https://sale.morven.org/the-pine-barrens-a-legacy-of-preservation-photographs-by-richard-speedy-1 daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1544538382780-F9DKXHGDAZ7W7QTQHYOG/108-PBP.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Entry https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1544538382780-F9DKXHGDAZ7W7QTQHYOG/108-PBP.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Entry https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941050051-20S8LWZEKAPM3ROZQTEU/108-PBP.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Entry https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941321937-1FU18P3B7G1IMWL8ZFLX/110-PBP.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Little Ones https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941343582-8QV652QT5AHAPVMB1XPR/116-PBP.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Fall Morning Near Godfrey Bridge https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941323551-EDH9KIULSRCRVJO9Y3BZ/114-PBP.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Chatsworth Lake https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941344916-F9O6VOO8UAXOCMP3B2XC/118-PBP.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Bog Reflection https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941022657-X72BIQHLA236Y487UTKX/108-PBP.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Entry https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941323307-YL8SNOFADKI6TUJ5PCKN/113-PBP.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Batsto River - Quaker Bridge https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941319899-VPLCMERCNJ5R5X5IPV1E/102-PBP.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Sunrise in Friendship https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941418382-HHN9CN8L11KR5DFT633A/134-PBP.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Fall Vegetation Near Carranza Memorial https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941346015-37Q3LS7PXPL5UG1OP07C/122-PBP.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - New Growth - Batona Trail https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941322633-P9A67GUHFAO7L9RG94V1/111-PBP.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Turning Ferns https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941174332-866TXSLS10CPVNX7KV0N/101-PBP-e1359641815319.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Milkweed Seed in Grass https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941346865-WRONIEOBRAB0I6F31PTD/126-PBP.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Ice Design #1 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941831153-RWEC69MELCDLA54JIKCP/1.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Ice Design #2 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941831620-VOVDE3Z9PIU0CPSIB9KW/2.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Ice Design #3 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941666218-9OVGDXRE5RXBVDWCUHI7/3.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Steam Rising https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941693822-DVT7CA0BBKFA8D7IS978/dfs.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Batsto River Marsh https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941669002-3KBWITQVX2QW2GDZRBD0/5.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Dead Tree https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941669357-B7JXG1I6TWTSS511WUBG/6.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Winter Thaw https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941672172-4D9CSNG3KQTNTD7LT8YS/7.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Fall Meadow https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941672397-YA7E8IWNMXXAKBZPUPFV/8.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Firewater https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941673327-0KGU3AOFPVML7ULPUBGK/9.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Crooked Tree https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941675458-4GH5SRYZ3LSEFFCSDIOA/10.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Pathway Along Batona Trail https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941676397-9Q40DIPH0FBSWFFD2IGG/11.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Winter Water Way https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941678010-H5YG5N1MQZWNI7Y4CUJ1/12.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Pine Barrens Spring https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941946977-PWT2KKMBVBV0X9VMAVVE/13.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Ridges - Apple Pie Hill https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941947931-PD9DW4D1QCO3ZY1TVQVS/14.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Water Clouds https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941949045-Z3JJ8EWFDPYMEGUKB0LD/15.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Franklin Preserve - First Light https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941950389-6F088VC0XPUDRDIWNJKL/16.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Franklin Preserve - Walking West https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941951013-NZ5LC87SX0JEOQDB9RIV/17.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Dormant Cranberry Bog https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941953324-2ZP5V4H1WMFWPZZADTZN/18.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Oswego Tributary https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941953117-GG9J7VOPUGX1HPHJDNRQ/19.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Winter Morning - Chatsworth https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543941955477-CX6OZCAE5MM5WNVMJNAY/20.jpg THE PINE BARRENS: A LEGACY OF PRESERVATION | PHOTOGRAPHS BY RICHARD SPEEDY - Spring Rain - Wading Water https://sale.morven.org/new-gallery daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848014313-BMV6LTXXIKXJRB2BE9OY/%281%29+47+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 - City Hall, and County Court House. Designed & Erected by John Haviland Archt. | E. Brown Jr. del. | N. Currier’s Lith. N.Y. 1837–38. artist: Eliphalet M. Brown, Jr. lithographer: Nathaniel Currier. Lithograph. 8¾ x 11¾ in. When the old county courthouse burned in 1835, architect John Haviland was commissioned to design and build a new courthouse for Essex County, combined with a jail and a city hall for the town of Newark. Haviland (1792–1852) was an English-born architect and a leading figure in American neo-classical architecture. Among his many important commissions were the original Franklin Institute, the Walnut Street Theatre, and the Eastern State Penitentiary, all in Philadelphia; the Hall of Justice (“The Tombs”) in New York; and the New Jersey State Prison in Trenton. The new courthouse, in Haviland’s favored Egyptian revival style, was completed by the end of 1837, at which time the architect probably had this view produced to show off his work. The building remained in use as the county courthouse until 1907, when a new Essex County courthouse was erected. The jail continued to be used until about 1970. The structure survives today in Newark at the corner of Newark and New Streets, abandoned and hopelessly derelict. It was added to the National Register of Historic Places in 1991, although nothing has been done to preserve it. The artist, Eliphalet M. Brown, Jr. (1816–1886), was a Massachusetts native who was working in New York by the late 1830s. He was both a lithographer as well as an artist, and some of his earliest work was done in association with Nathaniel Currier. Currier (1813–1888), also a native of Massachusetts, served his apprenticeship in Boston with the Pendleton lithography firm before setting up business on his own in New York in 1835. In 1857 he joined with James M. Ives in the famous partnership of Currier & Ives, which flourished into the early years of the twentieth century. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848014313-BMV6LTXXIKXJRB2BE9OY/%281%29+47+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 - City Hall, and County Court House. Designed & Erected by John Haviland Archt. | E. Brown Jr. del. | N. Currier’s Lith. N.Y. 1837–38. artist: Eliphalet M. Brown, Jr. lithographer: Nathaniel Currier. Lithograph. 8¾ x 11¾ in. When the old county courthouse burned in 1835, architect John Haviland was commissioned to design and build a new courthouse for Essex County, combined with a jail and a city hall for the town of Newark. Haviland (1792–1852) was an English-born architect and a leading figure in American neo-classical architecture. Among his many important commissions were the original Franklin Institute, the Walnut Street Theatre, and the Eastern State Penitentiary, all in Philadelphia; the Hall of Justice (“The Tombs”) in New York; and the New Jersey State Prison in Trenton. The new courthouse, in Haviland’s favored Egyptian revival style, was completed by the end of 1837, at which time the architect probably had this view produced to show off his work. The building remained in use as the county courthouse until 1907, when a new Essex County courthouse was erected. The jail continued to be used until about 1970. The structure survives today in Newark at the corner of Newark and New Streets, abandoned and hopelessly derelict. It was added to the National Register of Historic Places in 1991, although nothing has been done to preserve it. The artist, Eliphalet M. Brown, Jr. (1816–1886), was a Massachusetts native who was working in New York by the late 1830s. He was both a lithographer as well as an artist, and some of his earliest work was done in association with Nathaniel Currier. Currier (1813–1888), also a native of Massachusetts, served his apprenticeship in Boston with the Pendleton lithography firm before setting up business on his own in New York in 1835. In 1857 he joined with James M. Ives in the famous partnership of Currier & Ives, which flourished into the early years of the twentieth century. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848017498-XFQ17PHISFVGE9JSE6C6/%282%29+116+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 - Crump’s Central Park | Ice Cream Garden | 190 Broad St. Newark. 1867 or 1868. artist: unidentified. Lithograph, with added hand coloring. 12 x 16⅜ in. Couples and families stroll or sit at tables eating ice cream in a garden-like setting with sculpture, a fountain, and swings. Surrounding the garden are about a dozen small shed-like structures where, presumably, patrons could eat their ice cream out of the sun’s heat. James A. Crump was born in England about 1820. In the tax lists of 1865 and 1866 he is recorded as selling soda water at 190 Broad Street, Newark. In the 1867–68 Newark directory, Crump is listed as “Ice cream garden & ladies’ dining rooms, 190 Broad.” In that same directory the ice cream garden at 190 Broad Street is also included under the name of Peter Tracy & Company. By the next year’s directory, 1868–69, Tracy is gone and the ice cream garden is under the sole management of James A. Crump. Crump’s business does not appear to have been a success, as the next year he is the superintendent of a rink, and by 1873 he is associated with the Sunday Call newspaper. By 1876 he is operating a boarding stable. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848019013-V2RAAC215J2G4SZ7559K/%283%29+113+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 - Turkey Hill, N.J. | Top of Palisades. 1887 or before. artist: unidentified (signed lower left, C[illegible]). Oil on board. 7 x 9⅝ in. Turkey Ridge was a sparsely settled area atop the Palisades on the New Jersey-New York border. In the second half of the nineteenth century it was home to an African-American community known as Skunk Hollow. Some of the land was later taken for the Palisades Interstate Parkway, and the remainder is included within the present Borough of Alpine, Bergen County. On the back of the board the artist has painted “Turkey hill N J. | Top of palisades.” Glued to the back of the board is an oval white paper label on which is written, in pen and ink, “Ww Unger | Decr 31 1887.” Unger has not been identified. The artist’s signature is precisely under the edge of the frame’s rabbet and it has worn off and is now illegible. The first letter is a “C” or possibly a “G.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848023728-NUFMNEJFW4Z6B5ZJGKZI/%284%29+102+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 - Hackensack, | New Jersey. | 1896. O. H. Bailey & Co. | Lith. & Pub. Boston. 1896. artist: Oakley Hoopes Bailey. lithographer and publisher: O. H. Bailey & Co. Toned lithograph. 21¾ x 28⅛ in. The second published birdseye view of Hackensack, Bergen County. Street names are indicated. Above and below the view are thirty-five vignettes of private homes, schools, churches, and commercial structures. In the bottom margin are eight columns listing churches, public buildings, and businesses, some of which are keyed by letter or number to the view. Oakley Hoopes Bailey (1843–1947) was a native of Ohio and a resident of Cambridge, Massachusetts. He traveled around the country, producing in all some 375 views of cities and towns before his death at age 104. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848023728-7DEKCR8T15NU6D2FUU9B/%285%29+94+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 - Grace Church Van Vorst. | New-Jersey. D. Lienau del. A. Delessard, Lith. | D. Lienau & R. C. Bacot } Archts. | Print by Nagel & Weingærtner. 1850–53. artist: Detlef Lienau. lithographer: A. Delessard. Toned lithograph. 19 x 15⅞ in. Grace Church Van Vorst, Jersey City, was founded in 1847 and takes its name both from the township in which it was then located and from the Van Vorst family, who donated the land on which the church was built. Construction of the church began in 1850 and the building was consecrated in 1853. The architect was Detlef Lienau. This lithograph, with its distinctly European flavor, may possibly have been produced from a drawing of the proposed structure made by Lienau before the church was built. Robert Cochran Bacot, who is also named on the lithograph as architect, was a sometime architect and fulltime Jersey City civil engineer and surveyor. Enlarged in 1864 and with a tower added in 1912, the church is in daily use today. It is the oldest surviving Episcopal church in Jersey City. Detlef Lienau (1818–1887) was born in Denmark in an area that later became a part of Germany. In 1848 he came to the United States. Having trained as an architect at L’Ecole des Beaux-Arts in Paris, he is generally credited with having introduced the French style to American building construction, notably the mansard roof. His first commission in Jersey City was a house for his brother, Michael, completed in 1849. Lienau himself lived in Jersey City and was married in the church he designed. He died in New York. Robert Cochran Bacot (1818–1901) was born in Charleston and came to Jersey City about 1838. For the next fifty years he was the dominant figure in the civil engineering of the rapidly growing Jersey City. A manuscript presentation inscription is in the lower margin: “For the Rev. Dr. Hale with the affectionate regards of D.H.Mc.” The recipient may have been George Hale, D.D., longtime pastor of the Presbyterian church in Pennington. The writer has not been identified. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848028643-14YVG203ZLSDS81JH7A2/%286%29+97+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 - St. Patricks Church. | Jersey City N. J. Geo. H. Walker & Co. Lith. Boston. | P. C. Keeley architect. | Rev. P. Hennessy, pastor. 1870s. artist: unidentified. lithographer: George H. Walker & Co. Toned lithograph. 18½ x 22¾ in. The cornerstone of St. Patrick’s Roman Catholic Church was laid in November 1870 and the church was completed and dedicated nearly seven years later, in August 1877. The architect was Patrick Charles Keely (1816–1896), who designed nearly 600 Catholic churches in the second half of the nineteenth century. The Reverend Patrick Hennessy (1834–1896) was the priest throughout the period of construction and for almost twenty years after. The church is in use today and stands at the intersection of Ocean and Bramhall Avenues and Grand Street. It is the largest church in Jersey City. It is difficult to determine whether this lithograph was done from an architect’s rendering prior to construction or from life after the building was completed. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848031616-T1PJT6ALTO4UHN02O1Y8/%287%29+32+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848034620-QHYM92FQ20BBVF9J3AKS/%288%29+96+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848035605-0GLM5I6JZQI1TQM1LULC/%289%29+87+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848041535-V6EZA5P6GD95BD2QJ6ER/%2810%29+104+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848040145-YJ7VA9ZZZ6N611028W3V/%2811%29+98+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848043197-2C36K9QC2T3TTI7CI696/%2812%29+107+%28BW+z%29+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848045935-6ZQD34RD4HT5AWBZTCXM/%2813%29+95+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848048159-SS8HVUMCMLJBP0YXUHXR/%2814%29+81+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848052681-SWW6L27M0RHWF1DLK2H7/%2815%29+89+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848052294-JXPD85OAHWORQXEA4TU0/%2816%29+88+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848055868-9NFHDRTZ6PKY5AW05QPU/%2817%29+103+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848057679-1T1IGOI1Y4RAGIWWN4JY/%2818%29+99+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848062640-8PQ7PS0V09K5WM563C22/%2819%29+66+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848062089-VTLXUIRR3NZ3D4290TO5/%2820%29+68+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848066742-W51HH775MEJTNP69DQE1/%2821%29+67+croppeed_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848067648-UWX4CFZQPXNTMENTWFAH/%2822%29+9+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848070071-JOFBWYTDOQDN65QI0D1S/%2823%29+110+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 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Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848086219-VNRGV17VXPUC09N0JALQ/%2829%29+74+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848087141-BIAS3ZNH99C5T84NFIS0/%2830%29+31+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848092127-ZEH9YYDFDQ18D8DRR8PN/%2831%29+55+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848091852-BHM00NLNOZM3EL8BUTF0/%2832%29+22+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848097938-Z1FPBRKF8ZSFUHFAPY6O/%2833%29+72+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848097040-4870XHWF9GD1V697E88C/%2834%29+17+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848101058-BKCHIQV02JIA5G7A5R2U/%2835%29+10+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848102000-JPIENXTTENJK0HRKBG34/%2836%29+108+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848105496-8MQOUXL7KLUZGXTLERGR/%2837%29+86+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848106404-7OGAMKHIV75Y4DGFAGTE/%2838%29+115+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848110348-S604MAN5H2IX492F02Z5/%2839%29+16+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848110743-796977JQ52LVCWQ1C22G/%2840%29+34+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848115262-OMCDBD5KKJ2VDZJ98YT9/%2841%29+Atlantic_City+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 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Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848132499-PAJVN5WWB8623FE6IPAB/%2847%29+122+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848134256-UQURXCSNC5IFMWM0SNJS/%2848%29+14+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848136431-FH3UC8P326DBOS3PPWH2/%2849%29+12+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848137888-3WV8WR3VR11LWBYHTN2D/%2850%29+11+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 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Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848203154-UTR98HJ6BG2VZHWJ4XXV/%2874%29+45+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848203684-HFTZH5G6DHC2ITG4XK8F/%2875%29+78+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848206660-ZFQUGQ04YIQ1NM9FDG8J/%2876%29+79+%28BW123%29+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848209931-Y0ODEJS7MA64J26V9Z7X/%2877%29+8+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 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Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848223335-S547KYOCNM3FSW78L2Q4/%2883%29+46+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848226848-ZCNA3S4QXC65LND1EM45/%2884%29+20+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848230025-GYO0FWY98HS8Z7248EV6/%2885%29+20+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848233055-QJEPNHHN1NFU7KFTH0IF/%2885%29+49+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 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Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848253023-62LX8U2TNNSR7OIJJHJP/%2891%29+40+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848260473-MQNE8XTGEJSCH4J69G9G/%2892%29+39+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848258379-K6LV4SA6OIL4B56E2LPC/%2893%29+101+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848265328-9WLVNHTLDMNKU5TD3IF5/%2894%29+23+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848266216-BZ5XJODKYT27YZ16AOG2/%2895%29+25+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848272234-RPICVCWT058NUL5ZME2P/%2896%29+26+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848272368-K54CTT5I0HC80H6CNE5A/%2897%29+91+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848278363-ZQDB8EHNGHTYKHJ98MHY/%2898%29+18+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848277853-BD4HUD94FPVLINWI7OGC/%2899%29+19+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848280220-VV1ZN4C9LB3N2CU697VC/%28100%29+Fore-edge_painting+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848286118-UEJLORK9K2IOP8X92MYY/%28101%29+60+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848285396-B55RKY7AX9FPVEG8VB85/%28102%29+58+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848292721-KYO9ZRXHC8UCST7IQ7YA/%28103%29+70+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848293986-PGNGPE49PV1RZO6X0BPY/%28104%29+71+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848299008-KUDG144DXDQMO536KWVO/%28105%29+24+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848300823-PQ546FSPHWTHK205GPM1/%28106%29+63+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848305203-WXMCBJSTRAY50DPL9RI7/%28107%29+38+cropped+revision_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848305601-0U8RY4QZODYEKVCZHIBF/%28108%29+62+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848310493-X5UM9C3TLGYOX3VHEOW6/%28109%29+33+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848310794-AJYYEQZCTMNQ833MCYXS/%28110%29+57+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848316659-V23R4WOPVXFTCOQ5M2J5/%28111%29+82+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848315672-P3L9I8G89V5SF3VCDQLN/%28112%29+120+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848321620-BNZUF2DM9TD58GEGFVG6/%28113%29+51+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848322497-DG0MFYNP88O2CDG81TG6/%28114%29+50+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848328335-7TER782FB4GOAX73PSOV/%28115%29+64+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848328113-EH2RJL15IYEGE59AX4XJ/%28116%29+52+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848332153-4LUCBGD1A896NWOO8L26/%28117%29+48+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848332092-KGQ2UZ4E35C2UJN8LF7V/%28118%29+54+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1540848337090-QGTZWKT0C6N7LKEC4NYD/%28119%29+56+cropped_80%25.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761–1898 https://sale.morven.org/portrait-of-place daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027225507-HCIJVUW3LTJ1GWSCE2VZ/%281%29+47+cropped.jpg Portrait of Place - City Hall, and County Court House. Newark N.J. [1837–38] Designed & Erected by John Haviland Archt. | E. Brown Jr. del. | N. Currier’s Lith. N.Y. 1837–38. ARTIST: Eliphalet M. Brown, Jr. LITHOGRAPHER: Nathaniel Currier. Lithograph. 8¾ x 11¾ in. When the old county courthouse burned in 1835, architect John Haviland was commissioned to design and build a new courthouse for Essex County, combined with a jail and a city hall for the town of Newark. Haviland (1792–1852) was an English-born architect and a leading figure in American neo-classical architecture. Among his many important commissions were the original Franklin Institute, the Walnut Street Theatre, and the Eastern State Penitentiary, all in Philadelphia; the Hall of Justice (“The Tombs”) in New York; and the New Jersey State Prison in Trenton. The new courthouse, in Haviland’s favored Egyptian revival style, was completed by the end of 1837, at which time the architect probably had this view produced to show off his work. The building remained in use as the county courthouse until 1907, when a new Essex County courthouse was erected. The jail continued to be used until about 1970. The structure survives today in Newark at the corner of Newark and New Streets, abandoned and hopelessly derelict. It was added to the National Register of Historic Places in 1991, although nothing has been done to preserve it. The artist, Eliphalet M. Brown, Jr. (1816–1886), was a Massachusetts native who was working in New York by the late 1830s. He was both a lithographer as well as an artist, and some of his earliest work was done in association with Nathaniel Currier. Currier (1813–1888), also a native of Massachusetts, served his apprenticeship in Boston with the Pendleton lithography firm before setting up business on his own in New York in 1835. In 1857 he joined with James M. Ives in the famous partnership of Currier & Ives, which flourished into the early years of the twentieth century. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027225507-HCIJVUW3LTJ1GWSCE2VZ/%281%29+47+cropped.jpg Portrait of Place - City Hall, and County Court House. Newark N.J. [1837–38] Designed & Erected by John Haviland Archt. | E. Brown Jr. del. | N. Currier’s Lith. N.Y. 1837–38. ARTIST: Eliphalet M. Brown, Jr. LITHOGRAPHER: Nathaniel Currier. Lithograph. 8¾ x 11¾ in. When the old county courthouse burned in 1835, architect John Haviland was commissioned to design and build a new courthouse for Essex County, combined with a jail and a city hall for the town of Newark. Haviland (1792–1852) was an English-born architect and a leading figure in American neo-classical architecture. Among his many important commissions were the original Franklin Institute, the Walnut Street Theatre, and the Eastern State Penitentiary, all in Philadelphia; the Hall of Justice (“The Tombs”) in New York; and the New Jersey State Prison in Trenton. The new courthouse, in Haviland’s favored Egyptian revival style, was completed by the end of 1837, at which time the architect probably had this view produced to show off his work. The building remained in use as the county courthouse until 1907, when a new Essex County courthouse was erected. The jail continued to be used until about 1970. The structure survives today in Newark at the corner of Newark and New Streets, abandoned and hopelessly derelict. It was added to the National Register of Historic Places in 1991, although nothing has been done to preserve it. The artist, Eliphalet M. Brown, Jr. (1816–1886), was a Massachusetts native who was working in New York by the late 1830s. He was both a lithographer as well as an artist, and some of his earliest work was done in association with Nathaniel Currier. Currier (1813–1888), also a native of Massachusetts, served his apprenticeship in Boston with the Pendleton lithography firm before setting up business on his own in New York in 1835. In 1857 he joined with James M. Ives in the famous partnership of Currier & Ives, which flourished into the early years of the twentieth century. