1933
Bill Mitchell joined General Motors' Art and Colour Section in 1935 and served as GM's head of design from 1958 to 1977. Mitchell created this advertising layout for Packard in 1933 while he was working for the Barron Collier Advertising Agency in New York City.
- Drawing of Confronted Lions and Birds, 1800-1820 - Early German immigrants created decorative documents, known as Fraktur, for a variety of reasons. Many commemorated a child's birth and baptism. Others were made as keepsakes, symbols of achievement, or expressions of the immigrant's heritage or religion. These documents usually incorporated intricate lettering, elaborate borders and colorful drawings. This particular drawing was likely created as a practice piece.
- 1800-1820
- Collections - Artifact
Drawing of Confronted Lions and Birds, 1800-1820
Early German immigrants created decorative documents, known as Fraktur, for a variety of reasons. Many commemorated a child's birth and baptism. Others were made as keepsakes, symbols of achievement, or expressions of the immigrant's heritage or religion. These documents usually incorporated intricate lettering, elaborate borders and colorful drawings. This particular drawing was likely created as a practice piece.