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- Trade Card for Carriage & Buggy Paints, Peninsular White Lead & Color Works, 1880-1900 - In the last third of the nineteenth century, an unprecedented variety of consumer goods and services flooded the American market. Advertisers, armed with new methods of color printing, bombarded potential customers with trade cards. Americans enjoyed and often saved the vibrant little advertisements found in product packages or distributed by local merchants. Many survive as historical records of commercialism in the United States.
- 1880-1900
- Collections - Artifact
Trade Card for Carriage & Buggy Paints, Peninsular White Lead & Color Works, 1880-1900
In the last third of the nineteenth century, an unprecedented variety of consumer goods and services flooded the American market. Advertisers, armed with new methods of color printing, bombarded potential customers with trade cards. Americans enjoyed and often saved the vibrant little advertisements found in product packages or distributed by local merchants. Many survive as historical records of commercialism in the United States.
- Paint Color Sample Card for Ford, Lincoln and Mercury Cars, "1966 Ford Corporate Colors" - Fred Rinshed and Herbert Mason formed Rinshed-Mason Company in Detroit, Michigan, in 1919. Mr. Mason previously made hunting decoys, and his decoys had developed a reputation for long-lasting paint finishes. Rinshed-Mason soon became the largest paint supplier to Detroit's booming automotive industry. In 1931, the company introduced the first metallic finish for automobiles.
- 1966
- Collections - Artifact
Paint Color Sample Card for Ford, Lincoln and Mercury Cars, "1966 Ford Corporate Colors"
Fred Rinshed and Herbert Mason formed Rinshed-Mason Company in Detroit, Michigan, in 1919. Mr. Mason previously made hunting decoys, and his decoys had developed a reputation for long-lasting paint finishes. Rinshed-Mason soon became the largest paint supplier to Detroit's booming automotive industry. In 1931, the company introduced the first metallic finish for automobiles.
- 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.
- Catalog, "American Art Collections by the Detroit Publishing Co.," 1918 -
- 1918
- Collections - Artifact
Catalog, "American Art Collections by the Detroit Publishing Co.," 1918
- 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
- Oil Portrait of Edsel Ford by Diego Rivera, 1932 - Partway through work on his <em>Detroit Industry</em> murals at the Detroit Institute of Arts, Diego Rivera took a break to paint a portrait of the frescoes' primary sponsor, Edsel Ford. Rather than posing Ford in his office, Rivera chose a more appropriate setting: an automotive design studio. The portrait depicts Ford as strong and confident in his preferred environment.
- 1932
- Collections - Artifact
Oil Portrait of Edsel Ford by Diego Rivera, 1932
Partway through work on his Detroit Industry murals at the Detroit Institute of Arts, Diego Rivera took a break to paint a portrait of the frescoes' primary sponsor, Edsel Ford. Rather than posing Ford in his office, Rivera chose a more appropriate setting: an automotive design studio. The portrait depicts Ford as strong and confident in his preferred environment.
- Painting Automobile Bodies in the Ford Motor Company Rouge Plant B Building, November 1932 - Ford Motor Company's system of mass production depended on the smooth flow of parts and materials to workers. Ford engineers designed the buildings and facilities at the company's massive Rouge plant with this in mind. The "B" Building, where vehicle assembly took place, included extensive conveyer systems to accommodate the continuous movement of parts and processes.
- November 14, 1932
- Collections - Artifact
Painting Automobile Bodies in the Ford Motor Company Rouge Plant B Building, November 1932
Ford Motor Company's system of mass production depended on the smooth flow of parts and materials to workers. Ford engineers designed the buildings and facilities at the company's massive Rouge plant with this in mind. The "B" Building, where vehicle assembly took place, included extensive conveyer systems to accommodate the continuous movement of parts and processes.
- Henry Ford II Presenting a Norman Rockwell Painting to the Detroit Historical Museum, July 1963 -
- July 31, 1963
- Collections - Artifact
Henry Ford II Presenting a Norman Rockwell Painting to the Detroit Historical Museum, July 1963
- "A Collection of Ancient Paintings, Objects of Art and Modern Paintings," 1925 -
- 1925
- Collections - Artifact
"A Collection of Ancient Paintings, Objects of Art and Modern Paintings," 1925
- Pitcher, 1890-1910 - China painting was an important pastime for many American women. They painted over the glaze of fired, undecorated pieces of white porcelain called "blanks." China painters learned and shared decorating techniques through manuals, classes, and regional and national associations. China painting peaked around 1900, but it remained a major feature of some women's lives through the first World War.
- 1890-1910
- Collections - Artifact
Pitcher, 1890-1910
China painting was an important pastime for many American women. They painted over the glaze of fired, undecorated pieces of white porcelain called "blanks." China painters learned and shared decorating techniques through manuals, classes, and regional and national associations. China painting peaked around 1900, but it remained a major feature of some women's lives through the first World War.