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027226763-0FXOERNFRHE1XXT17K3I/%282%29+116+cropped+%281%29.jpg Portrait of Place - Crump’s Central Park | Ice Cream Garden | 190 Broad St. Newark. [1867 or 1868] 1867 or 1868. ARTIST: unidentified. Lithograph, with added hand coloring. 12 x 16⅜ in. Couples and families stroll or sit at tables eating ice cream in a garden-like setting with sculpture, a fountain, and swings. Surrounding the garden are about a dozen small shed-like structures where, presumably, patrons could eat their ice cream out of the sun’s heat. James A. Crump was born in England about 1820. In the tax lists of 1865 and 1866 he is recorded as selling soda water at 190 Broad Street, Newark. In the 1867–68 Newark directory, Crump is listed as “Ice cream garden & ladies’ dining rooms, 190 Broad.” In that same directory the ice cream garden at 190 Broad Street is also included under the name of Peter Tracy & Company. By the next year’s directory, 1868–69, Tracy is gone and the ice cream garden is under the sole management of James A. Crump. Crump’s business does not appear to have been a success, as the next year he is the superintendent of a rink, and by 1873 he is associated with the Sunday Call newspaper. By 1876 he is operating a boarding stable. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1593446753282-0EMQZ9O9CO7KR5N14CNP/%283%29+113+cropped.jpg Portrait of Place - Turkey Hill, N.J. | Top of Palisades. [1887 or before] 1887 or before. ARTIST: unidentified (signed lower left, C[illegible]). Oil on board. 7 x 9⅝ in. Turkey Ridge was a sparsely settled area atop the Palisades on the New Jersey-New York border. In the second half of the nineteenth century it was home to an African-American community known as Skunk Hollow. Some of the land was later taken for the Palisades Interstate Parkway, and the remainder is included within the present Borough of Alpine, Bergen County. On the back of the board the artist has painted “Turkey hill N J. | Top of palisades.” Glued to the back of the board is an oval white paper label on which is written, in pen and ink, “Ww Unger | Decr 31 1887.” Unger has not been identified. The artist’s signature is precisely under the edge of the frame’s rabbet and it has worn off and is now illegible. The first letter is a “C” or possibly a “G.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027253249-HL38E1JYDABC51UMAZCD/%284%29+102+cropped.jpg Portrait of Place - Hackensack, | New Jersey. | 1896. O. H. Bailey & Co. | Lith. & Pub. Boston. 1896. ARTIST: Oakley Hoopes Bailey. LITHOGRAPHER AND PUBLISHER: O. H. Bailey & Co. Toned lithograph. 21¾ x 28⅛ in. The second published birdseye view of Hackensack, Bergen County. Street names are indicated. Above and below the view are thirty-five vignettes of private homes, schools, churches, and commercial structures. In the bottom margin are eight columns listing churches, public buildings, and businesses, some of which are keyed by letter or number to the view. Oakley Hoopes Bailey (1843–1947) was a native of Ohio and a resident of Cambridge, Massachusetts. He traveled around the country, producing in all some 375 views of cities and towns before his death at age 104. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027249535-UHDVE69FHGYEIXOH2O0B/%285%29+94+cropped.jpg Portrait of Place - Grace Church Van Vorst. | New-Jersey. [1850–53] D. Lienau del. A. Delessard, Lith. | D. Lienau & R. C. Bacot } Archts. | Print by Nagel & Weingærtner. 1850–53. ARTIST: Detlef Lienau. LITHOGRAPHER: A. Delessard. Toned lithograph. 19 x 15⅞ in. Grace Church Van Vorst, Jersey City, was founded in 1847 and takes its name both from the township in which it was then located and from the Van Vorst family, who donated the land on which the church was built. Construction of the church began in 1850 and the building was consecrated in 1853. The architect was Detlef Lienau. This lithograph, with its distinctly European flavor, may possibly have been produced from a drawing of the proposed structure made by Lienau before the church was built. Robert Cochran Bacot, who is also named on the lithograph as architect, was a sometime architect and fulltime Jersey City civil engineer and surveyor. Enlarged in 1864 and with a tower added in 1912, the church is in daily use today. It is the oldest surviving Episcopal church in Jersey City. Detlef Lienau (1818–1887) was born in Denmark in an area that later became a part of Germany. In 1848 he came to the United States. Having trained as an architect at L’Ecole des Beaux-Arts in Paris, he is generally credited with having introduced the French style to American building construction, notably the mansard roof. His first commission in Jersey City was a house for his brother, Michael, completed in 1849. Lienau himself lived in Jersey City and was married in the church he designed. He died in New York. Robert Cochran Bacot (1818–1901) was born in Charleston and came to Jersey City about 1838. For the next fifty years he was the dominant figure in the civil engineering of the rapidly growing Jersey City. A manuscript presentation inscription is in the lower margin: “For the Rev. Dr. Hale with the affectionate regards of D.H.Mc.” The recipient may have been George Hale, D.D., longtime pastor of the Presbyterian church in Pennington. The writer has not been identified. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027260350-XHVYYBBLASEVIDONWROU/%286%29+97+cropped.jpg Portrait of Place - St. Patricks Church. | Jersey City N. J. [1870s] Geo. H. Walker & Co. Lith. Boston. | P. C. Keeley architect. | Rev. P. Hennessy, pastor. 1870s. ARTIST: unidentified. LITHOGRAPHER: George H. Walker & Co. Toned lithograph. 18½ x 22¾ in. The cornerstone of St. Patrick’s Roman Catholic Church was laid in November 1870 and the church was completed and dedicated nearly seven years later, in August 1877. The architect was Patrick Charles Keely (1816–1896), who designed nearly 600 Catholic churches in the second half of the nineteenth century. The Reverend Patrick Hennessy (1834–1896) was the priest throughout the period of construction and for almost twenty years after. The church is in use today and stands at the intersection of Ocean and Bramhall Avenues and Grand Street. It is the largest church in Jersey City. It is difficult to determine whether this lithograph was done from an architect’s rendering prior to construction or from life after the building was completed. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027270965-2KP4E9L3BUGDD8JO9HMH/%287%29+32+cropped.jpg Portrait of Place - Pleasure Railway at Hoboken. [1833 or soon thereafter] Lith, of D. W. Kellogg & Co. Hartford, Ct. 1833 or soon thereafter. ARTIST: unidentified. LITHOGRAPHER: D. W. Kellogg. Lithograph, with added hand coloring. 9⅜ x 11¼ in. View of the circular pleasure railway at the Elysian Fields estate of Colonel John Stevens in Hoboken. In 1784 Stevens (1749–1838), the steamboat and transportation pioneer and inventor, purchased the island then called “Hoebuck.” He erected a grand villa for his family’s use, then began to develop the property in conjunction with the ferry that he established connecting his property with New York. In order to attract more ferry patrons, Stevens in the 1820s and 1830s developed the “Elysian Fields” as a rural retreat for New Yorkers, complete with a hotel, refreshments, a “river walk,” and amusements such as a primitive form of ferris wheel and a circular railway. Stevens’ sons would later found the Stevens Institute of Technology on a part of the property. Daniel Wright Kellogg (1807–1872) appears to be the first member of the Kellogg family to enter the lithography business, in Hartford about 1833. By mid-century the Kelloggs were probably the only lithographers who came close to rivaling the Currier firm in the quality and quantity of their work. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027273685-PJE7JTC394H9V106AJ6E/%288%29+96+cropped.jpg Portrait of Place - Watchung Heights | Property of Watson Whittlesey. [1898] Comprising 1103 Building Lots. | Located at West Orange, Essex Co. N.J. | For full information apply at office Watson Whittlesey, Bank Building, 252 Main St., Orange, N. J. | or | Office on property, cor. High and Chestnut Streets | Watching Heights, West Orange, | New Jersey. 1898. ARTIST: unidentified. PUBLISHER: Watson Whittlesey. Photogravure. 18½ x 24⅛ in. Birdseye view showing property subdivided into numbered building lots, with streets laid out, a streetcar line, a chapel, and other buildings erected. In the background are the towns of West Orange and Llewellyn Park, with Montclair in the left foreground. At the top and bottom of the image are nine vignette images of prominent local public and industrial buildings, Thomas A. Edison’s home, and scenic views. At the top left and right corners are promotional advertisements. Watson Whittlesey (1863–1914) was a real estate developer and community builder. Born in Rochester, New York, he learned the contracting business in Providence, Rhode Island, then removed to New York and soon after to Newark. He moved to the Oranges in the mid-1890s, where he developed Hyde Park in East Orange. He purchased the Ira Harrison farm in West Orange and in 1898 began his Watchung Heights development. Unlike most real estate developers and land speculators, Whittlesey lived in the development with his family and went to considerable lengths to develop a sense of community. Whittlesey’s final development was Livingston Manor in Highland Park, Middlesex County. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027283608-P6U9JLD3SHXE3K98UKPL/%289%29+87+cropped.jpg Portrait of Place - View of Paterson, N. J. | From the Manchester side. [1853] Drawn from Nature & on Stone by E. Whitefield. | Print by Nagle & Weingärtner N. Y. | Published by Isaac Prindle, Brooklyn N. Y. 1853. ARTIST AND LITHOGRAPHER: Edwin Whitefield. PRINTER: Nagle & Weingärtner. PUBLISHER: Isaac Prindle. Toned lithograph. 19⅜ x 32⅞ in. View of early industrial Paterson from the Manchester (now Totowa) side of the Passaic River. Large factories line the east bank of the river. One factory, that of Todd, Mackay & Co., has been masked from the sepia wash and stands out prominently. This is the second view of Paterson, following an earlier view published in 1834. The artist, Edwin Whitefield (1816–1892), came to the United States from England about 1837. In 1845 he issued his first city view, and by the end of his long career he had produced some sixty views of towns and cities in twelve states and territories. Whitefield was both an artist and a lithographer, as he states in this view: “Drawn from Nature & on Stone by E. Whitefield.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027292822-C9N09PLL1WFU7FEMU42U/%2810%29+104+cropped.jpg Portrait of Place - Bird’s Eye View of | Paterson, N. J. | 1875. Drawn by H. H. Bailey. | Breuker & Kessler, Lith. Philada. 1875. ARTIST: Howard Heston Bailey. LITHOGRAPHER: Breuker & Kessler. Toned lithograph. 24⅛ x 31⅞ in. The third birdseye view of Paterson, with street names indicated. At the bottom of the view are four vignettes of residences and commercial establishments. In the bottom margin are eight columns listing churches, public buildings, and manufacturers, some of which are keyed by letter or number to the view. Howard Heston Bailey (1836–1878), in the eight years from 1870 until his death, was involved in the production of over seventy birdseye views in fourteen states. He was the brother of Oakley Hoopes Bailey, one of America’s most prolific producers of birdseye views. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027296052-YS021ROK0QV5H8DGCDTU/%2811%29+98+cropped.jpg Portrait of Place - State Asylum for the Insane, | Morristown, New Jersey. [1875] Samuel Sloan, Architect. | Copyright, 1875, by Samuel Sloan. | Thos. Hunter, Lith. 716 Filbert St. Phila. 1875. ARTIST: Samuel Sloan. LITHOGRAPHER: Thomas Hunter. Lithograph, with added hand coloring. 15½ x 26⅜ in. Birdseye view of the institution, depicting a joined series of buildings emanating in either direction from the main building. Built on the then-progressive Kirkbride Plan and opened in 1876, the massive state asylum near Morristown, in present-day Morris Plains, was designed to relieve the crowding at the state’s other asylum in Trenton. The architect was Samuel Sloan (1815–1884). Many changes were made to the buildings over the years, largely to accommodate the ever-increasing number of patients. In 1924 the name of the facility was changed to Greystone Park. Gradually the buildings fell into disrepair, and between 1997 and 2008 several were demolished. A new psychiatric hospital opened on the site in 2008, taking the remaining patients from the older buildings. Today a local preservation group is working to prevent the demolition of the remaining central building. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027305810-MZLDRXEGUVNQTJZ69T2J/%2812%29+107+%28BW+z%29+cropped.jpg Portrait of Place - Oakland, N.J. [Between 1836 and 1848] Between 1836 and 1848. ARTIST: William E. Tucker (signed lower left, “Drawn on the spot by Wm. E. Tucker, Philada.”). Pen and ink, and watercolor, on paper. 8 x 13½ in. Scene in Alloway, Salem County, with the Josiah M. Reeve and William F. Reeve houses at the center of the image, a complex of frame structures at the left, a man and a boy walking in the street, and the gable end of a gambrel-roof house in the right foreground on the near side of the street. The village of Alloway was originally known as Thompson’s Bridge and later as Allowaystown. In the early-to-mid nineteenth century, brothers William F., Josiah M., and Emmor Reeve conducted a successful shipbuilding operation along Alloways Creek, and each brother erected a grand house backing up to the creek. William Reeve’s frame house was built in 1830, and Josiah Reeve built his brick house next door in 1836. Emmor Reeve’s house, on the opposite side of his brother William’s house, was not built until 1848 and is not pictured, thus Tucker’s drawing can be dated between 1836 and 1848. The three houses still stand, side-by-side along North Greenwich Street. Why Tucker called the town “Oakland” is difficult to explain. The Reeve properties stood in the midst of extensive stands of white oak, which the brothers used in both their milling and shipbuilding operations, and they called the former “Oakland Mills.” Tucker may have been referring to the combined Reeve properties rather than the town itself. The gambrel-roof house at the near right appears to be a classic Salem County patterned-brick structure, now gone. The complex of frame buildings at the far left are also no longer standing. William E. Tucker (1801–1857) was a native and lifelong resident of Philadelphia. He learned engraving from Francis Kearny, and was active as an engraver from the early 1820s. His subjects included portraits, landscapes, and banknotes. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027306892-MGR13CB9X0KG4JUWVRSX/%2813%29+95+cropped.jpg Portrait of Place - A Plan of the Town at Red Bank on the River Delaware 5 Miles below Philadelphia [1848] Ed. H. Saunders Survr &c. | Camden N. J. | May 1848. | T Sinclairs Lith S. E. Cor 3d & Walnut | St Philada. 1848. ARTIST: Edward H. Saunders. LITHOGRAPHER: Thomas Sinclair. Lithograph. 18¾ x 23¾ in. Plan of the proposed development at Red Bank, Gloucester County, with streets and lots laid out. The streets are named and the lots numbered. One block near the center is reserved for a hotel and lot, and one at the right for a ferry house and lot. The land along the Delaware River is laid out into piers. In early 1848 a group of investors began to develop a town at Red Bank, with the goal of making it a fashionable resort for Philadelphians. Eventually a hotel was built, with a large public square leading to the river, and the Red Bank Ferry Company began operating ferries back and forth to Philadelphia. A new turnpike road was completed to Woodbury, and the Schuylkill Navigation Company planned a large coalport in the area. See Town Plan | of | Red Bank, | Five Miles from | Philadelphia. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027315690-GBSZLAY0OQHEHWAQN0ZA/%2814%29+81+cropped.jpg Portrait of Place - Town Plan | of | Red Bank, | Five Miles from | Philadelphia. [About 1850] About 1850. ARTIST AND LITHOGRAPHER: unidentified. PUBLISHER: Samuel Tatem. Lithograph. 10⅞ x 19½ in. In the lower half of the image is a plan of the proposed development, with streets and lots laid out. The streets are named, the blocks lettered, and the lots numbered. In the upper half is a conceptual drawing of that part of the proposed development along the Delaware River, showing tree-shaded wharves, a steamboat landing, a neat fence, and wide streets with mature trees and well-dressed ladies and gentlemen strolling. In the background steamboats and sailing vessels ply the Delaware. A second proposal to continue the development of Red Bank that began in early 1848 (see Bird’s Eye View of | Paterson, N. J. | 1875.). On the verso of the plan is an unexecuted printed deed form conveying a numbered lot from Samuel Tatem and his wife, Mary P. Tatem, of Salem, to the purchaser. The recital names Robert B. Ward as the grantor to Samuel Tatem. The affidavit is dated 1850. Both the hotel and the ferry continued to operate through much of the nineteenth century. In 1886 the Sanitarium Association of Philadelphia purchased the hotel and began bringing underprivileged children from the city for a day in the country. In 1901 a carousel was installed, followed by a large slide. Eventually the name “Soupy Island” was given to the operation, and it continues today—with the help of nearby Campbell’s Soup—as an oasis for inner-city children from Philadelphia and Camden. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027323085-TUA5V64XPQE1L4KZZMZF/%2815%29+89+cropped.jpg Portrait of Place - Riverton. N. J. 1890. Des. Lith. & Publ. by Otto Koehler. Riverton. N.J. 1890. ARTIST, LITHOGRAPHER, AND PUBLISHER: Otto Koehler. Toned lithograph. 18⅞ x 24 in. Birdseye view of Riverton. In the foreground a wharf extends into the Delaware River and a paddle-wheel steamboat passes by. The extensive nursery of Henry A. Dreer and the grounds of the Riverton Ball Club are identified, as is the adjoining town of Palmyra at the upper right corner. Otto Koehler (1830–1912) was born in Prussia and came to the United States in 1855 or shortly before, settling in Philadelphia. The city directories list his occupation either as “artist” or “lithographer.” About 1870 he moved to Riverside, Burlington County, and soon thereafter to nearby Riverton. He owned two houses in Riverton and rented one to a fellow German artist, Conrad Becker, an engraver. In the 1890 Riverton directory Koehler is listed as an artist, and he advertised locally that he copied photographs in colors. He lived in Riverton until his death. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027325934-P62PV3EUAYYU4O6LTBXN/%2816%29+88+cropped.jpg Portrait of Place - South Jersey Institute, | (For the Education of Both Sexes.) | Bridgeton, N. J. [After 1870] George S. Harris & Son, Lithographers, Philad’a. After 1870. ARTIST: unidentified. LITHOGRAPHER: George S. Harris & Son. Toned lithograph. 18 x 23 in. The main school building of the South Jersey Institute, Bridgeton. Handsomely dressed ladies and gentlemen stand on the porches and stroll along the walks while young ladies play croquet on the lawn and well-behaved young boys carrying their schoolbooks enjoy the afternoon. The South Jersey Institute was a co-educational school under the auspices of the West New Jersey Baptist Association. The building was completed in 1870 and classes began under the direction of the principal, Henry K. Trask. The school operated until 1907, when it closed. The building was torn down in 1923. See also South Jersey Institute, Bridgeton, N. J. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027338429-S6GX8YO011BG7R22KBXL/%2817%29+103+cropped.jpg Portrait of Place - Vineland, N. J. 1870. View from the Seminary. | J. H. Sawyer, Del. | Duval & Hunter, Lith. Phila. 1870. ARTIST: J. H. Sawyer. LITHOGRAPHER: Duval & Hunter. Lithograph. 20¾ x 33¼ in. Panoramic view of Vineland. Two trains approach the center of town from opposite directions. Farms are seen in the foreground, while the roofs of houses, factories, and churches in the town center are visible in the background. Smokestacks and steeples pierce the horizon. An attractive, if optimistic, view of the new town of Vineland. In 1861 Charles K. Landis purchased 16,000 acres of Cumberland County wilderness on which to erect a model town. Through aggressive advertising and constant promotion, Landis’s Vineland by 1869 could boast more than 10,000 residents. The seminary referred to in the title was never completed. In 1868 the Methodists constructed a seminary building just outside of the town, but sufficient support for the institution could not be obtained, and the plan was soon abandoned. The artist, J. H. Sawyer, has not been identified. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027341271-QQB32UVB50J003M149ZB/%2818%29+99+cropped.jpg Portrait of Place - The City of | Vineland, | New Jersey. [1885] Copyright Secured | O. H. Bailey & Co. Lith & Pub. Boston. | 1885 1885. ARTIST: Oakley Hoopes Bailey. LITHOGRAPHER AND PUBLISHER: O. H. Bailey & Co. Lithograph. 22½ x 31½ in. The second published birdseye view of Vineland, with streets identified. Surrounding the view are 21 vignette views of private homes, schools, churches, and commercial structures. Oakley Hoopes Bailey (1843–1947) was a native of Ohio and a resident of Cambridge, Massachusetts. He traveled around the country, producing in all some 375 views of cities and towns before his death at age 104. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027349598-2MMU6VD9EM4SNGMFP4GR/%2819%29+66+cropped.jpg Portrait of Place - Birds Eye View of Egg Harbor City, N. J. [1866] Entered according to Act of Congress A. D. 1866 by Charles Magnus in the Clerks Office of the Southern District of New York. | Published by Chas. Magnus 12 Frankfort St. N.Y. 1866. ARTIST: unidentified. PUBLISHER: Charles Magnus. Lithograph, with added hand coloring. 5⅝ x 7⅞ in.; leaf 10⅝ x 8⅜ in. A pictorial letter sheet, with a birdseye view of Egg Harbor City, Atlantic County, at the top and space for writing a letter below. Pictorial letter sheets were popular in American from the mid-1850s through the early 1880s, and the leading producer, by a considerable margin, was New York’s Charles Magnus. Born Julian Carl Magnus in Elberfeld, Germany, Magnus emigrated with his family to New York in 1848. In the 1850s he produced letter sheets incorporating town views and images of newsworthy events. During the Civil War he turned his attention to patriotic envelopes and pictorial song sheets, producing more than a thousand during the course of the war. After the war he expanded his work to include prints, maps, games, rewards of merit, and advertising. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027347703-BMZDWRWVLOLGQE5T99ET/%2820%29+68+cropped.jpg Portrait of Place - South Jersey Institute, Bridgeton, N. J. [After 1870] After 1870. ARTIST: unidentified. Engraving. 3⅝ x 5⅛ in.; leaf, 9 x 8 in. A pictorial letter sheet, with an image of the South Jersey Institute, Bridgeton, at the top and space for writing a letter below. See also South Jersey Institute, | (For the Education of Both Sexes.) | Bridgeton, N. J. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027353028-KXZD7RJVLSEXCXSMO1AS/%2821%29+67+croppeed.jpg Portrait of Place - Newark N.J. [Late 1850s?] Published by Charles Magnus Late 1850s? ARTIST: unidentified. PUBLISHER: Charles Magnus. Lithograph, with added hand coloring. 4½ x 9¼ in.; leaf, 12½ x 9⅜ in. Four vignette scenes of Newark, each surrounded by a floral border: “Broad Street,” “Morris Canal R. R. Works,” “Market St. R. R. Depot,” and “Court House.” The first scene, at the center of the sheet and larger than the others, depicts the bustle of Broad Street—then the commercial center of Newark—with delivery wagons and carriages in the street and pedestrians on the sidewalks in front of the shops. At the left of the sheet, a canal boat ascends an inclined plane of the Morris Canal. Below this a smaller vignette depicts the depot of the New Jersey Railroad and Transportation Company on Market Street. At the right of the sheet is a view of the Egyptian revival Essex County courthouse (see also City Hall, and County Court House. Newark N.J.). All four illustrations appear to be copied from larger, more detailed illustrations that appeared in the April 14, 1855, issue of Ballou's Pictorial Drawing-Room Companion. A pictorial letter sheet, with an image at the top and space for writing a letter below and on the conjugate second leaf. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027361313-O62VMG3L8U67P3M3ZPJK/%2822%29+9+cropped.jpg Portrait of Place - Asbury Park N.J. Fishing Pier [1892] 1892. ARTIST: Peter Caledon Cameron. Watercolor on paper. 10¼ x 18⅛ in. Several people are fishing, including at least one woman, and numerous well-dressed men and women are walking on the pier. In the distance are two large sailing ships and several smaller boats. A fishing pier was erected at the south end of Asbury Park, at First Avenue, by the town’s founder, James A. Bradley, at a cost of $10,000. It was built to assist the newly formed Asbury Park fishing club. The pier was fitted with a retractable staircase for yachting parties. Over the years the pier was improved, and structures were added at the far end. The watercolor is inscribed on the verso, in pencil: “Asbury Park N.J. | Fishing Pier - 1892.” It is unsigned, but by Cameron. It was acquired from a Philadelphia dealer about 1980 who was selling a collection of Camerons, this being the only one of a New Jersey scene. It is very much in Cameron’s style. Peter Caledon Cameron was born in Scotland in 1852 and came to the United States in 1884, settling in Philadelphia. He appears to have had some training as a biologist as well as an artist. In 1902 he exhibited a painting of the Absecon meadows at the Pennsylvania Academy. While his best-known paintings may be his large and dramatic winter views of Niagara Falls, his favorite locales seem to have been the rural areas of southwestern Pennsylvania and the New Jersey shore. His name last appears in the federal census in 1920, as a Philadelphia resident. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1593447009195-LHRC71PR8TLXP58SP01R/%2823%29+110+cropped.jpg Portrait of Place - Sea Grove, New Jersey [1875] 1875. ARTIST: [–] Bishop (signed lower left, “BISHOP | 1875”). Oil on canvas-covered board. 9 x 15¾ in. View of the Sea Grove House and the cottage of Alexander Whilldin, looking east from the ocean, with sailboats in the foreground, bathers on the beach, and the lighthouse in the distance. This is one of two oil paintings that are among the earliest known works depicting present-day Cape May Point. Each was painted in the summer of 1875, just months after Alexander Whilldin, John Wanamaker, and others formed the Sea Grove Association to develop the barren wilderness known as Stites Beach into a Christian resort. Whilldin’s wife was a Stites, and her family had owned the land since the eighteenth century. Construction of the Sea Grove House, the resort’s first hotel, began in March 1875 and was completed in early June, in time for Sea Grove’s official opening. The structure was 160 feet long, with public function rooms on the first floor and a hundred bedrooms on the three floors above. The hotel could boast of gaslight in every room. Sea Grove’s founder, Alexander Whilldin (1808–1893), built his cottage, “Land’s End,” adjacent to the Sea Grove House. It was three stories high with a veranda enclosing the first two stories. Both the Sea Grove House (renamed the Carlton Hotel and later Villa Maria-by-the-Sea) and the Whilldin cottage were destroyed in the storm of 1936. The lighthouse in the distance—the third on the site—had been there since 1859 and stands today. The artist, Bishop, has not been identified. However the Smithsonian American art inventory records an 1879 oil on canvas of a lighthouse, thought to be the Cape May light, by a Thomas Bishop of Pennsylvania, active 1858–1883. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1593447138396-2YUCJ2OZ76X8IRIX0I4Y/%2824%29+109+cropped.jpg Portrait of Place - Lake Lily, Sea Grove, New Jersey [1875] 1875. ARTIST: [–] Bishop (signed lower left, “BISHOP | 1875”). Oil on canvas-covered board. 8½ x 15¼ in. View of Lake Lily looking south, with a rowboat and a small sailboat on the lake and the lighthouse in the distance. This is the second of two Bishop oil paintings that are among the earliest known works depicting present-day Cape May Point. See also Sea Grove, New Jersey. Lake Lily, a fresh-water lake adjacent to the Atlantic Ocean, has a colorful and largely apocryphal local history that includes Indians, Captain Kidd’s buried treasure, and British warships. During the first six months of 1875, as the developers readied the area for its official opening in June, Lake Lily was cleared of underbrush and prepared for its role as one of the focal points of Whilldin’s new resort, then known as Sea Grove. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027366722-AMY6SOCK3DG1LSVTIRZG/%2825%29+111+cropped.jpg Portrait of Place - Cohansey Light House, N.J. [1878] During the Great Storm, Oct. 23rd, 1878. | W. H. Rease Phila. | Anna Worrill || Ester || Anna B. Russell 1878. ARTIST, LITHOGRAPHER, AND PUBLISHER: William H. Rease. Lithograph. 10¾ x 18 in. View of the Cohansey lighthouse surrounded and almost engulfed by angry waves. Some wreckage of the ship Ester floats in the foreground, while the Anna Worrill and the Anna B. Russell flounder near the lighthouse. The Cohansey lighthouse was built in 1838 at the mouth of the Cohansey River, where it meets the Delaware Bay, in Greenwich Township, Cumberland County. The structure was severely damaged in the October 1878 storm depicted here, and it was replaced by a new lighthouse in 1883. This lighthouse was in use until 1913; it was destroyed by fire in 1933. William H. Rease was an artist as well as a lithographer. In the mid-nineteenth century he was Philadelphia’s foremost trade card artist. In later life he appears to have had his own press. The present lithograph is one of a pair of views of the Cohansey light that Rease possibly drew, lithographed, and published. The other view depicts the lighthouse on a calm day, before the storm. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027369282-EPL5QNE4MX6QCMZOWMKD/%2826%29+36+cropped.jpg Portrait of Place - Ocean Grove [Late 1890s] Late 1890s. ARTIST: M. W. Baldwin (signed on verso in pencil “Ocean Grove | M W Baldwin”). Watercolor on paper. 6¼ x 14¼ in. View of the beach and ocean from the Ocean Grove boardwalk, looking south. In the foreground three individuals at a bench watch the activity on the beach while strollers approach on the boardwalk. A tip of a pavilion or open structure is visible at the right, and Lillagore’s Pavilion is in the distance. Ocean Grove was founded in 1869 as a Methodist camp meeting, and it remains today a tiny island of tranquility between Asbury Park on the north and Bradley Beach on the south. All of the land is still owned by the Ocean Grove Camp Meeting Association. The Smithsonian American art inventory records an 1896 watercolor by M. W. Baldwin of a house in Madison, New Jersey, but no other information on Baldwin has been found. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027386455-8S77C7A4TSKPRQ1TQGX0/%2827%29+21+cropped.jpg Portrait of Place - Wreck of the Ship John Minturn [1846] (Capt. Stark) on the Coast of New Jersey in the Terrible Gale of Feby. 15th. 1846, 3 O’Clock A.M. with 51 Persons on Board. | By this melancholy disaster 38 persons were drowned or frozen to death. — Among the lost were Capt. Stark, wife, and two children, – the Mate, Pilot, and all the | cabin passengers, 5 in number. 1846. ARTIST: unidentified. LITHOGRAPHER AND PUBLISHER: Nathaniel Currier. Lithograph, with added hand coloring. 9 x 12½ in. The John Minturn, her masts broken, is battered by heavy seas as passengers wave their arms on deck or fall overboard amid debris from the ship. A single full lifeboat is in the foreground. The John Minturn was a packet ship bound for New York from New Orleans. On February 14, 1846, during a violent northeast storm, with heavy surf and freezing rain, the vessel ran aground off Squan Beach, near present-day Mantoloking. Despite the efforts of the crew and local residents, over thirty individuals perished, including the captain, Dudley Stark, and his wife and children. The event was the impetus for New Jersey congressman William A. Newell’s introduction of a bill to create a life saving service. The Newell Act passed in 1848, and Congress appropriated $10,000 to establish the first unmanned life saving stations along the New Jersey coast. Out of this effort would eventually grow the United States Life Saving Service and, later, the United States Coast Guard. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1593447269075-GUCM0UT9FKMOGMLGPLD8/%2828%29+15+cropped.jpg Portrait of Place - Squan Beach, N.J. [1846] The place where the Packet Ship John Minturn was wrecked. July 1846. 1846. ARTIST: George Robert Bonfield (signed lower right, “G. R. Bonfield”). Oil on canvas. 24 x 36 in. Squan Beach in July, 1846, looking south. Five months after the wreck, large pieces of debris from the John Minturn still lie on the beach. Three men have a rope tied to a large piece of mast and are dragging it back from the water. In the right foreground, at the bottom of the dunes, is an open boat shed with several men and a large rowboat in front. A few small shacks and a tent are along the top of the dunes, and an American flag flies from a pole. In the distance is a flimsy pier, probably built to provide access to the wreck, which had washed up near the shore. Several sailing ships are in the distance. George Robert Bonfield, Philadelphia maritime painter, was born in Portsmouth, England, in 1805 (not 1802, as stated in early reference works). In 1816 he came with his family to Philadelphia, where he learned the stonecutting trade. He was often sent to Bordentown to work on the estate of Joseph Bonaparte, where he was able to study and copy works of art owned by the exiled king. At age fifteen one of his seascapes was exhibited at the Pennsylvania Academy of the Fine Arts, and as his career advanced he was a regular exhibitor there and at the Artists’ Fund Society, the National Academy, and elsewhere. Over the years, Bonfield lived for brief periods of time in Bordentown, Burlington, and particularly Beverly, and many of his river scenes were painted in these Delaware River towns. Never traveling far from Philadelphia, Bonfield died in that city in 1898. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027386079-ZPJN3WYJZTAL76GN9M4C/%2829%29+74+cropped.jpg Portrait of Place - View of the Dreadful Burning of the Steam Boat “New Jersey” [1856] as she drifted past Smith’s Island, at 20 minutes to 9 o’clock, on the night of | March 15th 1856. — Over 60 lives lost! | Published and for sale by R. Magee, Stationer, North West corner of 2nd. & Chesnut Sts. Phila. 1856. ARTIST: unidentified. PUBLISHER: Richard Magee. Lithograph, with added hand coloring. 9⅛ x 12¾ in. The ferry boat “New Jersey” is engulfed in flames. Passengers jump into the river, which is strewn with bodies and people clinging to pieces of debris or chunks of ice. Two rescuers in rowboats are in the foreground. In the right background a building labeled “Baths” is visible. On March 15, 1856, the steam ferry New Jersey caught fire in the Delaware River opposite Camden, and more than sixty people were killed. The boat was owned by the Camden and Philadelphia Steamboat Ferry Company, a company controlled by the joint Delaware and Raritan Canal and Camden and Amboy Railroad and Transportation companies. The companies denied responsibility for the disaster, further fueling popular hostility toward the joint companies and their transportation monopoly. In the 1856 Philadelphia city directory Richard Magee is listed as a bookseller at the corner of Second and Chestnut Streets. See Terrible Conflagration and Destruction of the Steam-Boat “New-Jersey,” and Terrible Conflagration and Destruction of the Steamboat “New-Jersey,” for variations of this disaster view. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027401621-RMPAVGSIHY65KN4WYF7P/%2830%29+31+cropped.jpg Portrait of Place - Terrible Conflagration and Destruction of the Steam-Boat “New-Jersey” [1856] On the River Delaware, opposite Philadelphia, on the Night of Saturday, March 15th, 1856, between 8 and 9 o’clock, by which Dreadful Calamity Sixty-One Lives were lost. Names of all on Board. | [three columns of names, headed “The Dead,” “The Missing,” and “The Saved”] | Published by A. Pharazin [sic] 103, South Street. | Entered According to Act of Congress in the District Court for Eastern District of Pa. by A. Pharazyn. 1856. ARTIST: unidentified. PUBLISHER: Alfred Pharazyn. Lithograph, with added hand coloring. 9⅛ x 12¾ in. The ferry boat “New Jersey” is engulfed in flames. Passengers jump into the river, which is strewn with bodies and people clinging to pieces of debris or chunks of ice. Rescuers throw lines from a dock in the right foreground. In the right background a building labeled “Baths” is visible. See also View of the Dreadful Burning of the Steam Boat “New Jersey” and Terrible Conflagration and Destruction of the Steamboat “New-Jersey.” In the 1856 Philadelphia city directory Alfred Pharazyn is listed as a “colourist” at 103 South Street. His name appears as the publisher or copublisher of a handful of lithographs between 1856 and 1870. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027399706-X017YW9WHPJSEF2XQ9J7/%2831%29+55+cropped.jpg Portrait of Place - Terrible Conflagration and Destruction of the Steamboat “New-Jersey” [1856] On the Delaware River, above Smith’s Island, on the Night of March 15th, between 8 and 9 o’clock, in which | dreadful calamity over 50 Lives are supposed to have been lost. | Published and for sale by J. L. Magee, 48 Passyunk Road and A. Pharazyn, 103 South Street 1856. ARTIST: unidentified. PUBLISHER: J. L. Magee and Alfred Pharazyn. Lithograph, with added hand coloring. 10 x 13¼ in. The ferry boat “New Jersey” is engulfed in flames. Passengers jump into the river, which is strewn with bodies and people clinging to pieces of debris or chunks of ice. A rescuer in a rowboat passes a baby to a woman on a dock in the right foreground. In the left background a building labeled “Baths” is visible. See also View of the Dreadful Burning of the Steam Boat “New Jersey” and Terrible Conflagration and Destruction of the Steam-Boat “New-Jersey.” In the 1856 Philadelphia city directory J. L. Magee is listed as a lithographer at 261 South Sixth Street and Alfred Pharazyn as a “colourist” at 103 South Street. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027410395-2UMV13XE5P0VA0F4VBZC/%2832%29+22+cropped.jpg Portrait of Place - U. S. Steam Frigate, Princeton. [1844] Entered according to Act of Congress, in the year 1844, by N. Currier, in the Clerks office of the District Court of the Southern District of New-York. | Lith: & Pub: by N. Currier, 2 Spruce St. N.Y. 1844. ARTIST: Napoleon Sarony (signed in the stone lower right, “N. Sarony”). LITHOGRAPHER AND PUBLISHER: Nathaniel Currier. Lithograph, with added hand coloring. 9½ x 13 in. Starboard view of the ship under full sail. The U.S.S. Princeton was built at the Philadelphia Navy Yard in 1842. The designer of the ship and main supervisor of construction was the Swedish inventor John Ericsson, who later designed the U.S.S. Monitor. The construction was partly supervised by Captain Robert Field Stockton, who had secured the political support for the construction of the vessel. The ship was launched in September 1843, with Stockton in command. Three months later she received her two big guns, named the “Oregon” and the “Peacemaker.” The former was designed by Ericsson, the latter from designs and under the direction of Stockton. During a test firing in 1844, the Peacemaker exploded, killing the secretary of state, the secretary of the navy, and several other dignitaries (see Awful Explosion of the “Peace-Maker” on board the U.S. Steam Frigate, Princeton). The ship was refitted and later served in the Mediterranean until 1849, when its timbers were found to be rotten and it was broken up. The ship’s bell hangs outside Princeton’s borough hall. Napoleon Sarony was born in Quebec and came to New York about 1836, where he was employed by Henry R. Robinson and later Nathaniel Currier. He left Currier in 1846 to start his own firm. In 1867 he left his firm to travel and work in Europe, returning briefly to New York before going abroad again, this time to Birmingham, England, where he opened a photography studio. He eventually returned to New York, where he was a successful photographer for several years before his death. He was one of the leading celebrity photographers of his day. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027418004-IMYGBLL63C3WJTZDC32C/%2833%29+72+cropped.jpg Portrait of Place - Awful Explosion of the “Peace-Maker” on board the U.S. Steam Frigate, Princeton [1844] on Wednesday, 28th. Feby. 1844. By which melancholly accident - the Secy. of State Mr. Upshur; the Secy. of the Navy Mr. Gilmer; Com: Kennon; Mr. Gardner of N.Y. & Mr. Maxcy were, instantly killed; — Capt: | Stockton & 12 of the Ships Company wounded. | Entered according to act of Congress, in the year 1844, by N. Currier in the Clercks [sic] office of the District Court of the Southn. dist. of New-York. | Lith: & Pub: by N Currier, 2 Spruce St N.Y. [immediately below the image is a key to some of the individuals pictured:] Mr Wilkins. Mr. Perrine. Leiutt. [sic] Hunt. Mr. Maxcy. Mr. Upshur. Com: Kennon. Mr. Gilmer. Capt: Stockton. Sailors. Sen: Phelps. Sen: Benton & lady. 1844. ARTIST: unidentified. LITHOGRAPHER AND PUBLISHER: Nathaniel Currier. Lithograph, with added hand coloring. 8⅞ x 12¾ in. The U.S.S. Princeton (see U. S. Steam Frigate, Princeton) was sent to Washington in late January 1844, where the Washingtonians displayed great interest in the ship and her guns. On February 28, 1844, the ship departed Alexandria, Virginia, on a pleasure and demonstration cruise down the Potomac with President John Tyler, his cabinet, former first lady Dolley Madison, and approximately four hundred guests on board. During a test firing the Peacemaker burst, sending shrapnel into the crowd. Instantly killed were Secretary of State Abel Upshur, Secretary of the Navy Thomas Gilmer, and several other government officials and dignitaries, including Colonel David Gardiner of New York, the father of Julia Gardiner who was President Tyler’s fiancée. A court of inquiry investigating the cause of the explosion exonerated Stockton, due largely to his political influence. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1593447371158-FNCUWCG27RM9SEBYCUOO/%2834%29+17+cropped.jpg Portrait of Place - At Cape May, Summer, ‘77 [1877] 1877. ARTIST: Joseph Stirling Thomas. Oil on canvas (signed lower left, “J Stirling Thomas. | 1877”). 15⅛ x 21⅛ in. An unidentified Cape May locale. The painting appears to have been done from the beach, as many houses are blocked by sheds and other outbuildings. On the back of the original canvas, now relined, was lettered “At Cape May, Summer ‘77. Jos. Stirling Thomas.” Little could be learned about Thomas. He was a Philadelphia resident in 1875 when he exhibited four paintings in the Cincinnati Industrial Exposition. In the exhibition catalogue Thomas’s name appears both as “J. Stirling Thomas” and as “Jos. Stirling Thomas.” A painting of an old stone house by J. Stirling Thomas is owned by the Historical Society of Pennsylvania. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1593447466562-LWJIO20RFSY9MFI5Z9BS/%2835%29+10+cropped.jpg Portrait of Place - The Delaware River, looking towards Trenton from Bordentown Hill Top [1884] 1884. ARTIST: Gertrude Newbold (signed lower left, “G. Newbold”). Oil on panel. 12 x 18 in. The Delaware River looking north from a hill in Bordentown. Two small sailboats are on the river, and driftwood clings to the shore. Several steeples and smokestacks on the New Jersey shoreline are visible in the distance. Immediately across the river in Pennsylvania are several houses or outbuildings. On the back of the panel the artist has written: “Delaware River from Hilltop in 1884 | Painted by Gertrude Newbold.” On a label formerly pasted to the paper backing the frame, the artist has written: “‘The Delaware River’, looking towards | Trenton from Bordentown | Hill Top — B.F.C. Summer house — | In the Spring of 1884 | Sketch by Gertrude Newbold.” Nineteen-year-old Gertrude Newbold was a pupil at the Bordentown Female College when she painted this view from a summer house or gazebo adjacent to the school’s main complex of buildings, located on a rise overlooking the Delaware. The school was founded in 1851 and ceased operation about 1900. Gertrude Newbold (b. 1865) was a native of Springfield, Burlington County, New Jersey. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027419125-XCZ7C7MLDGXDFKXHYPHX/%2836%29+108+cropped.jpg Portrait of Place - Tammany Hall [1850] 1850. ARTIST: William Rank (signed in border at bottom right, “by Wm Rank”). Pen and ink, and watercolor, on paper. 7 x 10½ in. The club house and kitchen building of the Tammany Fishing Company on the Delaware River. The Tammany Pea Shore Fishing Company was a Philadelphia social club organized about 1809. In 1813 they took title to a parcel of land in a cove of the Delaware River opposite Petty’s Island, in present-day Pennsauken Township, Camden County. They either erected or adapted for their use a clubhouse and a kitchen building, as naively depicted in this drawing. The oversize fish-shaped weathervane is prominently displayed. The amateur artist has signed his work within a border at the bottom: “Pea Shore, Fish House, New Jersey drawn from recollection and part skeches [sic] by Wm Rank Octr 24, 1850.” The name “Pea Shore” derives from the marked success early area farmers had in growing peas along the shoreline ringing the cove. Members of the fishing company used the pier and shore area for bathing, pleasure boating, and recreational fishing. The club held banquets and sponsored regattas. Soon the area became known as Fish House Cove. Club activity declined toward the end of the century, and by the early twentieth century the club had faded away. The buildings were eventually demolished, and today all that remains of the Tammany Pea Shore Fishing Company is a disintegrating sea wall. The artist, William Rank, has not been identified https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027431595-VR3TKS02WTVNX6DVL3MR/%2837%29+86+cropped.jpg Portrait of Place - Tamany Fish House, | on the Pea Shore, R. Delaware [About 1852] Drawn from Nature by Thos. M. Scott. | P. S. Duvals Steam Lith. Press, Philada. About 1852. ARTIST: Thomas M. Scott. LITHOGRAPHER AND PUBLISHER: P. S. Duval. Lithograph, with added hand coloring. 19 x 25⅜ in. The club house and kitchen building of the Tammany Pea Shore Fishing Company on the Delaware River. An American flag and a weathervane in the shape of a fish fly from the club house roof. In the left foreground a man fishes at the end of a long narrow pier while two couples stand nearby. At the right seven people approach in a rowboat, while several others walk about the buildings or along the shore. Two fishermen and a beached rowboat are at the far right. See also Tammany Hall. The lithograph is dated from an 1852 entry in the minutes of another Philadelphia social club, the Schuylkill Fishing Company, acknowledging the gift from the Tammany Fishing Company of a “framed view of their Fish House,” which they resolved to place in a conspicuous location in their own club house. Harry T. Peters, the early authority on American lithography, considered Duval’s view of the Tammany Fish House one of the finest American fishing lithographs, and Nicholas B. Wainwright, author of the standard work on Philadelphia lithography, hailed it as “Duval’s masterpiece.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1593447567441-3YQMMWIK4KO3B9BW7VFO/%2838%29+115+cropped.jpg Portrait of Place - Prospect Hill Association [Early 1840s?] Early 1840s? ARTIST: unidentified. Oil on canvas. 17⅜ x 26⅝ in. A view of the clubhouse, fish house, and surrounding property of the Prospect Hill Association, as taken from the Delaware River. One man in a rowboat and two men in a small sailboat sit just off the shore. The Prospect Hill Association was one of several social clubs established by Philadelphians along the New Jersey side of the lower Delaware River. Most were formed around sporting activities such as fishing and gunning. The earliest, the Gloucester Fox Hunting Club, was started in 1766 and went out of existence in 1818. The Tammany Pea Shore Fishing Company was organized about 1809 and a few years later acquired a site along the Delaware opposite Petty’s Island. Others followed, including the Prospect Hill Association, which in 1839 leased land along the Delaware on a high bluff just north of the mouth of Timber Creek, in present-day Gloucester City, Camden County. The club thrived throughout most of the nineteenth century, finally closing its doors in 1897. The property changed hands a few times until 1916, when it was acquired by the Pennsylvania Shipbuilding Company, which demolished all the existing buildings to make way for the new shipyard. Until recently the only known image of the Prospect Hill fishing club had been an undated watercolor by Philadelphia artist David J. Kennedy in the Historical Society of Pennsylvania. In 2010 this oil painting, described only as “Boats on a river” and attributed to the school of Thomas Birch, came up at a Philadelphia auction. It was identified by South Jersey historian Paul Schopp as the Prospect Hill club, and it eventually became the impetus for an article by Schopp on the history of the club. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1593447683530-NAOPBQJH3T0YP4GNUDDQ/%2839%29+16+cropped.jpg Portrait of Place - Long Beach Club House [1879] 1879. ARTIST: J. D. Lowery[?] (signed on back of artists’ board, “Long Beach Club House | Aug. 1879 | J. D. Lowery[?]”). Oil on canvas-covered board. 10 x 14 in. A view of the Club House as seen from Barnegat Bay. An outbuilding is at the left and an American flag atop a pole flies from a sand dune at the right. A dock is in front of the club house, and piles of firewood lie on the sand. The Club House was built about 1845 by James James, known locally as “Double Jimmy.” It was located about three miles south of the Barnegat lighthouse, on the bay. Originally a public house open to paying customers, it was eventually acquired by a group of New York sportsmen and became a private club, as its name implied. In the early 1920s part of the building was moved to present-day Harvey Cedars, where it stands today at 81st Street and Long Beach Boulevard. Alas, the artist’s signature has not been entirely deciphered. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027433502-QILWAF8Q9UFOX792TC9B/%2840%29+34+cropped.jpg Portrait of Place - Shooting Points, opp. Chadwick’s Barnegat Bay New Jersey [1888?] 1888? ARTIST: William Rickarby Miller (signed lower right, “WM”). Watercolor on paper, mounted to a second paper. 6¾ x 9¼ in. Two shooting points on Barnegat Bay, seen in the distance from the porch of the Chadwick House, Chadwick Beach, New Jersey. The title is written in pencil at the bottom of the sheet of paper to which the watercolor is mounted. The Chadwick House was one of the most popular nineteenth-century sportsman’s retreats on Barnegat Bay, attracting hunters from New York, Pennsylvania, New Jersey, and elsewhere. Located on Chadwick Beach just south of present-day Mantoloking, it was operated for much of the second half of the century by William P. Chadwick. The hotel provided boats, decoys, tackle, and guides. The register survives, and it records the visits of many distinguished guests. On July 25, 1878, Ulysses S. Grant, George B. McClellan, and Samuel Tilden were there, purportedly “all drunk as owls.” The painting is tentatively dated August 1888 on the basis of another New Jersey watercolor by Miller from the same sketch book and offered along with this one. The other watercolor, “Gordon's Shop Aug 21/88,” is in Princeton University Library’s graphic arts collection. William Rickarby Miller was born in Staindrop, Durham, England in 1818. He studied first with his father, then moved to London, and by 1845 he was in New York. His first work was for the illustrated weeklies. He painted in oils and watercolors and in his later years was a prolific painter of rural landscapes, particularly in New York where he lived for almost fifty years. He died in Bronx, New York, in 1893. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027435327-EVCXMRAGX3OCCVJH11DP/%2841%29+Atlantic_City+cropped.jpg Portrait of Place - Atlantic City [About 1854] About 1854. ARTIST: Robert Shoemaker Dana. Watercolor on paper. 7⅞ x 9⅞ in. One of the earliest-known views of Atlantic City, depicting the start of Absecon Island’s development with the Absecon lighthouse under construction in the distance. Just north of the inlet is the barren Brigantine beach. On the back of the painting the artist has written: “Atlantic City sketched by R. S. Dana soon after the Rail Road was built. R S Dana is in a straw hat. Samuel Sharp a tinsmith of Shippen St. near 9th St. Philad is the other person in the round topped hat. They are fishing and lunching on crackers and round clams. Dana is handing a knife to Sharp to open another clam. The sketch [is as?] taken from the boat. The pile driver to the right was m[aking] a wharf for shipment of freight from A[tlantic City].” Robert Shoemaker Dana was born in Circleville, Ohio, and grew up in Wilkes-Barre and elsewhere in Pennsylvania. He graduated from Jefferson Medical College in 1857, served as a surgeon in the Civil War, and after the war practiced medicine for many years in Morrisville, Pennsylvania. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1593447816650-S2IXTDVI7LF75EBN4BP4/%2842%29+13+cropped.jpg Portrait of Place - The Essex County Hounds Going to Cover [1893] Morristown, N. J., September, 1893. | Painted by W. S. Vanderbilt Allen. | Printed by The Heliotype Printing Co. | Copyright 1893, by W. S. Vanderbilt Allen. 1893. ARTIST: William Sullivant Vanderbilt Allen. PRINTER: Heliotype Printing Co. PUBLISHER: Sporting Incidents. Heliotype. 16 x 19¾ in. The Essex County Hunt was organized in 1872, with its clubhouse and kennels at St. Cloud, in the Orange Mountains. In 1887, with the introduction of polo, the club was reorganized as the Essex County Country Club. In 1891 Charles Pfizer, Jr., purchased the pack, the paraphernalia, and the hunting rights to most of the land. He was shortly thereafter named Master of the Hunt, and he moved the hounds to Walton Collage, near Morristown, where the hunt was located at the time this scene was painted. William Sullivant Vanderbilt Allen (1860–1931) was a great grandson of Commodore Cornelius Vanderbilt. After studying art in Paris he opened a studio in New York, which he maintained until the mid-1890s. This view is one of sixteen sporting scenes, largely the work of Allen, issued in 1893 in a portfolio titled Sporting Incidents. Allen was committed to a sanatarium in 1896. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027447366-7INYJNOPN4J0OBV446RH/%2843%29+42+cropped.jpg Portrait of Place - A New Jersey Fox Hunt. | “A Smoking Run.” [1876] 1876. ARTIST: Thomas Worth. LITHOGRAPHER AND PUBLISHER: Currier & Ives. Lithograph, with added hand coloring. 9¼ x 12 in. A boy smoking a huge cigar, with toes poking through holes in his shoes, rides a donkey while dogs run alongside and behind him. A fox pokes its head out from a log as the dogs rush past. This and the companion print, A New Jersey Fox Hunt. ‘Taking Breath, are the only comic Currier & Ives prints relating to New Jersey. The identical image, in reverse, was issued as a trade card by Currier & Ives in 1880 with the title A Smoking Run. Thomas Worth was a comic and genre artist who sold his first comic sketch to Nathaniel Currier in 1855. He would soon become one of the most popular artists whose work was lithographed by Currier & Ives. Though best known for his comics, he also did many racing scenes. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027447625-50J5O50624CFZ6TMYI1K/%2844%29+43+cropped.jpg Portrait of Place - A New Jersey Fox Hunt. | “Taking Breath.” [1876] 1876. ARTIST: Thomas Worth. LITHOGRAPHER AND PUBLISHER: Currier & Ives. Lithograph, with added hand coloring. 10¼ x 12⅛ in. A companion and sequel to A New Jersey Fox Hunt. ‘A Smoking Run.’ The boy stops to relight his huge cigar while the donkey snorts with exhaustion and the haggard-looking dogs lie panting on the ground. The well-rested fox looks on calmly a short distance away. The identical image, in reverse, was issued as a trade card by Currier & Ives in 1880 with the title Taking Breath. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027459479-J25M6I13DFFQ8SCP3WB8/%2845%29+73+cropped.jpg Portrait of Place - A New Jersey Fox Hunt. | “Taking Breath.” [About 1876] After 1876. ARTIST: Thomas Worth. LITHOGRAPHER: Currier & Ives. PUBLISHER: S. Lipschitz, Lithograph, with added hand coloring. 10¼ x 12½ in. A reprint of the Currier & Ives lithograph (see A New Jersey Fox Hunt. | “Taking Breath.”) by the Hamburg and London art publisher S. Lipschitz, probably done in the late 1870s or the 1880s. It is unclear whether the Lipschitz copy was authorized or whether it was a piracy. Lipschitz probably also reproduced the companion print, A Smoking Run, as late nineteenth-century copies of both prints have been seen with the imprint of S. Lipschitz & Son, London. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027458242-1MBUG0IOYVLW0XVFSB8L/%2846%29+121+cropped.jpg Portrait of Place - A Smoking Run. [1880] 1880. ARTIST: Thomas Worth. LITHOGRAPHER AND PUBLISHER: Currier & Ives. Colored lithograph on card stock. 3 x 4¾ in. A trade card, with an unprinted verso. This and a companion card, Taking Breath, are reversed images of small folio comic prints issued by Currier & Ives in 1876 with titles prefaced by “A New Jersey Fox Hunt.” The signature of the artist, Thomas Worth, has been removed from the image in the trade card. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027463409-TXPTXI6XLVGJJK5CPV0Q/%2847%29+122+cropped.jpg Portrait of Place - Taking Breath. [1880] 1880. ARTIST: Thomas Worth. LITHOGRAPHER AND PUBLISHER: Currier & Ives. Colored lithograph on card stock. 3 x 4¾ in. A trade card, with an unprinted verso. The companion card to A Smoking Run. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1593447960839-15O5H12ODBNZ8VF5SGN9/%2848%29+14+cropped.jpg Portrait of Place - Dexter, Ethan Allen and Mate [1869] As they appeared at Morristown, N.J. July 4th. 1867 for a Purse of $3,500. | Time: 2-20½. 2-20¼. 2-20. | Entered according to act of Congress AD 1869 by Geo. Kelly, in the Clerks Office of the District Court of the Eastn. District of Penna. 1869. ARTIST: unidentified. PUBLISHER: George Kelly. Lithograph, with added hand coloring. 19¼ x 24¾ in. Dexter and Ethan Allen were two of the most famous trotting horses of the day. Dexter, a son of Hambletonian, was foaled in 1858 and bred by Jonathan Hawkins of Orange County, New York. He later became the property of George B. Alley. Ethan Allen, foaled in 1849 and bred by Joel W. Holcomb of Ticonderoga, New York, had a long succession of owners. The two horses met in a much heralded match at the Fashion course on Long Island in June 1867, and Ethan Allen won each of the three heats. A few weeks later the Morris County Agricultural Society put up a substantial purse, and the two horses met again on the society’s course at Morristown. Dexter was driven by the noted Budd Doble. Ethan Allen and a running mate, Charlotte F., were hitched together as a team and driven by Dan Mace. Once again, Ethan Allen won all three heats. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027475216-P4C5BQRTW7DCGYL6AAYT/%2849%29+12+cropped.jpg Portrait of Place - Harry Bassett and Longfellow. [1874] At Saratoga N.Y. July 16th. 1872 | Saratoga Cup for all ages; two and a quarter miles. | Harry Bassett by Lexington....1 Longfellow by Leamington....2 | Time 3:59 || At Long Branch N.J. July 2nd. 1872. | Monmouth Cup value $1,500; – Two miles and a half. | Longfellow by Leamington 5 yrs....1 Harry Bassett by Lexington 4 yrs....2 | Time 4:34 | Published by Currier & Ives | Entered according to act of Congress in the year 1874 by Currier & Ives in the Office of the Librarian of Congress at Washington. | 115 Nassau St. New York 1874. ARTIST: John Cameron (signed in the stone, “J. Cameron Del”). LITHOGRAPHER AND PUBLISHER: Currier & Ives. Lithograph, with added hand coloring. 9¾ x 13¾in. Harry Bassett and Longfellow were two of the fastest thoroughbreds in America in the 1870s. Here they are shown at a neck-and-neck gallop, the far horse ridden by a black jockey. Harry Bassett, foaled in 1868, was owned and trained by Colonel David McDaniel of the Stony Brook Stud Farm in Princeton. Longfellow was foaled in 1867 and owned and trained by John Harper of Midway, Kentucky. Each had won most of its previous races. At the Monmouth Cup in Long Branch in early July, 1872, Longfellow broke Harry Bassett’s 14-win streak. Two weeks later, at Saratoga, Harry Bassett beat Longfellow in what the New York Times described as “the fiercest struggle ever seen in this country.” The artist, John Cameron (1830–1876), was born in Great Britain but spent most of his life in New York. He is probably best known as a prolific artist for Currier & Ives, specializing in trotting prints and comics, though he also did independent work. He was a hunchback and, according to Currier & Ives authority Harry Peters, “addicted to drink.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027474405-R7HDF8XY5YRHW4MQLFU2/%2850%29+11+cropped.jpg Portrait of Place - “Dutchman” and Hiram Woodruff [1871] As they appeared on the Beacon Course, N. J., August 1st, 1839, in the great performance by “Dutchman” of trotting with Hiram’s weight 154 lbs. on his | back 3 miles in 7 minutes and 32½ seconds, a feat which up to the present date (Oct. 1871) though essayed by many of our | best “modern trotters” has never been equalled. | Published by Currier & Ives | Entered according to act of Congress in the year 1871 by Currier & Ives in the office of the Librarian of Congress at Washington | 152 Nassau St. New York. 1871. ARTIST: John Cameron (signed in the stone lower right, “J. Cameron”). LITHOGRAPHER AND PUBLISHER: Currier & Ives. Lithograph, with added hand coloring. 9¼ x 12⅜ in. Dutchman was one of the most famous trotting horses of the 1830s. In perhaps his most memorable feat, on the Beacon Course with trainer Hiram Woodruff in the saddle, Dutchman ran three miles in seven minutes and thirty-five and a half seconds. This record stood for a remarkable thirty-three years, when it was broken by Huntress at Prospect Park in September 1872, a year after this lithograph was made. The Beacon Course was located atop the New Jersey Palisades in present-day Jersey City Heights. It was laid out by Cyrus Browning, its proprietor, about 1837, and over the next eight years it hosted many important races. The course was discontinued about 1845, after Browning’s death, when it was turned into an ice-skating park. Hiram Washington Woodruff (1817–1867) was a native of Flemington, New Jersey. A distinguished horse trainer, he was long considered the authority on the trotting horse in America. In 1932 a jury of twelve Currier & Ives experts and collectors selected a group that they considered to be the “Best 50” large folio Currier & Ives prints. The following year the “Best 50” small folio prints were also selected. “‘Dutchman’ and Hiram Woodruff” was number 40 on the small folio “Best 50” list. In 1988, in a rather more democratic process, the American Historical Print Collectors Society selected a “Top 100” list of all Currier & Ives prints. Perhaps reflective of the change in collecting taste over fifty-plus years, “‘Dutchman’ and Hiram Woodruff” was not on the new list. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027481571-492N9DPHFHC2DJ6KJ3F4/%2851%29+119+cropped.jpg Portrait of Place - View near Long Branch NJ [Late 1840s?] Late 1840s? ARTIST: unidentified. Pen and ink, watercolor, and gum arabic highlights. 3⅞ x 5⅛ in. A primitive painting, unsigned and undated, depicting the Long Branch area before it became a fashionable watering hole. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027483448-1SKJ8ZZH00RKTZCGQKZE/%2852%29+117+cropped.jpg Portrait of Place - Red Bank N J [Late 1840s?] Late 1840s? ARTIST: unidentified. Pen and ink, watercolor, and gum arabic highlights. 3⅞ x 5⅝ in. A primitive painting, unsigned and undated, of the Whitall house at Red Bank, Gloucester County, as seen from the Delaware River. At the left a sailing ship lies at anchor near the shore. Two attached shed-like structures stand at the bottom of the river bank. James and Ann Whitall built this brick house on the bank of the Delaware in 1748. In April 1777 the American army seized the property and built Fort Mercer in the nearby orchard. The house was at the center of the fighting during the Battle of Red Bank. The structure stands today in Battlefield Park, and is open to the public. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027487432-YF17BE06GDN8UX2WZJ06/%2853%29+118+cropped.jpg Portrait of Place - Lambertville N J [Late 1840s?] Late 1840s? ARTIST: unidentified. Pen and ink, watercolor, and gum arabic highlights. 3¾ x 6 in. A primitive painting, unsigned and undated, of Lambertville looking east from the Delaware River. In the center foreground is a large three-story structure, possibly an inn, surrounded by nearly a dozen houses. The Sourland Mountains rise in the background. The covered bridge at Lambertville was opened for traffic in 1814, destroyed by a flood in 1841, rebuilt, and destroyed again by the 1903 flood, when it was replaced by an iron bridge. Similar, but slightly more detailed, views of Lambertville appear in Barber and Howe’s Historical Collections of the State of New Jersey (1844, revised 1868). https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1590510897427-8CJOGC1O98BE95XHT294/%2854%29+59+cropped.jpg Portrait of Place - A View of the Falls on the Passaick, or second River, in the Province of New Jersey [1761] The height of the Fall between Eighty and Ninety feet; the River about Eighty Yards broad. || Vue de l’Cataracte du Passaick, ou seconde Riviere, dans la province du Nouveau Jersey, | La Hauteur de cette Chŭte est de 80 à 90 pieds, et la Largeur de la Riviere d’environ 40 Toises. | Sketch’d on the Spot by his Excellency Governor Pownal. Painted and Engraved by Paul Sandby. | London: Published according to Act of Parliament, 20 May 1761, by Thos. Jefferys the Corner of St. Martins Lane. 1761. ARTIST: Thomas Pownall. ENGRAVER: Paul Sandby. PUBLISHER: Thomas Jefferys. Etching and engraving on paper. 14 x 20 in. The first impression of the first published image of the falls of the Passaic River, and one of the earliest published views of New Jersey. The artist, Thomas Pownall (1722–1805), served as lieutenant-governor of New Jersey and governor of Massachusetts and spent several years in America between 1753 and 1759. His sketch of the Passaic Falls was given to London artist Paul Sandby, who made a finished painting from it and then an engraving. This engraving, along with five others from Pownall’s sketches, was published by Thomas Jefferys in London in 1761 as Six Remarkable Views in the Provinces of New-York, New-Jersey, and Pennsylvania, in North America. Seven years later, in 1768, a second impression of the engraving was made for inclusion in a portfolio of 28 views entitled Scenographia Americana. In this second impression, the 1761 Jefferys imprint was removed from the plate and replaced with an undated line naming the five publishers of the new work: John Bowles, Robert Sayer, Thos. Jefferys, Carington Bowles, and Henry Parker. Other than the addition of a small “c.2.” just below the lower right-hand corner of the image, no other changes were made to the plate for the second impression. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027498294-24C6KEXL14XOK49BXQGM/%2855%29+30+cropped.jpg Portrait of Place - Passaic Falls, New Jersey. [1820] Published by M. Carey & Son Philadelphia. | Painted by J. Shaw. | Engraved by J. Hill. 1820. ARTIST: Joshua Shaw. ENGRAVER: John Hill. PUBLISHER: Mathew Carey & Son. Aquatint, and engraving, with added hand coloring. 12 x 15⅛ in. View of the Passaic Falls at Paterson, with the Passaic River extending into the background. Two spectators stand at the top of the cliff on the near side, and a building is shown on the opposite side. A small boat is in the river, and two individuals talk near the river bank. Joshua Shaw (1776–1860) was a British landscape painter who came to the United States in 1817, settling in Philadelphia. He conceived the idea of publishing a portfolio of American views, and he traveled up and down the eastern seaboard, making sketches and taking subscriptions. The views were engraved by John Hill (1770–1850), another Englishman settled in Philadelphia. The work, Picturesque Views of American Scenery, was originally published by Moses Thomas in 1819. It was not a commercial success, and the next year it was taken over by Mathew Carey. The portfolio contains two New Jersey views, both of them depicting the Passaic River. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027501706-180PS8G0HQEEY9JB23P8/%2856%29+53+cropped.jpg Portrait of Place - Vue de la rivière Passaic || N: 46. || View on the Passaic river [1828–29] Aspectus amnis Passaic. || Imp lith de H. Gaugain || Ansicht des Passaic. | Lithographié par Bichebois figes par Vor Adam | Dessiné d’après nature par J. Milbert | 12 Livraison | Amérique Septentrionale — État de New-Gersey. | Pl 2 1828–29. ARTIST: Jacques-Gérard Milbert. LITHOGRAPHERS: Louis Bichebois and Victor Adam. PUBLISHER: Henri Gaugain. Lithograph, with added hand coloring. 9¼ x 11¾ in. The Passaic River near the falls at Paterson. Jacques-Gérard Milbert (1766–1840) was a French naturalist and artist who came to the United States in 1815 as a correspondent of the Museum of Natural History in Paris. He remained for seven years, sending back to France almost 8000 specimens of American flora and fauna. He also brought home many sketches, from which 54 lithographs were produced for a grand publication, Itinéraire Pittoresque du Fleuve Hudson et des Parties Latérales de l’Amérique du Nord, published by Henri Gaugain in Paris between 1828 and 1829. The portfolio accompanying the text volumes was issued in 13 parts, or “livraisons,” of four plates each. The plates are also consecutively numbered. While most of the views are of the Hudson River and the towns along its course, there are five views of New Jersey—two of Schooley’s Mountain (see Vallée de Schooley. || No. 49. || Schooley’s Springs and Chûte près des bains de Schooley’s || No. 48. || Falls near Schooley’s Springs) and three of the Passaic Falls. Several different French artists were involved in creating the lithographs from Milbert’s drawings. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027516225-GK2O4YBO3ZHKAM6K76V1/%2857%29+29+cropped.jpg Portrait of Place - Little Falls – Passaic River. [1850–1865?] From Nature and on Stone by R. J. Rayner. 1850–1865? ARTIST AND LITHOGRAPHER: Robert J. Rayner. Toned lithograph. 11⅛ x 13⅛ in. View of the covered bridge across the Passaic River near the Beattie Dam in present-day Little Falls, Passaic County. A couple in the left foreground enjoys the view. The bridge was built by Robert Beattie about 1850 near the site of the Beattie Dam across the Passaic at Little Falls. Robert Beattie’s carpet mills were the main industry in the town during the second half of the nineteenth century. The covered bridge was replaced by a steel bridge in the mid-1890s. Robert J. Rayner was a portrait and landscape painter, engraver, and lithographer. Born in England about 1818, he worked in New York from about 1844 to 1856, then moved to Newark, where his name appears in the directories as an artist between 1858 and 1862. In the 1880 census he is listed as an artist living in Boston. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027519106-FW6O0O7ANXLCZFPOHO9R/%2858%29+7+cropped.jpg Portrait of Place - Vallée de Schooley. || No. 49. || Schooley’s Springs. [1828–29] Schooleia Vallis. || Imp. Lithog. de Henry Gaugain. || Thal von Schooley. | Lithographié par Deroy | Dessiné d’après nature par J. Milbert. | 13e. Livraison. | Amérique Septentrionale — État du New-Jersey. | Pl. 1e. 1828–29. ARTIST: Jacques-Gérard Milbert. LITHOGRAPHER: Isidore Laurent Deroy. PUBLISHER: Henri Gaugain. Lithograph, with added hand coloring. 9⅜ x 11¾ in. View of the road to Schooley’s Mountain. The mineral spring at Schooley’s Mountain in Washington Township, Morris County, with its supposed curative powers, was a popular destination throughout the nineteenth century. Jacques-Gérard Milbert (1766–1840) was a French naturalist and artist who came to the United States in 1815 as a correspondent of the Museum of Natural History in Paris. See Vue de la rivière Passaic || N: 46. || View on the Passaic river and Chûte près des bains de Schooley’s || No. 48. || Falls near Schooley’s Springs. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027530635-L19HDQFMZE4ZC32JYHNT/%2859%29+6+cropped.jpg Portrait of Place - Chûte près des bains de Schooley’s || No. 48. || Falls near Schooley’s Springs. [1828–29] Propè Schooley’s Balnea torrens. || Imprimerie lithog. de Henry Gaugain. || Wasserfall bey der Schooley’s badern. | Lithographié par Dupressoir figes. par Vor Adam | Dessiné d’après nature par J. Milbert | 12 Livraison | Amérique Septentrionale — État du New-Gersey. | Pl 4 1828–29. ARTIST: Jacques-Gérard Milbert. LITHOGRAPHER: Joseph François Dupressoir and Victor Adam. PUBLISHER: Henri Gaugain. Lithograph, with added hand coloring. 9¼ x 11⅝ in. A second Milbert view of the mineral spring at Schooley’s Mountain. See also Vue de la rivière Passaic || N: 46. || View on the Passaic river and Vallée de Schooley. || No. 49. || Schooley’s Springs. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027531854-PKWWVSTYS622VL9DO29V/%2860%29+5+cropped.jpg Portrait of Place - A View on the Rariton [sic] By an Officer in the Train of Artillery. [1783] Publish’d Octr. 1. 1783, by John Harris, Sweetings Alley, Cornhill, London. 1783. ARTIST: unidentified. PUBLISHER: John Harris. Aquatint, and engraving, with added hand coloring. Plate, 10 x 13⅞ in. View of the Raritan River at an undetermined location. The scenery on both sides of the river appears natural and undeveloped. In the foreground three men pull a rowboat toward the shore. Neatly lettered in ink in a period hand to the right of the title: “New Jersey. N. America lat 40°. lon 74°.” In the lower left corner, just inside the plate mark, in ink in a period hand: “19/9–12.” John Harris was a longtime map- and printseller in Sweetings Alley, London, operating there from at least 1771 to 1812. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1593448114767-DWR97XWSIA3K9NBFSMN0/%2861%29+3+cropped.jpg Portrait of Place - Delaware River below the Water Gap [About 1890?] About 1890? ARTIST: unidentified (undeciphered signature at lower right). Oil on canvas. 20 x 24 in. View of the Delaware River with the Delaware Water Gap in the distance. Painted from the New Jersey side. In the foreground a man sits in a rowboat along the shore, while farther upstream at the extreme left another rowboat comes into view. The signature is unclear but appears to be “B. Mu----.” The date is conjectural. The back of the canvas is stamped in large letters “CLIFTON | MILLS | CCC,” possibly indicating that the canvas originally served as a feed bag. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027546449-ZU814Z810UYR5G2E6CVB/%2862%29+44+cropped.jpg Portrait of Place - View of the Water Gap and Columbia Glass works — River Delaware [Between 1813 and about 1819] T. Birch pinx. | Strickland sc. Between 1813 and about 1819. ARTIST: Thomas Birch. ENGRAVER: William Strickland. Aquatint, and engraving. Plate, 15⅜ x 21 in. View of Columbia, New Jersey, and the Columbia glass works, seen from the Pennsylvania side of the river. In the foreground a Durham boat is being polled to shore. Upstream is another Durham boat and, in the distance, the Delaware Water Gap. In 1812 Francis Mayerhoff came from New York to Columbia, Knowlton Township, Sussex (now Warren) County to start a glassmaking operation. He laid out a town and brought in a group of German workmen. Mayerhoff operated the business until 1825, when it failed and was sold by the sheriff for unpaid debts. The business continued under different ownership until 1833, when it was reorganized and incorporated as yet another glassmaking venture. Thomas Birch (1779–1851) was born in England and came to America in 1794 to assist his father, artist William Birch, in preparing a large series of views of Philadelphia. The young Birch’s first important painting, a view of Philadelphia from the Treaty Elm in Kensington, was engraved and published in 1804. He soon turned to ship portraits and marine landscapes, and he is generally recognized as the foremost early American maritime artist. William Strickland (1788–1854) was born in Navesink, New Jersey. In his early years he was an engraver, illustrator, and painter before studying with Benjamin Latrobe and turning to architecture, first in Philadelphia from about 1819 through the mid-1830s, and later in Nashville, Tennessee. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027540225-MIVLI0WU0ZZLHD0ZJ7X5/%2863%29+65+cropped.jpg Portrait of Place - Speedwell Iron Works [1833–1834] near Morris Town || Morris County, N.J. | S. Vail & Son, Proprietors, | Manufacture Screws, Presses, Wrought & Cast-Iron Work, Mill Machiny &c. | Engraved by D. G. Johnson. 67 Liberty St. N.Y. | from a sketch taken from a hill in the vicinity 1833–1834. ARTIST: unidentified. ENGRAVER: David G. Johnson. Engraving on laid paper watermarked L & Co. 7¾ x 6⅞ in. View of the Speedwell iron works in the early 1830s, depicting the manufacturing buildings, the telegraph factory, the Vail homestead, and various workmen’s residences. In 1807 Morristown blacksmith Stephen Vail purchased a part interest in an iron slitting mill at Speedwell, near Morristown. From that beginning, Vail developed Speedwell into a large-scale foundry and machine shop with an extensive trade. In the early 1830s Vail’s younger son, George, was taken as a partner, and the firm became S. Vail & Son, as reflected in the engraving. For the next forty years the company prospered. In 1873 the New Jersey works closed, and much of the machinery was taken elsewhere. In 1908 a fire destroyed several of the remaining buildings. In 1967 Speedwell Village was established as an historic site, and surviving buildings were restored and others brought to the site. David G. Johnson was an engraver and portrait painter who appears in the New York directories from 1831 through 1835 and again in 1843 and 1845. He was at 67 Liberty Street in 1833 and 1834. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027547955-WB9QCGXSB23NP4SKA399/%2864%29+83+cropped.jpg Portrait of Place - The New Jersey Portable Saw Mill [1851–1855] With Bogardus’ Patent Horse Power | Manufactured by George Vail & Co. Speedwell Iron Works Morris Town, N. Jersey. | Ackerman Lithr. 379, Broadway N.Y. 1851–1855. ARTIST: Edward Valois (signed in stone lower left, “Valois”). LITHOGRAPHER: [–] Ackerman. Lithograph. 6⅛ x 14⅝ in. View of the elaborate “portable” saw manufactured at the Speedwell iron works near Morristown (see Speedwell Iron Works). The image shows the saw being operated by one man, two horses, and a series of gears and pulleys. A second man moves logs into position, and a pile of freshly sawn boards is at the right. The crosspiece at the top of the saw’s iron frame is lettered “Geo. Vail & Co.” Edward Valois was a lithographic artist who worked in New York from the 1840s into the 1860s. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1593448218316-NNBNQ9BZN31YZAS7LXKX/%2865%29+2+Cropped.jpg Portrait of Place - “Study from Nature” | Remains of a Grist Mill at West Milford N. J. built 1797 [1849] 1849. ARTIST: John Mackie Falconer (signed on back of board, “J M Falconer pinxt July 23–27 1849”). Oil on board. 11¾ x 15½ in. Two figures stand next to a dilapidated grist mill. The painting is possibly a preliminary study for a later painting by John Mackie Falconer. In 1852 Falconer exhibited at the National Academy “Old Grist Mill, West Milford, Passaic [County] N. J.” The rustic mill seems to have been a popular subject for artists. An 1850 oil painting of the mill by David Johnson is owned by the Brooklyn Museum. In 1851 Falconer executed a watercolor of the mill, from a different angle, that is now owned by the Museum of Fine Arts, Boston. John Mackie Falconer was born in Edinburgh in 1820 and came to the United States about 1836, settling in New York. He studied at the National Academy of Design and elsewhere in New York. In 1847 he became a member of the New-York Art Union and the New York Sketch Union, and beginning in 1848 he exhibited regularly at the National Academy, where he was elected to honorary membership in 1856. He was both an etcher and a painter, and a number of his works depict older buildings and ruins. He died in Brooklyn in 1903. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027556230-Z48ICF0URTQUHPLU44IW/%2866%29+90+cropped.jpg Portrait of Place - Washington Mills | Gloucester N. J. near Philadelphia. [1856] P. S. Duval & Co’s lith. Phila. 1856. ARTIST: unidentified. LITHOGRAPHER: P. S. Duval & Co. PUBLISHER: J. H. Colton & Co. Lithograph. 16¼ x 24¾ in. A panoramic view of the Washington Mills complex along the Delaware River in Gloucester, Camden County. In the foreground a paddle-wheel steamer, a large sailing vessel, and several smaller boats are on the river, while in the background are dozens of large and small industrial buildings. The first of the large manufacturing operations in Gloucester were the Washington Mills of the Washington Manufacturing Company, established about 1845 by David S. Brown and others to produce cotton fabrics. These mills were followed by the calico mills of the Gloucester Manufacturing Company, erected in 1850 and enlarged in 1855. In 1856 J. H. Colton and Company issued a Philadelphia commercial edition of its Atlas of America, on the cover of which was stamped “Colton’s Atlas with Business Cards of the Prominent Houses in Philadelphia. Commercial Edition.” Between the maps were these “business cards,” mostly full-page in size but occasionally, like David Brown’s advertisement, double-page. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027557256-SJZ79X51ZMIJT5X7G8FA/%2867%29+69+cropped.jpg Portrait of Place - New Jersey Mills | Millville | N.J. [1860s] 1860s. ARTIST: unidentified. Engraving on wove paper. 5½ x 8¼ in. A slightly idealized view of R. D. Wood & Sons’ manufacturing works on the Maurice River in Millville, Cumberland County. Shown are the iron foundry buildings at the left rear and the cotton mill in the center of the image. A train passes in front of the cotton mill and several ships ply the river in the foreground, all to indicate the bustle of commerce. The two upper cornerpieces of the ornate engraved border contain the company’s name in stylized initials, “R. D. W. & S,” for Richard D. Wood & Sons. The engraving was probably made between 1860, when the Millville & Glassboro Railroad built a spur to the works, and 1872, when the company changed its name to the Millville Manufacturing Company. The sheet may have been used as a label. The cotton mill burned in 1976, but the foundry building stands today, though considerably reduced in size. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1593448341387-HQKTQI5Y0WO0P99G57EN/%2868%29+1+cropped.jpg Portrait of Place - View of the home and mill complex of Edmond A. Seeley at Scotch Plains [1880] 1880. ARTIST: William C. Bauer (signed lower right, “W. C. Bauer. 80.” [the initials WCB intertwined as a monogram]). Oil on canvas. 17¼ x 34¾ in. A view of the Scotch Plains property of Edmond A. Seeley. At the right is the Seeley residence, with elaborate landscaping including a fountain and gazebo. At the center left is a mill pond, beyond which is a partly visible complex of mill buildings, including the tall chimney of the steam-powered mill. In the distance is a notch or gorge through the Watchung Mountains. Edmond A. Seeley came to Scotch Plains from Troy, New York, in 1870 to take over a mill, known locally as the Fall Mill, that had been run by succeeding generations of the Willcox family. Seeley erected additional buildings for the manufacture of pasteboard and binder’s board, over 700 tons of which were eventually produced a year. The mills, located on Green Brook, were originally water-powered but were later converted by Seeley to steam power. Seeley built his imposing residence in 1876. After Seeley’s death in 1891, the mills continued in operation until 1924, when the property was conveyed to the Union County Park Commission. The mills were eventually destroyed by floods and the residence by fire, and all that remains today is Seeley’s Pond, within the Watchung Reservation. W. Woodford Clayton’s History of Union and Middlesex Counties, New Jersey (1882) contains woodcut illustrations of both the Seeley residence and the paper manufactory. An inscription on the back of the canvas reads: “Scotch Plains, N. J. | W. C. Bauer, artist. | Presented by E. A. Seeley to C. B. Hewitt. Christmas 1880.” Charles Bloomfield Hewitt (1844–1901) was head of the New York firm of C. B. Hewitt & Brothers, manufacturers of paper and binder’s board. William C. Bauer (1862–1904) was a resident of Elizabeth. He is listed in the Elizabeth directories as an artist beginning in the early 1880s. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027570853-BKO6QXQDM28VZ0DJ26DK/%2869%29+112+cropped.jpg Portrait of Place - Yoder saw mill, Toms River, New Jersey [1898] 1898. ARTIST: Robert W. Hanington (signed lower left, “Hanington .98”). Watercolor on wove paper. 6 x 11 in. View of the decaying Yoder saw mill on the north branch of the Toms River. The Yoder mill, originally owned by William T. Giberson, stood on the west side of Main Street in present-day South Toms River. According to local history, artist Robert W. Hanington came to Toms River with his mother in 1882 and maintained a studio on Allen Street. He seems to have remained in Toms River until 1927. His name does not appear in any New Jersey federal census returns, and he may have maintained a permanent residence elsewhere. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1593448456785-8HSETRIKN2DMCOGWJHAV/%2870%29+106+cropped.jpg Portrait of Place - Styles Farm 1860 [1875] 1875. ARTIST: Charles C. B. Styles (signed on back of canvas, “by Charles C[--t--] Bareford Styles”). Oil on canvas. 20½ x 33¾ in. A view of the Stiles/Styles farm, Lumberton Township, Burlington County, in 1860. The Stiles farm stood on the northwest corner of the present-day New Jersey Route 38 and Smithville Road. Isaac and Maria (Bareford) Stiles were married in 1850. Their fourth child, Charles, was born January 1861 and died in 1929. On the back of the canvas are two inscriptions. One, in black ink or paint, reads “Styles Farm 1860.” The other, very faint and partly indistinct, reads “Styles Farm | 1860 | by | Charles C--t-- Bareford Styles | when he was 14 yrs. old.” Based upon this second inscription, the painting would appear to have been done in 1875. One or both inscriptions may have been written at a later date. Some members of the family spell the surname “Stiles,” others “Styles,” although from the extant records the former is the more prevalent spelling in Burlington County. The house apparently stood until the early 2000s, but a modern storage facility occupies the site today. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027572446-1TMJH55LUXI3N5P5ZCX2/%2871%29+84+cropped.jpg Portrait of Place - St. Mary’s Church. | Burlington, N. J. [1836–1838] Founded 1703 Enlarged 1834. | J. R. Smith pinxit. | Published by John Collins Phila. 1836–1838. ARTIST: John Rubens Smith. LITHOGRAPHER AND PUBLISHER: John Collins. Lithograph, with added hand coloring. 12½ x 18 in. This would appear to be the first published view of St. Mary’s Episcopal Church, Burlington, established in 1703. In 1834 the church was enlarged, and in 1835 Philadelphia artist John Rubens Smith executed a watercolor view of the church. That watercolor hangs today in the church’s parish office. Sometime between 1836 and 1838 Burlington artist John Collins copied the Smith painting onto stone and produced this lithograph. The train at the right is one of the earliest depictions of a Camden and Amboy Railroad engine and tender. John Rubens Smith (1775–1849) operated a drawing academy in Philadelphia in the 1830s. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027581169-1II6V0DLONFVRAXSD7GD/%2872%29+85+cropped.jpg Portrait of Place - St. Mary’s Church. | Burlington, N. J. [1854–1855.] On Stone by John Collins. | T. Sinclair’s lith. Philada. 1854–1855. ARTIST: John Collins. LITHOGRAPHER AND PUBLISHER: Thomas Sinclair. Lithograph, with added hand coloring. 8⅜ x 10⅛ in. The “new” St. Mary’s Church. In 1846 the cornerstone was laid for a new church, designed by noted architect Richard Upjohn. Construction went on for nearly nine years, and in 1854 the building was completed. This view was probably taken in the fall of 1854. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027583193-ZZIX971JHZKWSV4BPPFV/%2873%29+92+cropped.jpg Portrait of Place - The Right Reverend G. W. Doane D.D. L.L.D. Bishop of New Jersey. [1855] President of Burlington College. | Engraved by Thomas B. Welch, from the full-length portrait by James R. Lambdin. | Presented to Burlington College by John S. Littell. Esq. 1855. ARTIST: James Reid Lambdin. ENGRAVER: Thomas B. Welch. Engraving. 25⅜ x 15¾ in. The Lambdin portrait of Bishop Doane, the first president of Burlington College, was completed and presented to the college by John S. Littell in 1853. This engraving from the portrait was advertised for sale in religious periodicals in November 1855. George Washington Doane (1799–1859) was born in Trenton, the son of Jonathan Doane, who built the original State House in 1792. The younger Doane graduated from Union College in 1818, read law briefly, then became one of the first students in Bishop Hobart’s General Theological Seminary. Ordained a priest in 1823, Doane, over the next several years, was an assistant at Trinity Church, New York, taught at Washington (now Trinity) College, Hartford, and edited several theological periodicals. From 1828 through 1832 he was assistant minister and subsequently rector of Trinity Church, Boston. In the latter year he was consecrated the second Episcopal bishop of New Jersey as well as rector of St. Mary’s Church, Burlington. Doane had almost inexhaustible energy. He was a remarkably prolific writer, took an active role in the affairs of the American Episcopal Church, and lived in the grand English manner. He founded St. Mary’s Hall for women in 1837 and Burlington College for men in 1846. However his efforts to support his schools forced him into bankruptcy in 1849, and for the next several years, amid a flood of pamphlets, he successfully defended himself against concerted efforts to bring him to trial before the House of Bishops. Near the end of his life he was dealt an even heavier blow when his son, George Hobart Doane, renounced his Episcopal ordination and became a Roman Catholic. James Reid Lambdin (1807–1889) was born in Pittsburgh, studied in Philadelphia under Edward Miles and Thomas Sully, worked briefly in Louisville, Kentucky, and in 1837 moved to Philadelphia, where he lived the rest of his life. He was a portrait and miniature painter and an officer of the Pennsylvania Academy. Many of his sitters were national figures, including Presidents Lincoln and Grant. Thomas B. Welch (1814–1874), engraver and portrait painter, was born in Charleston but spent most of his life in Philadelphia. John Stockton Littell (1806–1875) was a Burlington native, an author, and for many years was associated with the Littell family publishing business in Philadelphia. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027594108-WIYMTO75B8UYME8W979Y/%2874%29+45+cropped.jpg Portrait of Place - St. Mary’s Hall, Green Bank, Burlington, New Jersey [1850–1860?] 1850–1860? ARTIST: unidentified. Pen and ink, wash, and watercolor on paper. 13¼ x 19½ in. View of St. Mary’s Hall on Green Bank along the Delaware River in Burlington, copied from an engraving by Francis Kearny after a painting by William Mason. At the bottom center, painted on the verso of the glass in verre églomisé style, is the name “E. L. VAN DERVEER.” In 1829 Quaker schoolmaster Samuel R. Gummere erected a new building for his Burlington school on the Green Bank, the name given to an area of the town along the Delaware River. In 1837 the Episcopal Bishop of New Jersey, the indomitable George Washington Doane, acquired the building for use as a school for young women, which he named St. Mary’s Hall. In March 1837 Doane issued a printed circular announcing his new school, An Appeal to Parents for Female Education on Christian Principles; with a Prospectus of St. Mary’s Hall, Green Bank, Burlington, New Jersey. The circular contained a frontispiece view of the school engraved by Francis Kearny from a painting by William Mason. This engraving continued to be used in school catalogues and publications for the next ten years, until it was replaced by a new lithographed view of the enlarged school done by Burlington artist John Collins for his 1847 portfolio Views of the City of Burlington, New Jersey. The building remained in use as the school’s primary edifice until it was destroyed by fire in 1974. This painting is an exact copy of the Kearny-after-Mason view. As such it is difficult to date, even approximately, but judging from the style of lettering used in the name at the bottom of the glass, it would appear to have been done in the 1850s or 1860s, and possibly earlier. Sadly, the identity of E. L. Van Derveer has not been determined. Whether she or he is the artist, or possibly the recipient of the painting, remains a mystery. The name has not been found in any St. Mary’s Hall records through the late nineteenth century. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027594861-WIEKMNYNT6BE5UBUNS8C/%2875%29+78+cropped.jpg Portrait of Place - St. Mary’s Hall. | Burlington, N. J. [After 1847] On stone by John Collins, | T. Sinclair’s lith, Phila. After 1847. ARTIST: John Collins. LITHOGRAPHER AND PUBLISHER: Thomas Sinclair. Lithograph, with added hand coloring. 7¼ x 9⅞ in. Another view of St. Mary’s Hall, and the chapel, on Green Bank along the Delaware River in Burlington. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027605220-A52S95Z3WLTJ9F5R09GI/%2876%29+79+%28BW123%29+cropped.jpg Portrait of Place - Views of the City of Burlington, New Jersey [1847] 1847. ARTIST: John Collins. LITHOGRAPHERS: John French and Thomas Sinclair. Cover title and 14 lithographed plates. 11⅝ x 9¼ in. The earliest, and rarest, New Jersey viewbook, containing fourteen lithographed views of Burlington scenes. The present example may be a proof copy, as all but two of the plates are on India paper mounted to thicker paper. The views are: (1) City Hall. Built 1797; (2) Green Bank; (3) St Mary’s Church. Founded 1703 Enlarged 1834; (4) Presbyterian Church; (5) Riverside; (6) Cottage of the Rev. C. Van Rensselaer; (7) Eastern View of Burlington; (8) St Mary’s Hall; (9) Burlington Steam Mills and Water Works; (10) Mechanics Bank; (11) Residence of Susan V. Bradford; (12) Residence | of the Late George Dillwyn | of the Late Joseph Bloomfield Governor of New Jersey; (13) Burlington College; (14) Friends’ Meeting House. John Collins (1814–1902) was a native of Burlington. A skilled artist, Collins opened a lithography business in Philadelphia in 1836 but sold it in 1838 to Thomas Sinclair, for whom he worked for the next several years. Collins is best known for producing two important books of town views, Views of the City of Burlington, New Jersey (1847) and The City and Scenery of Newport, Rhode Island (1857), both of which were lithographed by Sinclair from Collins’ drawings. He also published an instruction manual, The Art of Engraving on Metal, Wood and Stone (1858). Collins executed many small watercolor drawings of buildings and scenes in and around Burlington. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027604979-CLOZ0BN01QPLES5BFAKD/%2877%29+8+cropped.jpg Portrait of Place - Old Building, High St above Pearl, Burlington, N.J. [1889] 1889. ARTIST: John Collins (signed at bottom, “J. Collins 1889”). Pen and ink, and watercolor, on wove paper. 5⅜ x 6¼ in. The building used by Isaac Collins as a printing office from 1771 to 1778. Below the image is a caption in the artist’s hand: “Old Building, High St above Pearl, Burlington, N.J. | Occupied by Isaac Collins from 1771 to 1778. He was Printer to | the King for the Province of New Jersey. He also printed the | Continental Currency for the American Congress and | published the New Jersey State Gazette in 1778. | The building was taken down in 1881. | Old door latch one ninth size.” The caption is bisected by a scale drawing of the wrought iron thumb latch from the front door. Part of the caption is written on a strip of paper pasted over an earlier caption, probably to correct an error. Isaac Collins (1746–1817) was the second permanent printer in New Jersey and the state’s most important printer in the eighteenth century. After an apprenticeship in Wilmington and a brief partnership in Philadelphia, Collins set up a printing office in Burlington in 1770 and remained there until he moved his press to Trenton in early 1778. Despite his Quaker faith, Collins was a patriot during the Revolutionary War and, with the support of Governor William Livingston and the legislature, he started New Jersey’s first newspaper, the New-Jersey Gazette, in December 1777. He was the grandfather of the artist, John Collins. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027616104-OYLL8DMWSIYNTEJLT1L9/%2878%29+114+cropped.jpg Portrait of Place - Residence of the late Stephen Grellet. || Residence of the late Joseph Bloomfield. [1855–1860] Burlington, New Jersey. || Governor of New Jersey. | On Stone by John Collin’s [sic] | T. Sinclair’s lith, Phila 1855–1860. ARTIST: John Collins. LITHOGRAPHER AND PUBLISHER: Thomas Sinclair. Toned lithograph. 7 x 9⅛ in. An earlier view of these two adjoining Burlington houses, taken from a slightly different perspective, was included in John Collins’s 1847 portfolio, Views of the City of Burlington, New Jersey. The house on the left was owned by Quaker minister George Dillwyn (1738–1820) until his death. It later became the property of Quaker minister Stephen Grellet (1773–1855), an uncle of John Collins. In the earlier view this house is identified as the residence of the late George Dillwyn, while in the present view it is called the residence of the late Stephen Grellet. The Bloomfield house, much altered after a fire in 1876, is still standing at the corner of High and Library Streets; the Dillwyn-Grellet house was moved further down High Street in 1902. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027616955-MVGLXYT29F9ELJ8C3YCO/%2879%29+77+cropped.jpg Portrait of Place - St. Pauls Protestant Episcopal Church | Camden N. J. [About 1846] Revd. J. M. Lybrand, Pastor. About 1846. ARTIST: unidentified. Toned lithograph. 10¾ x 13⅜ in. St. Paul’s Episcopal Church in Camden was founded in 1830. In 1835 the church building was erected on Market Street between Fourth and Fifth Streets. Joseph M. Lybrand became rector in 1843 and died in 1855, soon after which the church was enlarged, so this view can be dated between 1843 and 1855. In 1846 the unhewn stone was “covered with rough casting, after the manner of the State House in Trenton, and squared in imitation of stone.” This lithograph was probably executed soon after the exterior facelift. The original church, much altered in appearance, still stands today. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027628086-3IOLCSTGL167PCBGZ8FD/%2880%29+76+cropped.jpg Portrait of Place - The Floating Church of the Redeemer. [1848] Built by Clement L. Dennington of New York for the Churchmen’s Missionary Association for Seamen of the Port of Philadelphia. | C. L. Dennington, Archt. and Builder N. York. | Lith. and Printed in Colors by Wm. Endicott & Co. N. York. | Building Committe [sic] {Joseph E. Hover, Chairman. R. S. Trapier. William G. Allen. Henry F. Rodney. 1848. ARTIST: Clement L. Dennington [?]. LITHOGRAPHER: Wm. Endicott & Co. Lithograph. 20¼ x 15¾ in. New York architect-builder Clement L. Dennington, working under the auspices of the Churchman’s Missionary Association for Seamen of the Episcopal Church, designed and built this floating church on the Delaware River in Bordentown in 1848. The hulls of two clipper ships, each weighing 80 tons, were lashed together. On top of this a platform 37 x 85 feet was constructed. The chapel, built of wood in the Gothic style, complete with pipe organ and a bell, was completed in seven months at a cost of $5,270. Its steeple rose 75 feet. Upon completion in Bordentown it was towed to the Dock Street wharf in Philadelphia, where it was moored. From late 1848 until 1851 it served the spiritual needs of Philadelphia-area mariners. In 1853 it was purchased by an Episcopal congregation in Camden and towed to that city, hauled ashore, and dragged on rollers to its new site. See St. John’s Church, Camden, N. J. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027628233-OLC3N9M5PDY2NTFV541K/%2881%29+75+cropped.jpg Portrait of Place - St. John’s Church, Camden, N. J. [1853?] Built upon two Barges, at Bordentown, N.J. as ‘the Floating Church of the Redeemer, for Seamen of the Port of Philadelphia.’ Brought to its Moorings at Spruce St. Wharf, Decr. 29th. 1848. Removed to Camden in Feby. 1853, | Purchased for the Congregation of St John’s Church, and drawn overland to their Lot on Broadway; where being placed on a Substantial Foundation, it was re-opened on the XVIth Sunday after Trinity, Sept 11, 1853. | Jas. Queen delt. | P. S. Duval & Co. steam lith. press, Phil. 1853? ARTIST: James Queen. LITHOGRAPHER: J. S. Duval & Co. Lithograph, with added hand color. 11 x 13¼ in. Constructed in Bordentown in 1848 as a floating church for Philadelphia-area mariners (see The Floating Church of the Redeemer), the structure was purchased in 1853 by the St. John’s Episcopal congregation of Camden and towed to that city, brought ashore, and dragged on rollers overland to the corner of Broadway and Royden Streets, where it was placed on a foundation. It served as the house of worship for the congregation until it was consumed by fire on Christmas morning in 1870. James Queen (1820/21–1886), a native of Philadelphia, was apprenticed to the firm of Lehman & Duval in 1835, when not yet fifteen years old, “to learn the art, trade, and mystery of Lithographic Draughtsmanship.” He worked for the Duval firm as long as it remained in existence, mastering his trade so thoroughly that he became Duval’s principal draftsman, and, in Duval’s opinion, one of the best lithographic artists in the country (Wainwright, p. 38). https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027639604-YDZ2WSLGGDWL16DJGCON/%2882%29+80b+cropped.jpg Portrait of Place - View on the Delaware near Bordentown [1839] Aussicht auf den Delaware | bei Bordentown. || Vue du Delaware | près de Bordentown. || View on the Delaware near Bordentown. | Coblenz bei J. Hölscher. London published by Ackermann & Co. 96 Strand, 1st. Jany 1839. Paris, Arthus Bertrand, éditeur. | Dessiné d’après nature par Ch. Bodmer. | Imp. de Bougeard. | Gravé par Ch. Vogel. | Vig: II. 1839. ARTIST: Karl Bodmer. ENGRAVER: Charles Vogel. PUBLISHER: Ackermann & Co. Aquatint, and engraving, and gum arabic highlights. Plate, 9¼ x 12¼ in. View of the Bordentown landing on the Delaware River. This is vignette plate 2 from Prince Maximilian von Wied-Neuwied’s Travels in the Interior of North America. The view was drawn by the young Swiss artist Karl Bodmer (1809–1893), who accompanied Prince Maximilian on his travels through North America. In late July 1832 the travelers were in Bordentown, visiting the estate of Joseph Bonaparte. Bodmer painted two similar versions of the scene, the second and more finished of which was engraved in aquatint by Charles Vogel and became one of the vignette plates in Wied-Neuwied’s grand book, first published in Coblenz in 1839–41 and also in Paris, 1840–43, and London, 1843–44. Centered just below the plate mark is Bodmer’s small rectangular blindstamp, “C. Bodmer | Direct.” Most of Bodmer’s original paintings, including the two views of the Bordentown landing, are owned by the Joslyn Art Museum in Omaha. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027644612-4K6TCZJKGTJF6S2ZUXAT/%2883%29+46+cropped.jpg Portrait of Place - Bordentown Landing on the Delaware [1852] 1852. ARTIST: Lydia Alden (signed lower left, “Lydia Alden | No 2 – 1852”). Charcoal on prepared board coated with marble dust. 17½ x 27¼ in. The steamship Empire sits at the landing on the Delaware River at Bordentown. The painting is a copy of the original Karl Bodmer watercolor view of the Bordentown landing as engraved in aquatint by Charles Vogel and printed in Prince Maximilian von Wied-Neuwied’s published account of his travels in North America between 1832 and 1834 (see View on the Delaware near Bordentown). Marble dust painting was a popular medium in the mid-nineteenth century, particularly with young school girls in New England and the Middle Atlantic states. Charcoal was applied to a board that had been prepared with a coating of marble dust, and the image was produced by scratching away the charcoal with a sharp object. The technique is often, and inaccurately, referred to as “sandpaper painting.” The subjects were commonly landscapes, often from accessible published views such as those of Milbert or Bartlett or, as here, Bodmer. The artist, Lydia Alden, has not been identified. The name is relatively common in the nineteenth century, and as a copyist working from a published source, she could have lived anywhere. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1593448724160-OI21ENY37RA16OYSPOGX/%2884%29+20+cropped.jpg Portrait of Place - North American Phalanx, Monmouth Co. New Jersey. [Probably 1852] Historical Sketch | In the year 1842 Albert Brisbane published a pamphlet embodying the leading doctrines of associated townships, and of carrying on all the material interests of life on joint account according to the method announced by Fourier. . . . | Drawn by T. W. Whitley. Probably 1852. ARTIST: Thomas W. Whitley. Lithograph, with added hand coloring. 14¾ x 19½ in. A panoramic view of the North American Phalanx and the surrounding countryside in present- day Colts Neck, Monmouth County. At the center of the image are the phalanx buildings, including the phalanstery and mill. On two large fieldstones are written the names of several individuals prominent in the communal society movement, including Fourier, Brisbane, Greely [sic], Channing, and others. A smaller fieldstone bears the name of the artist, T. W. Whitley. The leading early nineteenth century proponent of communal societies was the French social reformer Charles Fourier. Fourier’s ideas were brought to America by Albert Brisbane, who publicized them in Horace Greeley’s newspaper in 1842. With Greeley’s support, a stock company was formed, and in 1843 a 673-acre tract of cultivated land was purchased in Monmouth County, about four miles from Red Bank. Later that year the first settlers arrived. Over the next few years additional buildings were erected, including the “phalanstery,” or main building of the community. By 1852, the date of this view, the community was at the peak of its prosperity and appeal. But, as with all utopian communities, divisive factors were at work. Several members split off to form the Raritan Bay Union in nearly Eagleswood, Perth Amboy, New Jersey. In 1854 the mill burned. By the winter of 1855–56 the experiment was over and the property was sold. The phalanstery building itself, in an advanced state of decay, survived until 1972, when the remains were destroyed by fire. Thomas W. Whitley was an English-born landscape painter who settled in Paterson about 1835 and painted many views of the Passaic Falls. This copy of the lithograph was owned by the American critic Alexander Woollcott (1887–1943), who was born in the phalanstery. After the dissolution of the Phalanx community, the building came into possession of the Bucklin family—Woollcott’s maternal grandparents. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027660707-LJJ2W59CQJE6NDZCZZAQ/%2885%29+49+cropped.jpg Portrait of Place - Lieutenant Moody [1785] This Officer during the American War distinguish’d himself as one of the most gallant Partizans in the British Service. . . . | Drawn & Engraved by Robt. Pollard. | London, Pubd. Feby. 19: 1785, by R. Pollard No. 15 Braynes Row Spa Fields. 1785. ARTIST, ENGRAVER, AND PUBLISHER: Robert Pollard. Aquatint, and engraving. 16¾ x 20¾ in. (trimmed inside of plate mark). By dim candlelight in the Sussex County gaol in Newton, a bewildered British prisoner is removed from his chains by three soldiers while Moody gestures toward the gaoler who holds the cell door open. Born in Little Egg Harbor in 1744, James Moody settled in Sussex County about 1766. He was a contented farmer until the outbreak of the Revolutionary War, when he chose to remain loyal to the Crown. He joined a Loyalist regiment in 1777 and eventually became a lieutenant. His zeal for the cause seems to have been extraordinary. Much of what we know about his exploits, including the 1780 rescue of one of Burgoyne’s soldiers depicted in this print, comes from an account he had published in London after the war, Lieut. James Moody’s Narrative of his Exertions and Sufferings in the Cause of Government, since the Year 1766 (1782; second edition, 1783). After the war, Moody, like so many of his fellow Loyalists, settled in Canada, and ultimately Nova Scotia, where he died in 1809. Robert Pollard (1755/6–1839) was a London engraver, publisher, and printseller. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027661200-EY3I67YI0GM61GNCIN90/%2886%29+35+cropped.jpg Portrait of Place - The Women of ‘76. | “Molly Pitcher” the Heroine of Monmouth. [About 1860–1861?] Her husband falls—she sheds no ill timed tear; | But firm resolved—she fills his fatal post. || The foe press on—she checks their mad career; | Who can avenge like her a husband’s ghost! | Supplied at 37 Park Row, N.Y. About 1860–1861? ARTIST: Jacob A. Dallas. PUBLISHER: J. D. Dayton [?]. Lithograph, with added hand coloring. 12¼ x 8⅞ in. A resolute Molly rams a loading rod into a cannon with a backhand motion while a young soldier with a bandaged head looks on. Her husband lies dead at her feet, next to an overturned bucket of water. A battle rages in the background. “Molly Pitcher,” who legend tells us carried water to the thirsty troops during the Battle of Monmouth and, when her husband was killed, took over his cannon, was a real person. Mary “Molly” Hays appears to have been present at the battle when her husband, John Hays, was killed in action. Whether she was indeed carrying water to the troops we may never know, and it is highly unlikely that she took over his cannon. However, in 1822 Mary McCauly—by then the widow of her second husband, John McCauly—was granted a pension of forty dollars a year by the Pennsylvania legislature “for her services during the revolutionary war.” She died in 1832, and the monument over her grave in the cemetery at Carlisle, Pennsylvania, refers to her as “Mollie McCauly, renowned in history as Mollie Pitcher, the heroine of Monmouth.” In 1860 J. D. Dayton, proprietor of the American and European Engraving Warehouse at 37 Park Row in New York, advertised for sale “A scene from the Revolution! Molly Pitcher, the heroine of Monmouth, avenging her husband’s death. A splendid picture, engraved and colored in oil, from a masterly study, by Dallas . . . Price, two dollars.” Just how the present lithograph relates to the Dallas study, and to the picture Dayton was selling, has not been determined. The lithograph is crude and very poorly executed. It was “supplied” at 37 Park Row—Dayton’s address in 1860–61—but it may well have been a cheap copy sold by a later tenant of the same address. Dayton’s business appears only once in the New York directories, in 1861. See The Women of ‘76. | “Molly Pitcher” the Heroine of Monmouth and The Heroine of Monmouth. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027676270-K9HO65HTQJI4J7R1T5OV/%2887%29+27+cropped.jpg Portrait of Place - The Women of ‘76. | “Molly Pitcher” the Heroine of Monmouth. [Not after 1872] Her husband falls—she sheds no ill timed tear; | But firm resolved—she fills his fatal post. || The foe press on she checks their mad career, | Who can avenge like her a husband’s ghost? | New York, Pubd. by Currier & Ives, 152 Nassau St | Entered according to Act of Congress in the year 1860, by J. D. Dayton, in the Clerk’s Office of the District Court of the United States for the Southern District of New York. Not after 1872. ARTIST: Jacob A. Dallas [?]. LITHOGRAPHER AND PUBLISHER: Currier & Ives. Lithograph, with added hand coloring. 12⅝ x 8¾ in. The still-resolute Molly is now being marketed by the Currier and Ives firm, who apparently acquired the rights to reproduce the Dallas study. See The Women of ‘76. | “Molly Pitcher” the Heroine of Monmouth and The Heroine of Monmouth. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027678855-PDPQ0VQ4CM252HDUOKK6/%2888%29+28+cropped.jpg Portrait of Place - The Heroine of Monmouth. [1876] Molly Pitcher,– The wife of a Gunner in the American Army, who when her husband | was killed, took his place at the gun, and served throughout the battle. (June 28th. 1778.) | Published by Currier & Ives | Copyright, 1876 by Currier & Ives, N.Y. | 125 Nassau St. New York 1876. ARTIST: unidentified. LITHOGRAPHER AND PUBLISHER: Currier & Ives. Lithograph, with added hand coloring. 9⅝ x 11⅝ in. A later version of the resolute Molly, produced by Currier & Ives to capitalize on the popular interest in the Days of ‘76 stimulated by the Centennial exposition. See The Women of ‘76. | “Molly Pitcher” the Heroine of Monmouth and The Women of ‘76. | “Molly Pitcher” the Heroine of Monmouth. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027694903-NW23FDLNQID8WL8VPSL0/%2889%29+37+cropped.jpg Portrait of Place - The Old Tennent Parsonage. [1859] On Monmouth Battle Field. | Erected 1706. | Published by William S. Potter Freehold, N.J. | C. Currier’s Lith. | Entered according to Act of Congress in the year 1859, by Wm. S. Potter, in the Clerks Office of the District Court of the State of New Jersey. | 33 Spruce St. New York. 1859. ARTIST: unidentified. LITHOGRAPHER: Charles Currier. PUBLISHER: William S. Potter. Toned lithograph. 13⅛ x 16¼ in. In 1735, during the pastorate of William Tennent, Jr., the Presbyterian church now known as “Old Tennent” acquired a farm about a mile and a half from the church itself. The farmhouse, said to have been built about 1706, was to be the residence of the minister and his family, while the surrounding farm would contribute to the minister’s support. Forty-three years later the Battle of Monmouth was fought partly on this farm. For many years cannon balls were found about the property. In 1835 the church sold the farm, and after a brief period of occupancy the house sat empty, victimized by the weather and by souvenir hunters. In 1850 Benson J. Lossing, in his highly popular Pictorial Field-Book of the Revolution, complained: “The careless neglect which permits a mansion so hallowed by religion and patriotic events to fall into utter ruin, is actual desecration, and much to be reprehended and deplored.” The owner of the farm in 1859 was William Sutphin Potter. Potter retained the Currier firm to produce this lithograph, which he published and sold to tourists. The next year, in May 1860, he tore down the now-derelict house. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027696413-U0PWE0XGP85OSG1165TY/%2890%29+41+cropped.jpg Portrait of Place - Washington | (Crossing the Delaware!) [1833] Published by Humphrey Phelps 336 Bowery & 157 Broadway N. York. Augst. 1st. 1833. 1833. ARTIST: unidentified. PUBLISHER: Humphrey Phelps. Etching, with added hand coloring. 14¾ x 12¼ in. A crude image of Washington the popular hero, produced to capitalize on the celebrations connected with the centennial of Washington’s birth. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027714761-NUOE17DO4JB9203H8A0B/%2891%29+40+cropped.jpg Portrait of Place - Washington Crossing the Delaware. [Between 1838 and 1865] Evening Previous to the Battle of Trenton, Decr. 25th. 1776. | Lith & Pub by N Currier, 2 Spruce St N.Y. Between 1838 and 1865. ARTIST: unidentified. LITHOGRAPHER AND PUBLISHER: Nathaniel Currier. Lithograph, with added hand coloring. 8¾ x 12½ in. One of scores of nineteenth-century images of this iconic scene. Washington, on horseback, rests his right hand on his hip. At the right are three men on horseback, one of whom extends a sword in his right hand and the other two—one white and one black—converse, while a fourth man prepares to mount his horse. At the left a cannon is being brought to the shore as soldiers prepare to cross the river. In the distance are several Durham boats full of troops. The sky is dark and no clouds or moon are visible. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027715213-X3B9BME9SOOAPDFP59A3/%2892%29+39+cropped.jpg Portrait of Place - Washington Crossing the Delaware. [Probably late 1850s] Evening Previous to the Battle of Trenton, Decr. 25th 1776. | Lith. & Pub. by N. Currier, | 33 Spruce St. N.Y. Probably late 1850s. ARTIST: unidentified. LITHOGRAPHER AND PUBLISHER: Nathaniel Currier. Lithograph, with added hand coloring. 8¾ x 12½ in. Washington, on horseback, rests his right hand on his hip. At the right are two men on horseback—one white and one black—while a third man prepares to mount his horse. At the left a cannon is being brought to the shore as soldiers prepare to cross the river. In the distance are several Durham boats full of troops. The sky is cloudy but a moon is partly visible. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027729124-GFR85GKLKWXD82WVD0XH/%2893%29+101+cropped.jpg Portrait of Place - Washington Crossing the Delaware. [About 1869–1870] Publ. & Print. by Th. Kelly, 17 Barclay St. N. Y. About 1869–1870. ARTIST: Emanuel Gottlieb Leutze. PUBLISHER: Thomas Kelly. Lithograph, with added hand coloring. 18⅞ x 24⅜ in. One of countless copies of Emanuel Leutze’s famous image, painted in 1851 and owned by the Metropolitan Museum of Art. Washington stands toward the front of a crowded boat attempting to cross the ice-choked river. Other boats are visible in the background, as is the New Jersey shore in the left distance. Within the image at the lower left are the initials “W. W.”—possibly the copyist. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1590518616080-SGIMUW7CJ05801LLB46P/%2894%29+23+cropped.jpg Portrait of Place - Washington, Crossing the Delaware. [1876] On the Evening of Dec. 25th. 1776, previous to the battle of Trenton. | Published by Currier & Ives | Copyright, 1876, by Currier & Ives, N.Y. | 125 Nassau St. New York 1876. ARTIST: John Cameron. LITHOGRAPHER AND PUBLISHER: Currier & Ives. Lithograph, with added hand coloring. 10⅛ x 12¼ in. Washington, on horseback on a snow-covered bank, gestures toward the Delaware River while a mounted soldier next to him carries a flag reading “Conquer or Die.” Several soldiers guide a cannon down the river bank, and in the distance flat-bottomed boats carry men and supplies across the river. One of scores of nineteenth-century images of this iconic scene. The artist, John Cameron (1830–1876), was born in Great Britain but spent most of his life in New York. He is probably best known as a prolific artist for Currier & Ives, specializing in trotting prints and comics, though he also did independent work. He was a hunchback and, according to Currier & Ives authority Harry Peters, “addicted to drink.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027729930-9JWRRP2P57S56Y5MY2F0/%2895%29+25+cropped.jpg Portrait of Place - Washington at Princeton January 3d. 1777. [1846] At this inportant [sic] Crisis, the soul of Washington rose superior to danger, seizing a standard he advanced uncovered before the Column and reining his steed towards the enemy with his sword flashing in | the rays of the rising sun, he waved on the troops behind him to the charge.—Inspired by his example the Militia sprang forward and delivered an effective fire which stopped the progress of the enemy.— | Copied by Permission from Grahams Magazine. | Lith. & Pub. by N. Currier, | Entered according to Act of Congress in the year 1846 by N. Currier, in the Clerk’s office of the District Court of the Southern District of N.Y. | 2 Spruce St. N.Y. 1846. ARTIST: unidentified. LITHOGRAPHER AND PUBLISHER: Nathaniel Currier. Lithograph, with added hand coloring. 9¼ x 13 in. Washington, on horseback with a flag in one hand and a sword in the other, leads a column of American troops at the right against a column of British troops at the left. In the foreground several wounded soldiers lie on the ground near a broken cannon and drum. See Washington at Princeton January 3d. 1777. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027742992-Q285NPM0A2W5LER8VDSS/%2896%29+26+cropped.jpg Portrait of Place - Washington at Princeton January 3d. 1777. [1846 (i.e., after 1865)] At this important Crisis, the soul of Washington rose superior to danger, seizing a standard he advanced uncovered before the Column and reining his steed towards the enemy with his sword flashing in the ray of the | rising sun, he waved on the troops behind him to the charge.—Inspired by his example the Militia sprang forward and delivered an effective fire which stopped the progress of the enemy.— | Copied by permission from Grahams Magazine. | Lith. & Pub. by N. Currier, | Entered according to Act of Congress in the year 1846 by N. Currier, in the Clerk’s office of the District Court of the Southern District of New York. | 33 Spruce St. N.Y. 1846 [i.e., after 1865]. ARTIST: “H B.” (signed in the stone). LITHOGRAPHER AND PUBLISHER: Nathaniel Currier [i.e., Currier & Ives]. Lithograph, with added hand coloring. 9 x 12¾ in. Printed from an entirely different stone than Washington at Princeton January 3d. 1777. The work is far more skilled and detailed. There are minor differences throughout, both in the image and in the text. The original copyright notice and date are retained, but the address is changed to 33 Spruce Street, where the firm’s sales office moved sometime in the 1850s. This new stone is signed “H B.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027745669-SLW7SXRV6NONT3DU57RO/%2897%29+91+cropped.jpg Portrait of Place - Washington at Princeton. | Jany. 3rd. 1777. [1853] Entered according to Act of Congress in the year 1853 by Blanckmeister & Hohlfeld in the Clerks Office of the District Court of the Southern District of New York. | D. Mc. Lellan, Litho. 26 Spruce St. N. Y. | Blanckmeister & Hohlfeld, Publishers, | No. 338, Pearl Street, New York 1853. ARTIST: Henry Bruckner. LITHOGRAPHER: D. McLellan. PUBLISHER: Blanckmeister & Hohlfeld. Lithograph, with added hand coloring. 19 x 25 in. Washington, on horseback with a flag in one hand and a sword in the other, leads a column of American troops at the left against a column of British troops at the right. In the foreground several wounded soldiers lie on the ground near a broken cannon and drum. A house is partly visible in the left background behind the American troops. Some copies of this lithograph contain the line “Painted by Bruckner” immediately below the image at the left. Either the line was added to the stone after this impression was pulled, or the line was deleted from the stone before this impression was pulled. The two impressions appear to be otherwise identical. Henry Bruckner (Brückner, Brueckner) was a lithographic artist specializing in historical scenes. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1593448928622-E27L092D090E44OX4L18/%2898%29+18+cropped.jpg Portrait of Place - View of Nassau Hall, | Princeton, N.J. [1860] Published by Mc. Ginness & Smith. | Painted by F. Childs. | Entered according to Act of Congress in the year 1860, by Mc. Ginness & Smith, in the Clerk’s Office of the District Court, of the United States, for the Southern District of New York. | Lith. of Robertson, Seibert & Shearman, 93 Fulton Street, New York. 1860. ARTIST: F. Childs. LITHOGRAPHER: Robertson, Seibert & Shearman. PUBLISHER: Mc Ginness & Smith. Lithograph, with added hand coloring. 14½ x 18 in. Oval view of Nassau Hall depicting the front and the western side entrance of the building. In the foreground President John Maclean, in a top hat, talks with two students while several other figures are either talking in small groups or walking. Whig Hall is visible in the extreme right distance, and there are two cannons buried on Cannon Green. Nassau Hall, built between 1754 and 1756 for the College of New Jersey, was substantially destroyed by fire in 1855. Philadelphia architect John Notman was retained to rebuild the structure, making it as fireproof as possible. The interior was entirely reconfigured, and stair towers were added to each end of the building. In August 1856 Nassau Hall reopened for the lodging of students. The present view was lithographed from a painting done sometime after the Notman reconstruction by F. Childs, an artist who is otherwise unidentified. The oil painting is now owned by Princeton University. The lithography firm of Alexander Robertson, Henry Seibert, and James A. Shearman was in business in New York from 1859 through 1861. The publishers, Mc Ginness & Smith, were Princeton booksellers and stationers. See View of Nassau Hall, | Princeton, N.J. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027757911-88GZL1O2TLJ42OOV3LY2/%2899%29+19+cropped.jpg Portrait of Place - View of Nassau Hall, | Princeton, N.J. [About 1860] Published by George Thompson. | Drawn by F. Childs. | Lith. & Printed in Colours by Robertson, Seibert & Shearman 93 Fulton St. N. Y. About 1860. ARTIST: F. Childs. LITHOGRAPHER: Robertson, Seibert & Shearman. PUBLISHER: George Thompson. Lithograph, with added hand coloring. 15½ x 19½ in. View of Nassau Hall and the surrounding college buildings. An elegant barouche, drawn by two high-stepping horses and carrying a lady and a gentleman in the rear seat, passes eastward along Nassau Street as the gentleman gestures toward Nassau Hall. Two groups of people converse on the paved sidewalk in front of the buildings, separated from the campus by an iron fence. The publisher, George Thompson, was a Princeton bookseller, publisher, and stationer. See View of Nassau Hall, | Princeton, N.J. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027749127-Z2PODUV4WSLQM2L0SMRR/%28100%29+Fore-edge_painting+cropped.jpg Portrait of Place - Nassau Hall, Princeton, N. J. [Undated, but probably late nineteenth century] Undated, but probably late nineteenth century. ARTIST: unidentified. Watercolor on the fanned fore-edge of a book. 2 x 4⅜ in. A fore-edge painting of Nassau Hall copied from the circa 1860 lithograph produced by the New York firm of Robertson, Seibert, and Shearman and published by Princeton bookseller George Thompson. The book is a pocket Bible published in Philadelphia by Miller and Burlock about 1850. A fore-edge painting is a watercolor done on the fanned fore-edge of a book. When the paint is dry, the edges of the book are either gilt or marbled in the conventional way, so that the closed book shows no evidence of the painting. The technique has been in existence for several centuries, but the best-known practitioner was the late-eighteenth-century London bookbinding and bookselling firm of Edwards of Halifax. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584039592874-3IC0YUOASWN2RVQEWMM2/%28101%29+60+cropped.jpg Portrait of Place - Elias Boudinot L.L.D. [1825] Published by E. Huntington, Hartford: 1825. | Painted by Waldo & Jewett. | Copy Right secured April 30 1822 | Engraved by A B Durand. 1825. ARTIST: Samuel Lovett Waldo and William Jewett. ENGRAVER: Asher Brown Durand. PUBLISHER: Eleazer Huntington. Engraving. Plate, 17⅛ x 12¾ in. Half-length portrait of Boudinot as an old man, seated in a chair, his left hand holding a pamphlet in his lap. Elias Boudinot (1740–1821), the fourth of the same name in direct descent, was born in Philadelphia, read law, and was licensed as an attorney in 1760. Two years later he married Hannah Stockton, sister of Richard Stockton, a signer of the Declaration of Independence. Boudinot served in the New Jersey Provincial Congress, and in 1777 he was appointed commissary general of prisoners. Later the same year he was elected a delegate to Congress, and served throughout the war. From 1782 to 1784 he was president of that body. He supported New Jersey’s ratification of the Constitution, and he was a member of the House of Representatives in the first three Congresses. In 1795 he was appointed director of the United States Mint, a position he held until his retirement in 1805. He devoted his latter years to the study of theology, and he was instrumental in founding the New Jersey Bible Society in 1809 and the American Bible Society in 1816, serving as the first president of both organizations. Samuel Lovett Waldo (1783–1861) was a native of Connecticut. After working in Hartford, Charleston, and later in England, he returned to the United States and opened a portrait studio in New York in 1809. Three years later he met William Jewett (1789–1874), a talented coach painter who sought instruction as a fine artist. In 1817 the two men became partners and advertised themselves as “Waldo and Jewett.” They split their artistic duties: Waldo painted the faces and hands and Jewett completed the sitters’ clothing, draperies, and background. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027773840-TMFUTIT82NJJKFFGKDMM/%28102%29+58+cropped.jpg Portrait of Place - Theodore Ledyard Cuyler [Between 1849 and 1853] “Faithfully yours, always | Theo. Ledyard Cuyler” | Pastor of the 3rd. Presbyterian Church, Trenton N.J. | On Stone by D. S. Quintin | From a Daguerreotype by M. P. Simons, Trenton. | P. S. Duval’s Steam lith. Press, Philada. Between 1849 and 1853. ARTIST: From a daguerreotype by Montgomery P. Simons. LITHOGRAPHER: David Scott Quintin and P. S. Duval. Lithograph on india paper pasted to a lettered mount. 10¾ x 6⅜ in. Half-length portrait of Cuyler, his left arm crossed in front of his waist, his right hand holding a Bible. Theodore Ledyard Cuyler (1822–1909) was a distinguished Presbyterian theologian. Born at Aurora, New York, he graduated from the College of New Jersey in 1841 and from the Princeton Theological Seminary in 1846. Ordained to the ministry in 1848, his first service was in Burlington, New Jersey, where he remained only briefly. In October 1849 he was installed as minister to the Third Presbyterian Church in Trenton, and he held the pastorate until 1853, when he moved to New York, where he lived the rest of his life. For many years he was pastor of the Lafayette Avenue Presbyterian Church in Brooklyn, which under his ministry grew to be the largest Presbyterian Church in the United States. He was an outspoken supporter of the temperance movement and an opponent of women’s suffrage. The portrait is taken from a daguerreotype by Montgomery P. Simons, who is known to have worked in Trenton and Princeton between about 1850 and 1854. The image was drawn on stone by David Scott Quintin. In his early years Quintin was an artist and lithographer, working in Philadelphia. He was a pupil of Alfred Hoffy and contributed numerous color plates to Hoffy’s horticultural publications in 1841 and 1842. He is perhaps best known as the artist and lithographer of a handsome view of the United States Hotel in Philadelphia, published by Duval about 1842. About 1850 Quintin returned to Trenton, where he opened a riding academy. Later he operated a track and training stables and owned several horses. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027777390-YSZBEXU6PJP3277VW5ZN/%28103%29+70+cropped.jpg Portrait of Place - Washington’s Reception by the Ladies, on Passing the Bridge at Trenton, N. J. April 1789 [1845] On his Way to New York to be Inaugurated First President of the United States. | Lith. & Pub. by N. Currier, | Entered according to Act of Congress in the Year 1845 by N. Currier, in the Clerk’s office of the District Court of the Southern District of New-York. | 2 Spruce St. N. Y. | 365. 1845. ARTIST: unidentified. LITHOGRAPHER AND PUBLISHER: Nathaniel Currier. Lithograph, with added hand coloring. 13¼ x 8¾ in. A uniformed Washington, on horseback facing left, raises his hat as young women and girls place flowers in his path. Several other men, in uniform and mounted, are behind Washington, and at the rear is the triumphal arch, lettered at the center “Battle of Trenton Dec. 26th. 1776” and at the sides “‘The Defender of the Mothers will be || the Protector of the daughters.’” Above the arch an eagle holds in his beak a banner reading “Princeton Monmouth.” As Washington traveled from Mount Vernon to New York in April 1789 for his inauguration as the country’s first president, he was met with elaborate receptions at every city along the way. Perhaps none was as grand as the reception given him by the citizens of Trenton, who had erected a triumphal arch on the bridge at the Assunpink. As Washington passed through, a choir of young women and girls laid flowers in his path. Several mid-nineteenth-century lithographers captured the scene. See Washington’s Reception by the Ladies, on Passing the Bridge at Trenton, N. J. April 1789, Washington’s Reception by the Ladies at Trenton. N.J. April 1789, Washington’s Reception by the Ladies on the Bridge | At Trenton, New Jersey, April 1789, and Washington’s Reception by the Ladies, at Trenton N.J. April 1789 for variations of this iconic image. A section of the triumphal arch is preserved today in the Free Public Library at Trenton. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027789110-H0RZ0HQ44YP0MK8ZHPX7/%28104%29+71+cropped.jpg Portrait of Place - Washington’s Reception by the Ladies, on Passing the Bridge at Trenton, N. J. April 1789. [1845] On his Way to New York to be Inaugurated First President of the United States. | Lith. & Pub. by N. Currier, Entered according to Act of Congress in the Year 1845 by N. Currier, in the Clerk’s office of the District Court of the Southern District of N.Y. | 33 Spruce St. N. Y. | 365. 1845. ARTIST: unidentified. LITHOGRAPHER AND PUBLISHER: Nathaniel Currier. Lithograph, with added hand coloring. 13⅛ x 8¾ in. Currier has moved to 33 Spruce Street and redone the stone. Two additional men, in uniform and mounted, have appeared on Washington’s right, and many small details are changed. Currier’s inventory number remains “365.” See Washington’s Reception by the Ladies, on Passing the Bridge at Trenton, N. J. April 1789, Washington’s Reception by the Ladies at Trenton. N.J. April 1789, Washington’s Reception by the Ladies on the Bridge | At Trenton, New Jersey, April 1789, and Washington’s Reception by the Ladies, at Trenton N.J. April 1789 for variations of this iconic image. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027791076-URE1CJEK5S4FFNECKAXZ/%28105%29+24+cropped.jpg Portrait of Place - Washington’s Reception by the Ladies at Trenton. N.J. April 1789. [About 1846–1847] On his Way to New-York to be Inaugurated First President of the United States. | 191 | Kelloggs & Thayer, 144 Fulton St, N.Y. | E. B. & E. C. Kellogg, 136 Main St, Hartford Conn. | D. Needham 223 Main St, Buffalo. About 1846–1847. ARTIST: unidentified. PUBLISHERS: Kelloggs & Thayer, E. B. and E. C. Kellogg, and D. Needham. Lithograph, with added hand coloring. 9⅛ x 12⅛ in. An early Kellogg version of Washington’s reception at Trenton, executed in a horizontal format. A uniformed Washington, on horseback facing right, raises his hat as young women and girls place flowers in his path. Several other men, in uniform and mounted, are behind Washington, and at the rear is the triumphal arch, lettered “Decem. 26. 1776. The hero who defended the mothers will protect the daughters.” See Washington’s Reception by the Ladies, on Passing the Bridge at Trenton, N. J. April 1789, Washington’s Reception by the Ladies, on Passing the Bridge at Trenton, N. J. April 1789, Washington’s Reception by the Ladies on the Bridge | At Trenton, New Jersey, April 1789, and Washington’s Reception by the Ladies, at Trenton N.J. April 1789 for variations of this iconic image. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027806492-4EZS2D5MSTN46XMPXIP9/%28106%29+63+cropped.jpg Portrait of Place - Washington’s Reception by the Ladies on the Bridge | At Trenton, New Jersey, April 1789. [1848] On his Way to New-York, to be Inaugurated First President of the United States. | Published by James Baillie, 87th. St. near 3rd. Avenue N.Y. | Entered according to Act of Congress in the Year 1848, by J. Baillie, in the Clerk’s Office of the Distt. Court of the Southern Distt. of N.Y. 1848. ARTIST: unidentified. LITHOGRAPHER AND PUBLISHER: James Baillie. Lithograph, with added hand coloring. 12⅞ x 8⅝ in. James Baillie, another New York lithographer, has his version. A uniformed Washington, on horseback facing left, raises his hat as young women and girls place flowers in his path. Several other men, in uniform and mounted, are behind Washington, and at the rear is the triumphal arch, lettered “‘The hero who defended the mothers at the Battle of Trenton Dec. 26th. 1776. will protect the daughters.’” Above the arch an eagle holds in his beak a banner reading “Princeton Monmouth.” See Washington’s Reception by the Ladies, on Passing the Bridge at Trenton, N. J. April 1789, Washington’s Reception by the Ladies, on Passing the Bridge at Trenton, N. J. April 1789, Washington’s Reception by the Ladies at Trenton. N.J. April 1789, and Washington’s Reception by the Ladies, at Trenton N.J. April 1789 for variations of this iconic image. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027806889-SX31L34NW67BUROKORDE/%28107%29+38+cropped+revision.jpg Portrait of Place - Washington’s Reception by the Ladies, at Trenton N.J. April 1789. [Between 1852 and 1856] On his Way to New York to be Inaugurated First President of the United States in 1789. | Lith. of E. B. & E. C. Kellogg, 87 Fulton St. New York, | 73 Main St. Hartford, Conn. Between 1852 and 1856. ARTIST: unidentified. LITHOGRAPHER AND PUBLISHER: E. B. and E. C. Kellogg. Lithograph, with added hand coloring. 9 x 12½ in. A later Kellogg stone, entirely redrawn. See Washington’s Reception by the Ladies, on Passing the Bridge at Trenton, N. J. April 1789, Washington’s Reception by the Ladies, on Passing the Bridge at Trenton, N. J. April 1789, Washington’s Reception by the Ladies at Trenton. N.J. April 1789, and Washington’s Reception by the Ladies on the Bridge | At Trenton, New Jersey, April 1789 for variations of this iconic image. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027823343-LMQL6AXNPAK069XRBS6R/%28108%29+62+cropped.jpg Portrait of Place - A View of Park-Row at Trenton, N. J. [1840] Embracing Six New Cottages erected by N. Hotchkiss and C. Thompson, – shewing also a part of the City of Trenton together with the New-York and Philada. Rail-Road Depots on the Delaware and Raritan Canal. | The Cottages designed by N. Hotchkiss & H. Austin of New-Haven, Conn. | P. S. Duval’s Lith. Press, Philadelphia. | Painted from Nature & drawn on Stone by A. Hoffy, Philada. | Entered [. . .] 1840 by Nelson Hotchkiss [. . .] Eastern District of Pennsylvania. 1840. ARTIST: Alfred M. Hoffy. LITHOGRAPHER: Alfred M. Hoffy for P. S. Duval. Lithograph, with added hand coloring. 13¾ x 30½ in. (cropped). A view of the newly constructed Park Row in Trenton. Horses and carriages travel the wide road in front of the houses, and in the foreground cattle graze within fenced pastures. At the right a train emerges from the depot of the New York and Philadelphia Railroad, and beyond the railroad tracks several vessels ply the Delaware and Raritan Canal. In the background houses and commercial structures are visible. A damaged but very rare lithograph depicting the Park Row development—a series of six villas designed by New Haven architect Henry Austin and erected between 1839 and 1840 along what is today East State Street, east of the Trenton Freeway between present-day East Canal Street and South Clinton Avenue. The houses, always known locally as “The Cottages,” were one of Austin’s earliest commissions. The builders were Horatio Nelson Hotchkiss and Charles Thompson, fellow New Haven builders who had just completed the new Greek Revival First Presbyterian Church in Trenton. New Jersey historians John W. Barber and Henry Howe, in their Historical Collections of the State of New Jersey (1844) found the Cottages sufficiently interesting to justify a woodcut illustration of the houses and the comment: “Near the railroad depot, in the environs of Trenton, is the neat and beautiful row of private dwellings designated as ‘the Cottages.’ They were built a few years since, under the superintendence of Messrs. Hotchkiss & Thompson; and, while they reflect credit upon the skill of the architects, form a pleasing exhibition of an improved taste in the construction of private residences.” All of the houses have long since been demolished. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1593449044169-H94AMJN60B61IL4Y8UR2/%28109%29+33+cropped.jpg Portrait of Place - State Capitol of New Jersey at Trenton. [1846] Built, 1794. — Altered & Enlarged 1845 & 46. | John Notman, Phila., Archt. | H. Whateley del. | T. Sinclair’s lith, Philada. 1846. ARTIST: H. Whatley (signed in the stone lower left, “H. Whatley”). LITHOGRAPHER: Thomas Sinclair. Toned lithograph. 16¼ x 24¼ in. A southeast view of the New Jersey State House at Trenton showing the recent alterations by John Notman. By 1845 New Jersey's State House—built in 1794—had become both inadequate and in need of considerable repair. Philadelphia architect John Notman (1810–1865) was retained to prepare a set of drawings, which were soon accepted. Notman’s plan dramatically altered and enlarged the original structure. Construction began in 1845 and was completed the next year. At some point in the process, drawings by Notman were provided to the Sinclair firm, which produced three lithographs: one depicting the original 1794 structure, and two depicting the Notman alterations and addition, one a northeast perspective and the other—the present view—a southeast perspective. The artist, whose name appears as “H Whatley” in the lower left of the stone and as “H. Whateley” in the text below the image, has not been identified. The same individual produced a view of Mount Vernon that was lithographed by the Sinclair firm in 1859. He is almost certainly not the nineteenth-century English artist Henry Whatley. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1593449121624-FOF2JVGJ4EINRFIR4140/%28110%29+57+cropped.jpg Portrait of Place - New Jersey Senate, 1859. Drawn on Stone by Otto Knirsch, 311 Walnut St. Philada. [Key to the image, containing the names and titles of all 27 individuals pictured] | T. Sinclair’s lith. Philada. 1859. ARTIST: Otto Knirsch. LITHOGRAPHER: Thomas Sinclair. Toned lithograph. 19¼ x 27⅜ in. Members of the 1859 New Jersey senate, seated in the senate chamber. Pictured are the president, the secretary, and the other twenty members of the senate, along with the sergeant at arms, the engrossing clerk, the reporter, and two youthful pages. This is earliest depiction of either branch of the New Jersey legislature as a body, as well as the earliest depiction of the interior of either legislative chamber. The heads of the senators, other than being out of scale with the bodies, are accurate and were almost certainly drawn from photographs. However the accuracy of the chamber itself is unknown as no other images from this period have been found. The artist, Otto Knirsch, lived and worked in Hoboken for many years. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027819988-SVYRDJQQ82H790QS8OS7/%28111%29+82+cropped.jpg Portrait of Place - Jonathan’s Soliloquy. [About 1837] Well if we aint fix’d I’ll be darn’d. I shall go west any how and see what can be done there. Tis true our folks are gittin sensible as well as myself: Rhode Island to be sure | has done her duty and so will the Jersey Blues too I hope. If I hadent been a Jackson man I’d go in the Jersey but darnation I am shamed to show my face any how. | I kind a think it looks so sheepish: Besides if report be true the Whigs are gaining ground there fast enough already. | Whitley’s Lith | Paterson. N. J. About 1837. ARTIST AND LITHOGRAPHER: Thomas W. Whitley [?]. Lithograph. 11½ x 8⅞ in. A Whig political cartoon implying that the popular tide was turning against the Jacksonians. Jonathan, or Brother Jonathan, was a symbol of the United States in the first half of the nineteenth century, just as Uncle Sam was in the second half of the century. This may be the earliest example of a signed lithograph produced in New Jersey. “Whitley” is almost certainly Thomas W. Whitley, an English-born landscape painter who settled in Paterson about 1835. He remained there until 1839 and painted many views of the Passaic Falls. Between 1839 and 1848 he lived in New York, then possibly Europe, and Cincinnati, returning to the East in 1849 and settling in Hoboken, where he lived until at least 1860. For a time he was editor of the Hoboken Gazette. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027830144-FLWPP9X6SOOV9SWFHW3S/%28112%29+120+cropped.jpg Portrait of Place - Samuel Lewis Southard. [1844] From life, by Wm. H. Brown. | Lith. of E.B. & E.C. Kellogg | Entered according to act of Congress, in the year 1844, by E.B. & E.C. Kellogg, in the Clerk’s Office of the District Court of Connecticut. 1844. ARTIST: William Henry Brown. LITHOGRAPHER AND PUBLISHER: E. B. & E. C. Kellogg. Toned lithograph with central image in silhouette. 14½ x 9⅞ in. Southard is in full-length profile silhouette facing right. Behind him is the corner of a fireplace with a bowl of flowers on the mantle. On the wall in the upper right corner is a framed painting. Samuel Lewis Southard (1787–1842) was born in Basking Ridge, graduated from the College of New Jersey in 1804, studied law, and was admitted to the bar. He was soon elected to the state assembly and later to the United States Senate. In 1823 Southard was selected by President James Monroe to be Secretary of the Navy, and he remained in office through the administration of John Quincy Adams. After leaving the Navy post he became the attorney general of New Jersey, and from 1832 to 1833 he served briefly as governor of New Jersey. A native of Charleston, South Carolina, William Henry Brown (1808–1883) lived in Philadelphia from the 1820s through the 1840s. He worked both as an engineer and as an artist, specializing in silhouettes. In 1845 the Hartford lithography firm of E. B. and E. C. Kellogg published a collection of 27 of Brown’s full-length profile silhouettes as Portrait Gallery of Distinguished American Citizens, which is the source of the present lithograph. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027838962-GU92POG9UHQ90YOLW9RM/%28113%29+51+cropped.jpg Portrait of Place - Theodore Frelinghuysen. [1844] Hurrah! Hurrah! the Country’s risin! | For Harry Clay & Frelinghuysen | Lith. & Pub. by N. Currier, 2 Spruce St. N.Y. 1844. ARTIST: unidentified. LITHOGRAPHER AND PUBLISHER: Nathaniel Currier. Lithograph, with added hand coloring. 12⅝ x 8¾ in. Half-length portrait of Frelinghuysen seated at a desk, his left hand inside his vest, his right hand on a book, a scroll and an inkwell are on the desk, a partly opened fringed drape in the background reveals the bases of three columns. His hair is long and wavy, and his face is that of a young man. Theodore Frelinghuysen (1787–1862) was born in Franklin Township, Somerset County, New Jersey, a son of General Frederick and Gertrude (Schenck) Frelinghuysen. He graduated from the College of New Jersey in 1804, then read law with Richard Stockton in Princeton. Admitted to the bar in 1808, he opened a practice in Newark, and quickly became successful. He was made attorney general of New Jersey in 1817, and in 1829 he was elected to the United States Senate. He was a strong supporter of a great many religious and charitable organizations, and he served as mayor of Newark from 1836 to 1839. In the 1844 presidential election he was Henry Clay’s running mate on the Whig ticket. The Whigs were defeated, and Frelinghuysen left the law and politics to serve first as chancellor of the University of the City of New York and later as president of Rutgers College. See Theodore Frelinghuysen and Henry Clay || Theo: Frelinghuysen. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027844274-EL7YCGKO0TLH8R6J3GNY/%28114%29+50+cropped.jpg Portrait of Place - Theodore Frelinghuysen. [1844] Nominated for | Vice President of the United States. | Entered according to Act of Congress in the year 1844, by N. Currier, in the Clerk’s office of the Dist. Court of the Son. Dist. of New-York. | Lith: & Pub: by N. Currier. 2 Spruce St. N.Y. | From a Daguerreotype by Chilton, 281 Broadway, N.Y. 1844. ARTIST: From a daguerreotype by Chilton & Co. LITHOGRAPHER AND PUBLISHER: Nathaniel Currier. Lithograph, with added hand coloring. 12⅝ x 8¾ in. Half-length portrait of Frelinghuysen seated at a desk, his left hand inside his vest, his right hand on a book, a scroll lies on the desk, a partly opened fringed drape in the background. His hair is now straight and of medium length, and his face is that of a middle-aged man. Chilton & Co. (Howard and Robert Chilton) were leading New York photographers. See Theodore Frelinghuysen and Henry Clay || Theo: Frelinghuysen. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027855340-4BH7SRUOM9GYY47U0V97/%28115%29+64+cropped.jpg Portrait of Place - Henry Clay || Theo: Frelinghuysen [1844] Candidates for | President and Vice-President, | of the United States. | Kelloggs & Thayer, 144 Fulton St. N.Y. | E. B. & E. C. Kellogg, 136 Main St. Hartford, Conn. | D. Needham, 223 Main St. Buffalo. 1844. ARTIST: unidentified. PUBLISHERS: Kelloggs & Thayer, E. B. & E. C. Kellogg, and D. Needham. Lithograph, with added hand coloring. 14 x 10 in. Side-by-side oval portraits of Clay and Frelinghuysen. Above the portraits is an eagle atop “America” and six American flags, below is an overflowing cornucopia, a rural man and woman, a team and plow, cows and sheep, and a river in the background. At the bottom is a banner reading “Protection to American Industry.” See Theodore Frelinghuysen and Theodore Frelinghuysen. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027858409-RL1ZNO6LX73RL22OL3K2/%28116%29+52+cropped.jpg Portrait of Place - William L. Dayton [1856] Republican Candidate for | Vice-President of the United States. | E. B. & E. C. Kellogg, 87 Fulton St. N. York. | 128 Main St. Hartford, Conn. 1856. ARTIST: unidentified. LITHOGRAPHER AND PUBLISHER: E. B. & E. C. Kellogg. Lithograph, with added hand coloring. 12⅛ x 8¼ in. Half-length portrait of Dayton seated in a chair, his hands clasped in his lap, a partly opened drape in the background reveals the base of a column. William Lewis Dayton (1807–1864) was born in Basking Ridge, New Jersey, graduated from the College of New Jersey in 1825, read law with Peter D. Vroom at Somerville, and was admitted to the bar in 1830. He practiced law first in Freehold and later in Trenton, was appointed to fill an unexpired term as a United States senator in 1842, and was elected for a full term in 1851. In 1856 he was nominated for vice president on the ticket with John C. Frémont. In 1861 he was appointed minister to France. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027867843-2LJKW6VI4BH5G2UX2FJS/%28117%29+48+cropped.jpg Portrait of Place - Accident on the Camden and Amboy Rail Road, Near Burlington, N.J. [1855] Aug. 29th. 1855. | 21 Persons Killed – 75 Wounded. | Entered according to act of Congress in the year 1855, by John Collins in the Clerks Office of the District Court of the Eastern District of Penna. | Drawn on the spot immediately after the accident. 1855. ARTIST, LITHOGRAPHER, AND PUBLISHER: John Collins. Lithograph. 8½ x 11¾ in. Gruesome image of the twisted wreckage of a train, dozens of passengers, many lying on the ground and being attended to, spectators, a dead horse, and scattered baggage. On August 29, 1855, a Camden and Amboy Railroad train, while backing toward a turnout in Burlington to avoid another train coming in the opposite direction, struck a horse- drawn wagon at a grade crossing. Twenty-four people were killed and nearly a hundred injured in the worst accident in early New Jersey railroad history. Local artist John Collins drew this view of the disaster shortly after it occurred. Soon after the accident the railroad company issued a report, clearing itself of any wrongdoing and placing all blame on the driver of the wagon. The report unleashed a storm of protests again the joint Delaware and Raritan Canal and Camden and Amboy Railroad Company monopoly. John Collins (1814–1902) was a native of Burlington and a grandson of Isaac Collins, eighteenth-century New Jersey’s foremost printer. A skilled artist, the younger Collins opened a lithography business in Philadelphia in 1836 but sold it in 1838 to Thomas Sinclair, for whom he worked for the next several years. Collins is best known for producing two important books of town views, Views of the City of Burlington, New Jersey (1847) and The City and Scenery of Newport, Rhode Island (1857), both of which were lithographed by Sinclair from Collins’s drawings. Collins executed many small watercolor drawings of buildings and scenes in and around Burlington. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1584027868736-M6ZJJ3W1WW5PSPIKXJBP/%28118%29+54+cropped.jpg Portrait of Place - Ella. No. 44 . . . Built for the Morris & Essex R.R. Co. 1866 [1867] 1867. ARTIST: Charles A. Rice (signed lower right, “Chas. A. Rice. 1867”). Pen and ink, and wash, on paper. 14¼ x 20¼ in. The Ella No. 44 steam locomotive, built by Danforth, Cooke & Company of Paterson for the Morris & Essex Railroad. John Cooke had been the superintendent of Thomas Rogers’s locomotive-building shop in Paterson until he left in 1852 to join with Charles Danforth in forming Danforth, Cooke & Company, also in Paterson. The Ella No. 44 was one of the last locomotives built by Danforth, Cooke before the company reorganized in 1866 as Cooke Locomotive & Machine Company. In the margin below the image are four specifications: “Weight 35 Tons. | Dia. Driving Wheels, 46 in. || Dia Cylinders 17 In. | Length Stroke 22 In.” The artist, Charles A. Rice, has not been identified. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1593449300466-G1O2SN00JYDPWWFZOIQE/%28119%29+56+cropped.jpg Portrait of Place - Trenton, N. J. | 1874. Published by Fowler & Bailey. | Lith. & Printed by H. J. Toudy & Co. Steam Lith. Phila. [Between image and title is a key to the public and commercial buildings (numbered 1–31) and the churches (lettered A–V)] 1874. ARTIST: unidentified. LITHOGRAPHER: H. J. Toudy & Co. PUBLISHER: Fowler & Bailey. Lithograph, with added hand coloring. 26⅛ x 32⅜ in. Birdseye view of the city of Trenton. Thaddeus Mortimer Fowler (1842–1922) was the most prolific of all the nineteenth-century makers of city views, having been the artist, co-artist, publisher, or joint publisher of more than four hundred such views. In 1870 he began an association with Howard Heston Bailey (1836–1878), and a few years later with Bailey’s younger brother, Oakley Hoopes Bailey (1843–1947). It is unclear which of the brothers shared in this Trenton view. https://sale.morven.org/stars-and-stripes daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1590158935775-03RK8P8PWBAJHUZ8PH18/Grand+Union.jpg The Stars and Stripes: Fabric of the American Spirit - GRAND UNION FLAG c. 1876 Printed on wool. Inscription in selvage: Horstmann Phila. Colonial 1776 2 x 3 Ft The Continental Army was reorganized on January 1, 1776, under the command of General George Washington, and on that day, Washington ordered the hoisting of the Grand Union flag above his camp at Prospect Hill, just outside of Boston, as a tribute to the united colonies. Also known as the “Continental Colors,” the flag featured joined crosses of St. George and St. Andrew in the canton. The Grand Union, predecessor to the Stars and Stripes, was flown on several ships during the period 1776-77 and was the first American flag to be recognized by a foreign country. This reproduction Grand Union flag was likely made at the time of the centennial by Horstmann Brothers of Philadelphia, one of the largest military goods manufacturers in America. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1590158935775-03RK8P8PWBAJHUZ8PH18/Grand+Union.jpg The Stars and Stripes: Fabric of the American Spirit - GRAND UNION FLAG c. 1876 Printed on wool. Inscription in selvage: Horstmann Phila. Colonial 1776 2 x 3 Ft The Continental Army was reorganized on January 1, 1776, under the command of General George Washington, and on that day, Washington ordered the hoisting of the Grand Union flag above his camp at Prospect Hill, just outside of Boston, as a tribute to the united colonies. Also known as the “Continental Colors,” the flag featured joined crosses of St. George and St. Andrew in the canton. The Grand Union, predecessor to the Stars and Stripes, was flown on several ships during the period 1776-77 and was the first American flag to be recognized by a foreign country. This reproduction Grand Union flag was likely made at the time of the centennial by Horstmann Brothers of Philadelphia, one of the largest military goods manufacturers in America. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322422649-CQ3X2FJHDJZNE8ZICOXR/24-162+24-Star.jpg The Stars and Stripes: Fabric of the American Spirit - 24-STAR FLAG c. 1822-36 Hand-sewn silk stripes and embroidered stars. Outer square pattern surrounding small wreath with central star. The twenty-four star flag is associated with the origin of one of our flag’s most beloved nicknames. In 1831, on his twenty-first birthday, Captain William Driver from Salem, Massachusetts was given a handmade twenty-four star flag which he named “Old Glory.” He took the flag aboard his ship Charles Doggett and sailed twice around the world. Driver retired from the sea in 1837 and moved to Nashville where he proudly flew his flag. When Tennessee seceded from the Union, he was forced to hide his flag, but after Union soldiers re-captured Nashville, Driver climbed the State Capitol tower and raised the flag once again. In 1922, his daughter passed “Old Glory” on to President Warren G. Harding who in turn presented it to the Smithsonian Institution. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322397255-FCU7SA5M6RPPMGAY6YWP/13-084+Centennial.JPG The Stars and Stripes: Fabric of the American Spirit - 13-STAR FLAG c. 1876 Printed on glazed cotton muslin. Wreath pattern with central star, flanked by star in each corner. The centennial was a period of national celebration, with the flag as the primary symbol of American idealism and pride. It was a time when flag designers created a variety of star patterns, the most popular of which was the single wreath configuration. Parade flags of this size were generally made to wave at a parade or special event and then to be discarded, and it is for this reason that only a small number has survived. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322517328-LK0J0UHZSH85WA6H0WWK/38-179+Hendricks.jpg The Stars and Stripes: Fabric of the American Spirit - 38-STAR HENDRICKS 1884 CAMPAIGN FLAG c. 1884 Printed on cotton. Image of Thomas Hendricks surrounded by wreath pattern, flanked by four stars in each corner. Legend printed on white stripe below canton: Patented Sept. 4, 1883 Thomas Hendricks was the running mate of presidential nominee Samuel Tilden in the Election of 1876, one of the most controversial in American history. Tilden won the popular vote, but a dispute over the Electoral College votes in Florida, South Carolina and Louisiana resulted in the formation of a bipartisan commission, which by a straight party-line vote awarded the contested electoral votes to Rutherford B. Hayes, electing him president. Grover Cleveland chose Hendricks as his running mate in 1884, and the two narrowly defeated James Blaine and John Logan. Vice President Hendricks died in November 1885 after serving only nine months in office. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585326156429-EM0VDAMAGR4L8Q21LC0C/46-323+Wish+You+Well.jpg The Stars and Stripes: Fabric of the American Spirit - 46-STAR WISH YOU WELL FLAG c. 1898 Printed on silk. Stamped gold overprint: I Wish You Well L.E. Wheeler, Mayor, Springfield, Ill., U.S.A./May 12, 1898 This flag was originated by Springfield Mayor Loren Wheeler as a farewell tribute and expression of good wishes to the 6th Illinois National Guard Regiment mustered into federal service on May 11, 1898 as the 6th Illinois Volunteer Infantry. The unit was assigned to the Second Army Corps and ordered to embark for Cuba. While enroute, the Spanish troops around Santiago surrendered ending fighting in that area. The regiment was redirected to Puerto Rico where it participated in several small skirmishes before marching to Ponce, Guaragnos and Adjuntas. After an armistice was reached between Spain and the United States, the regiment returned to Springfield and officially mustered out on November 25, 1898. During its term of service, the 6th Illinois lost two officers and 22 enlisted men to disease. Loren Edgar Wheeler was born October 7, 1862 in Havana, Illinois. In 1880, he moved to Springfield where he began a career in advertising. He served as an alderman, mayor and later became postmaster. Wheeler served five terms in Congress, two as chairman of the Committee on Railways and Canals. Afterward, he returned to Springfield and continued his former business activities until his death on January 8, 1932. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322678107-YOH2WNVKBGW0HUCCSIC9/48-310+Immigrants.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR IMMIGRANTS FLAG c. 1914 Printed on silk. This flag with names artistically embroidered on the bottom white stripes commemorates the naturalization of eight Eastern European women as United States citizens: Elsie Kuidera, Vlasta Porak, Emma Starman, Marie Matejcek, Rose Kandilik, Emily Kandilik, Loretta Kuidera, Tillie Reininger The year “1914” is embroidered on the lower right corner of the flag. Accompanying the flag is a fragment of its original frame’s chipboard backing on which is inscribed in pencil: “To Miss Libuse Hajeck, July 5 1914.” This date likely coincides with the day after citizenship was attained since traditionally naturalization ceremonies were conducted on the Fourth of July. Perhaps the group of women presented the flag to Miss Hajeck as a token of their friendship or in appreciation for helping them become citizens. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322542681-1U1V507R0M36194O7CG7/38-312+17761876.jpg The Stars and Stripes: Fabric of the American Spirit - 38-STAR 1776/1876 CENTENNIAL FLAG c. 1876 Printed on wool and cotton blend. Stars are embellished with a thin line between each point to create a glimmering effect and are configured to form the years “1776” (composed of thirty-eight stars) and “1876.” A masterpiece in design, this is one of several commemorative flags specially produced for America’s centennial celebration. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322575442-KYUQU2TL1FDU4B2TMWLM/45-271+Montie+Connell.jpg The Stars and Stripes: Fabric of the American Spirit - 45-STAR MONTIE CONNELL FLAG c. 1901 Printed on cotton. Inscription: Montie D. Connell Elks Dinner Dec. 25, 1901 Ashland Wis Chartered in Wisconsin in 1899, the Ashland Elks Lodge #137, Benevolent and Protective Order of Elks, purchased the local golf course in 1944. Meetings and social activities were conducted at the Elks Lodge in the town of Ashland during winter months and at the clubhouse during months the golf course was open. During 1966-67, the lodge sold its downtown building and constructed a new clubhouse. With the involvement of Elks members, city officials and area economic developers, the original golf course was redesigned and expanded into an 18-hole championship course open to the general public in 1999. Two years later the course was renamed Chequamegon Bay Golf Club. This flag commemorates a Christmas dinner held in 1901, two years after the lodge received its charter. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322554257-1GLIWR5UH895PFQCE0CA/44-154+Sunday+School.jpg The Stars and Stripes: Fabric of the American Spirit - 44-STAR SUNDAY SCHOOL FLAG c. 1895 Printed on glazed cotton muslin. Notched pattern. Typewritten inscription: Sunday School Rally At Christian Church, Cameron, Mo January 6, 1895. God Bless Our Flag! Long May It Wave. O’er The Land Of The Free And The Home Of The Brave. Rally Day traditionally celebrates the annual enrollment of children, youth and adults in Sunday School classes and promotes the involvement of members of the congregation in other church activities. This flag was used in a unique way to announce the commencement of Sunday School instruction and at the same time to pay homage to the Stars and Stripes. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322586968-J1KJAB27ZW2JBDN13ONR/46-143+Admiral+Dewey.jpg The Stars and Stripes: Fabric of the American Spirit - 46-STAR ADMIRAL DEWEY FLAG c. 1899 Printed on cotton. Inscription: Admiral Dewey’s Welcome September 29th 1899/S.S. Miami Raymond & Whitcomb George Dewey graduated from the Naval Academy in 1858 and served under Admiral Farragut during the Civil War. He rose to the rank of Commodore in Command of the Asiatic Squadron a few weeks before the start of the Spanish-American War, and on April 27, 1898 sailed on the flagship U.S. Olympia with orders to attack the Spanish at Manila Bay. Within six hours on May 1, he sunk or captured the entire Spanish Pacific Fleet without the loss of a single American life. News of the victory made Dewey a national hero, and in March 1899, he was appointed Admiral of the Navy. On September 27, 1899, Dewey returned to New York harbor for two celebrations: the naval parade on September 29 and the land parade on September 30. The events were filmed by the Edison Manufacturing Co. This flag is a souvenir from the cruise ship S.S. Miami, among the hundreds of ships in New York harbor that day taking part in the Dewey naval parade. The ship was owned and operated by the Raymond & Whitcomb Cruise Line, headquartered in Boston. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322639980-KKMXF0C2ZZFTNGHM79U4/48-233+Gold+Star+Mothers.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR GOLD STAR MOTHERS FLAG c. 1928-59 Printed on silk. Circular decal inscribed: Presented to the Gold Star Mothers By the City of New York On June 4, 1928, a group of twenty-five women, led by Mrs. Grace Darling Seibold, met in Washington, DC to establish a national organization known as the American Gold Star Mothers. Named after the Gold Star that families would hang in their window in honor of a deceased veteran, membership was comprised of mothers who lost a son or daughter during World War I. The organization became a rallying point and support group of grieving mothers who would comfort each other and give loving care to veterans confined to government hospitals. Today there are more than two hundred chapters, with membership open to mothers who have lost a son or daughter during any of America’s past wars and armed conflicts, or while in the service of the United States military. This special flag was presented to Gold Star Mothers in New York City as an expression of heartfelt appreciation and symbol honoring their loss. When rolled up on its staff, the flag slips into the brass-tipped wooden tube for storage. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322515317-P6DWCOVTPJU9Q8LA6N2O/38-085+12th+NH+Vols.jpg The Stars and Stripes: Fabric of the American Spirit - 38-STAR 12th NEW HAMPSHIRE REUNION FLAG c. 1885 Printed on silk. Great Star pattern with four outlying stars, flanked by star in each corner. Original staff with red ribbon ties. Overprint: Twentieth Reunion, 12th N. H. Vols., Gilmanton Iron/Works, N. H., Friday, Sept 25th, 1885. The 12th New Hampshire Volunteer Infantry Regiment, known as “The Mountaineers,” organized in September 1862 at Concord and mustered out in June 1865. The unit was initially attached to Casey’s Division in the defense of Washington and later assigned to the Army of the Potomac. During its three-year tour of duty, the regiment was involved in a number of campaigns, including Gettysburg, Fredericksburg, and Chancellorsville where it suffered its highest number of casualties. This souvenir flag commemorates the regiment’s twentieth Civil War reunion held in the town of Gilmanton Iron Works, New Hampshire in 1885. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322398685-ZIG7SHLP3C9JZSF71DL2/13-100+Halo+Centennial.jpg The Stars and Stripes: Fabric of the American Spirit - 13-STAR HALO FLAG c. 1876 Printed on cotton. Haloed stars in wreath pattern with central star, flanked by star in each corner. The haloed stars pay tribute to the original thirteen states. One of a number of innovative designs that flourished during the centennial period. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322459734-F2ZTZ7P8GKHIUQODP81N/34-096+Great+Star.jpg The Stars and Stripes: Fabric of the American Spirit - 34-STAR GREAT STAR FLAG c. 1861-63 Printed on silk. Transition from Great Star to pentagon pattern. The thirty-four star flag became official shortly after seven southern states seceded from the Union, however President Lincoln refused to allow the elimination of any stars when the new flag was created. On the way to his inauguration in February 1861, President-elect Lincoln attended a ceremony in Philadelphia honoring the birthday of George Washington. He used the occasion to raise a thirty-four star flag over Independence Hall in a courageous act of faith and a bold gesture of national unity. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322471154-L8YXUBV79CQPCLEQJ1N6/35-059+71st+NY+Vols.jpg The Stars and Stripes: Fabric of the American Spirit - 35-STAR 71st NEW YORK VOLUNTEERS FLAG c. 1865 Printed on cotton. Double medallion pattern, flanked by star in each corner. Overprint commemorates Civil War battles: Bull Run Fredericksburg Chancellorsville Gettysburg The 71st New York Volunteer Infantry organized at Camp Scott, Staten Island in June 1861 and mustered out in July 1864. The regiment was assigned to the 2nd Excelsior Brigade under the command of General Daniel Sickle and saw extensive battle action in Pennsylvania and Virginia as evidenced by the inscription of battle honors printed on the stripes of the flag. Sickle was awarded the Medal of Honor for his gallantry during the Battle of Gettysburg. Most likely this flag was produced near the end of the Civil War for use at reunions or encampments. Its unique star design is similar to the double medallion pattern found on cavalry guidons. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322456722-M1UIGJFM7F4TBRVVOT7B/34-088+Lincoln+Mourning.jpg The Stars and Stripes: Fabric of the American Spirit - 34-STAR LINCOLN MOURNING FLAG c. 1865 Printed on paper. Scattered stars surrounding arch with phrase “The Union and the Constitution” set upon black canton. Overprint: We Loved Him – Living We Revere Him – Dead Our sixteenth president preserved the union when it seemed almost certain that it would not, or could not, survive. Abraham Lincoln would not allow the Confederacy to divide the country. His determination cost him his life, but it earned him the eternal gratitude of all Americans. This rare surviving example is from a series of four or five paper mourning flags printed for onlookers to wave as Lincoln’s funeral train made its way from the nation’s capital to his final resting place in Illinois. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322451460-IFMOZQHFVWUOWSV4PT52/34-086+Lincoln+Mourning.jpg The Stars and Stripes: Fabric of the American Spirit - 34-STAR LINCOLN MOURNING FLAG c. 1865 Printed on paper. Oval surrounding square of stars set upon black canton. Overprint: God’s Illustrious Servant Faithful To The End President Abraham Lincoln was shot by Confederate sympathizer John Wilkes Booth at Fords Theatre on April 14, 1865. Lincoln was carried to a nearby boarding house and remained unconscious until his death the following morning. This rare surviving example is from a series of four or five paper mourning flags printed for onlookers to wave as Lincoln’s funeral train made its way from the nation’s capital to his final resting place in Illinois. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322465772-BIKCWE3ZE6JNI52V1S30/34-148+Lincoln+Mourning.jpg The Stars and Stripes: Fabric of the American Spirit - 34-STAR LINCOLN MOURNING FLAG c. 1865 Printed on paper. Two columns of stars enclosing square of stars set upon black canton. Overprint: The Nation Mourns a Martyred Father Abraham Lincoln stands alone as a man of honestly, courage and generosity. No man had a keener wit or kinder sense of humor. He mastered the art of story-telling and as an orator, was clear, sincere and natural. He never pretended to be more or less, or different, than he really was. This rare surviving example is from a series of four or five paper mourning flags printed for onlookers to wave as Lincoln’s funeral train made its way from the nation’s capital to his final resting place in Illinois. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322451726-0SO1XTD4Q0XX3B6T2TX2/34-087+Lincoln+Mourning.jpg The Stars and Stripes: Fabric of the American Spirit - 34-STAR LINCOLN MOURNING FLAG c. 1865 Printed on paper. Uneven rows of stars set upon black canton. Overprint: We Mourn! Our Chief Has Fallen The assassination of the president plunged the nation into a period of deep mourning and transformed Lincoln into an American legend for his leadership during times of human crisis and for his pursuit of a more perfect and equal Union. This rare surviving example is from a series of four or five paper mourning flags printed for onlookers to wave as Lincoln’s funeral train made its way from the nation’s capital to his final resting place in Illinois. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322460862-2I1ZOJKKUGVYHAUULBE9/34-108+Lincoln+Mourning.jpg The Stars and Stripes: Fabric of the American Spirit - 34-STAR LINCOLN MOURNING FLAG c. 1865 Printed on paper. Uneven rows of stars set upon black canton. Maker’s mark “Lybrand” printed on bottom red stripe. Overprint: Portrait of Lincoln It is the glory of Lincoln that during the Civil War he had almost absolute power, yet he never abused that power except on the side of mercy. “With malice toward none, with charity for all, with firmness in the right as God gives us to see the light,” Lincoln led America through its darkest days. This rare surviving example is from a series of four or five paper mourning flags printed for onlookers to wave as Lincoln’s funeral train made its way from the nation’s capital to his final resting place in Illinois. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322583308-F4AWB45X7G8XOXJZG3VM/45-308+Ernest+Thompson.jpg The Stars and Stripes: Fabric of the American Spirit - 45-STAR ERNEST THOMPSON FLAG c. 1898 Printed on glazed cotton muslin. Staggered pattern. Inscription: Hurrah for U.S. and Cuba For a Long Letter Write to Corp. Ernest Thompson, Co. E. 3rd Reg. Nebra. Vol. Inf. Jacksonville, Florida, Col. Wm. J. Bryan (Our Next President) Commander. My Home Is At Lyon’s, Burt. Co. Nebraska. The Third Nebraska volunteers mustered into active service in July 1898, less than a month before the Spanish-American War ended, with Colonel William Jennings Bryan as its commanding officer. Nicknamed the “Silver Regiment,” the unit was initially stationed at Camp Cuba Libre in Jacksonville, Florida. After the Treaty of Paris was signed, the regiment arrived in Cuba as part of the occupying force, serving there until April 1899 before returning to the United States. The unit mustered out of service one month later. The inscription written on this flag by Ernest Thompson expresses his patriotism and great respect for his regimental commander William Jennings Bryan, a noted statesman and three-time candidate for the presidency. Also this soldier’s loneliness during a wartime situation is apparent from his touching appeal in which he promises to write a long letter back to those who correspond with him. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322474400-XQKUK0U0KP4GN521S3KU/35-073+Rally+Round.jpg The Stars and Stripes: Fabric of the American Spirit - 35-STAR RALLY ROUND FLAG c. 1865 Printed on glazed cotton muslin. Great Star pattern within wreath of stars. Handwritten note: They are singing to my flag at a torchlight parade of Lincoln’s/men with their pickaxes and spades in 1864. As I stood on the/porch waving this flag, the company of men opposite the house/turned and saluted my flag and sang ‘Rally Round the Flag’ Boys. Florence G.S. View note here This flag is from a family member of the 24th Massachusetts Infantry Regiment. Organized at Camp Massasoit, Readville in September 1861, the regiment saw extensive action in North Carolina, Virginia, Florida and South Carolina before mustering out in January 1866. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322466531-2TTVURPU9E2OTSAKMUJI/34-136+Eagle.jpg The Stars and Stripes: Fabric of the American Spirit - 34-STAR EAGLE FLAG c. 1861-63 Paint-printed on cotton. Wreath surrounding large eagle and colored shield, flanked by star in each corner. Following adoption of the Great Seal in 1782, there was a notable appearance of flags with an eagle painted on the canton. During both the War of 1812 and the Civil War, Army regimental flags were produced with an eagle and the name of the regiment painted on a scroll beneath the shield. As America expanded into the western frontier, explorers carried eagle flags and presented them to Indian tribes as a symbol and expression of peace. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322608949-C246UI7HMZ1LNIYGSF0C/48-098+Anti-Roosevelt.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR ANTI-ROOSEVELT CAMPAIGN FLAG c. 1912 Printed on cotton. Staggered pattern. Overprint: The Constitution & the Flag One and Inseparable Now and Forever The Flag of the Republic Forever Of an Empire Never When Theodore Roosevelt became president in 1901, he further shaped the legacy of American expansionism inherited from William McKinley into a new imperialism. Roosevelt strongly believed in a new global role for the United States to match its growing economic power and worldwide interests. Roosevelt’s antagonists argued his policies wrongfully imposed American values on others, and that global expansion did not advance civilization or peace but rather had disastrous consequences. This flag was used by opponents of Roosevelt during the Election of 1912 when he unsuccessfully campaigned for president on the Bull Moose Party ticket. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322519370-9GY877YEEVC8XXMHM0Z3/38-194+Gold+Fringe.jpg The Stars and Stripes: Fabric of the American Spirit - 38-STAR GOLD FRINGE FLAG c. 1876 Printed on silk. Gold silk fringe on three sides. Four additional smaller stars inserted after second and third rows. As the nation commemorated its 100th birthday, American flag makers used the occasion to create distinctive star patterns, as illustrated in this rare example with gold fringe. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322408128-UO1ZVGMHJD5HBZR07RZ9/13-270+Protect+Industries.jpg The Stars and Stripes: Fabric of the American Spirit - 13-STAR HARRISON 1888 CAMPAIGN FLAG c. 1888 Printed on cotton. Diagonal printed scroll: Protection to Home Industries The central campaign issue in the presidential election of 1888 was tariffs, with Republican candidate Benjamin Harrison supporting a strong tariff policy while incumbent Grover Cleveland advocating reduced tariffs. The campaign also set a new standard for corruption which eventually led to election reforms including adoption of the secret ballot and introduction of newly-invented voting machines. Benjamin Harrison, grandson of former President William Henry Harrison, campaigned on a platform advocating protection to home industries. The Grand Army of the Republic (GAR) supported him and became an important political force against President Cleveland after he vetoed veterans’ pension legislation and agreed to return Confederate battle flags to the South. Cleveland won the popular vote, but lost the electoral college vote and the presidency to Harrison. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322568226-ZL8EMB3IMD7P25TFFB3X/45-174+London+Armistice.jpg The Stars and Stripes: Fabric of the American Spirit - 45-STAR LONDON ARMISTICE DAY FLAG c. 1918 Printed on cotton. Handwritten inscription in lower right corner: Armistice Day! London. 11 Nov. 1918 At 11:00 a.m. on November 11, 1918, allied forces and Germany agreed to a cease-fire ending World War I. The eleventh hour of the eleventh day of the eleventh month has become a moment of special significance associated with honoring and remembering those who died in the first modern world conflict. Armistice Day became a national holiday in 1938, and President Eisenhower signed legislation in 1954 proclaiming it a day of remembrance of all wars and changing the name to Veterans Day. In Great Britain, Armistice Day was renamed Remembrance Day after World War II and is celebrated on the second Sunday in November, usually the Sunday nearest November 11th. Special services are held throughout England. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322540500-0D0WFTOS6JAPOXAPI4R8/38-304+38-Star.jpg The Stars and Stripes: Fabric of the American Spirit - 38-STAR FLAG c. 1876 Printed on wool. Star tips enclosing small central star, flanked by eight-star cluster in each corner with one outlying star between each cluster. Number “40” written in pencil on white stripe below canton. The Territory of Jefferson, which would have been the first state named for a past president, was originally incorporated as a provisional territory in 1859, however a year and a half later Congress abolished the provisional government and created the Colorado Territory. After several unsuccessful attempts to gain statehood, in 1865 a state constitution was approved by the voters. During the next ten years, delays caused by the outbreak of the Civil War, a tarnished image resulting from the Sand Creek massacre, political maneuvering by President Johnson and other Democrats to prevent the addition of a Republican-leaning state, and concerns regarding the make-up of the population of the new territory prevented the passage of federal legislation to bring Colorado into the Union. Finally in August 1876, during the centennial celebration, Colorado was admitted as the thirty-eighth state and is appropriately nicknamed the Centennial State. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322434125-0VSBRRVHGUMIMHSSUSCG/26-303+26-Star.jpg The Stars and Stripes: Fabric of the American Spirit - 26-STAR FLAG c. 1837-45 Printed on cotton. Double C pattern. The completion of the Erie Canal in 1825 enabled settlers from eastern states to easily migrate to the Midwest, and within 10 years, the Michigan Territory had sufficient population to apply for statehood. Following resolution of a boundary dispute with Ohio over an area that is now the City of Toledo, Michigan became the twenty-sixth state on January 26, 1837. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322399197-TEVEHB3JNWOGJ8VNTORG/13-103+Hop+Bitters.jpg The Stars and Stripes: Fabric of the American Spirit - 13-STAR HOP BITTERS FLAG c. 1870-90 Advertising flag printed on paper. Wreath pattern with central star, flanked by star in each corner. Phrase “The Great Appetizer” surrounds central star. During the 1870s, bitters became one of America’s most popular medicines, claiming an ability to cure many diseases as well as to purify the blood, regulate the liver and restore one’s appetite and general health, all without intoxicating. Bitters product advertising was among some of the best of the times, with manufacturers utilizing a wide variety of marketing methods to promote their product, including almanacs, trade cards, tokens, decanters and various other giveaways. Possibly this example is from Dr. Doyle’s Hop Bitters Manufacturing Co. of Rochester, New York, which like other patent medicine proprietors did not hesitate to publicize its product across the face of the American flag. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322614285-A1I75EGBZRZNGNIYAF85/48-105+Berdan.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR BERDAN’S SHARPSHOOTERS REUNION FLAG c. 1896 Printed on silk. Staggered pattern. Stamped overprint: 1896 July 29, 30 And 31. Berdan’s U.S. Sharp Shooters At The Residence Of Eli Cook, Eaton Rapids, Michigan. Hiram Berdan was born in Phelps, New York, on September 6, 1824. A mechanical engineer and successful inventor in New York City before the war, he was known as the top rifle shot in the country. Amongst his many inventions was a repeating rifle, a patented musket ball and a twin-screw submarine gunboat. When the Civil War broke out, Berdan proposed the formation of a special Union Army organization of the best marksmen. He was commissioned a Colonel and given authority to recruit two regiments of sharpshooters comprised of men capable of hitting enemy targets at great distances. The units were known as “Green Coats” and were equipped with the most advanced breech-loading rifles. The sharpshooters were utilized as snipers and skirmishers to demoralize the Confederate troops by picking off their officers and artillerymen at long range. Berdan’s sharpshooters served prominently with the Army of the Potomac at Bull Run, Chancellorsville and Gettysburg. Eli Cook served with distinction as First Sergeant of Company I, 1st Regiment, from February 1862-January 1865. At the end of the war, he remained active organizing GAR encampments and reunions with his sharpshooter comrades. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322508584-PGF4VRN3I2KC2TEY0CIB/37-180+Camden+County.jpg The Stars and Stripes: Fabric of the American Spirit - 37-STAR CAMDEN COUNTY MEMORIAL FLAG c. 1873 Printed on glazed cotton muslin. Double medallion pattern with central star, flanked by star in each corner. Overprint: Soldiers Monument Dedicated To The Heroic Dead Of Camden Co., June 9, 1873. The Soldiers Monument was dedicated on June 9, 1873 in tribute to the memory of 383 soldiers from Camden County, New Jersey who died during the Civil War. The monument was unveiled with appropriate opening ceremonies and a number of dignitaries and large crowd in attendance. On signal, a flag at the base of the monument unfolded and ascended to the top of the flag pole as a shower of miniature flags fell gently upon the concourse below. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322469826-673MAYOY1IP9PE69DSLJ/34-272+Lincoln+Monument.jpg The Stars and Stripes: Fabric of the American Spirit - 34-STAR LINCOLN MONUMENT FLAG c. 1871 Printed on glazed cotton muslin. Double medallion pattern with central star, flanked by star in each corner. Handwritten inscription: Lincoln Monument Fairmount Park Dedication. Fairmount Park, comprised of 4,180 acres on the banks of the Schuylkill River near Philadelphia, is the largest landscaped park in the United States and one of the largest municipal parks in the world. Site of the Centennial Exposition in 1876, several buildings and monuments from that period still stand. Among the most noted is a large bronze statue of Abraham Lincoln crafted by neo-classic sculptor Randolph Rogers. The statue was commissioned by the Lincoln Monument Association at a cost of $33,000 and was dedicated in 1871. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322606412-6P4D7D5UEASAW4NKJU7Q/48-057+Pearl+Harbor.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR PEARL HARBOR FLAG c. 1941-45 Printed on cotton. Overprint: Keep ‘Em Flying! Remember Pearl Harbor Dec 7 1941 Following the Japanese attack at Pearl Harbor, a resolute spirit of nationalism swept across America. United in spirit, millions of men and women joined the armed services and fought valiantly on battlefields throughout Europe and the Pacific. On the home front, Americans worked in factories and shipyards to build the planes, tanks, ships and other weapons needed to successfully wage war against our enemies. Patriotic items were produced with the motto “Remember Pearl Harbor” as a symbol of America’s resolve in the war effort. The popular slogan “Keep ‘em flying” was utilized in aircraft factories to instill patriotism and in flight line pep talks to motivate pilots and crew, stressing the importance of working together to maintain air superiority. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322491346-NKTF14943N9T9ZXQCEZI/35-133+Eagle.jpg The Stars and Stripes: Fabric of the American Spirit - 35-STAR EAGLE FLAG c. 1863-65 Printed on cotton. Wreath surrounding eagle holding scroll inscribed “E Pluribus Unum,” flanked by four stars in each corner. Eagle flags gained popularity with the military following adoption of the Great Seal in 1782 and were very much in evidence during the Mexican War and the Civil War. These flags were also carried as a symbol of peace by pathfinders who explored territories beyond the national boundaries of the United States in the mid-nineteenth century. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322637766-LYJBZ3CII0KO5J5Z08BJ/48-227+McKinley+Campaign.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR MCKINLEY CAMPAIGN FLAG c. 1901 Printed on glazed cotton muslin. Staggered pattern. Gold-painted inscription: Flag Used In The McKinley Campaign Wellesley College 1901 Presiding over a period of prosperity at home and following the military victory over Spain in the Spanish-American War, President William McKinley easily won re-election against William Jennings Bryan in the Election of 1900. Six months into his second term, McKinley was assassinated by an anarchist while attending the Pan-American Exposition in Buffalo, New York. He died on September 14, and Vice President Theodore Roosevelt was sworn in as President. McKinley and his cabinet visited Wellesley College for a Lincoln-Douglas debate celebration in 1899 and later campaigned there in the Presidential election. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322492611-L427PFIICVT38KQT5G7W/35-257+35-Star.jpg The Stars and Stripes: Fabric of the American Spirit - 35-STAR FLAG c. 1863-65 Hand-sewn wool stripes and embroidered stars. Double medallion pattern with central star, flanked by star in each corner. The red and white stripes are made of period, hand-loomed wool tape identical to that used on enlisted men’s uniforms to designate divisions within the Union Army during the Civil War. The attached wool cords and tassels most likely were used originally to attach the flag to a staff. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322623029-0VJS7F32ZPNSPDVBVQI2/48-160+Tank+Corps.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR TANK CORPS FLAG c. 1918 Printed on silk. Inscription on stars: Leo Cleary Co A 304 Bn Camp Colt Tank Corp/Gettysburg Pa 7/18/18 For * Edna Handwritten on the stripes are notations along with the names and hometowns of several men in Company A. The War Department established a military camp at Gettysburg in April 1917 to train members of the Army in the use of armored tanks. Camp Colt, named for Samuel Colt inventor of the revolver bearing his name, existed less than one year and during that time was responsible for training more than 15,000 troops. The commander of Camp Colt was captain Dwight D. Eisenhower who served from March to November 1918. Eisenhower had been identified as an officer with good organizational skills, and for that reason was assigned to command America’s first tank training center. He was instrumental in establishing a separate armored unit known as the Army Tank Corps and for his efforts was awarded the Distinguished Service Medal. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322679551-P6BUA0TGBQYXGOVZGXHK/48-322+VJ+Day+Hyannis.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR VJ DAY HYANNIS FLAG c. 1945 Printed on glazed cotton. Ink inscription: V.J. Day Hyannis Mass Aug 14, 1945 JFK On August 14, 1945, President Harry S. Truman announced the surrender of Japanese forces, ending World War II. Known as “Victory Over Japan Day,” or simply “V-J Day,” it came several months after the surrender of Nazi Germany and brought to a final close four years of hostilities. Japan’s surrender became official on September 2, 1945 aboard the Battleship USS Missouri. The war was over, and across America it was a time to celebrate. Within hours, clubs, taverns and restaurants were filled with soldiers, sailors and citizens from all walks of life, singing, dancing and toasting the fall of Japan. This flag proudly documents the historic occasion in Hyannis, the largest of seven villages in the Town of Barnstable, Massachusetts. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322637632-SE6MC2MFRNBCO2SS0TBL/48-229+Whipple.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR WHIPPLE PEACE FLAG c. 1931 Printed on silk. Wreath pattern with outer ring of stars surrounding six-pointed central star. Philadelphia flag designer Wayne Whipple arranged the combination of stars to record the history of our country. The thirteen original states are in the center in the form of a six-pointed star, surrounded by a circle of twenty-five stars representing the states added to the Union up to the time of the centennial in 1876, and an outer ring of stars representing additional states since the centennial. Whipple called his flag the “Peace Flag” in tribute to the global peace movement during the years before World War I. His unusual graphic design was widely publicized and admired, but not adopted. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322422878-SQXSSP4GYXB8QY19Q7XF/14-157+14-+Star.jpg The Stars and Stripes: Fabric of the American Spirit - 14-STAR FLAG c. 1847-56 Hand-sewn cotton and appliquéd four-pointed stars. Canton extends full flag height with stars configured randomly in upper left corner. Twelve stripes in white and red sequence. This rare flag was made in Maine for Ossian Preston Ingraham when he was a young boy. Born in Kenduskeag, Maine in 1847, Ossian and his parents Joseph and Nancy (Cole) Ingraham lived there until moving to California in 1863. Among the documents acquired with this flag is a letter written by Ossian to his daughter Eleanor on April 27, 1906, nine days after the great San Francisco earthquake, in which he describes the devastation and living conditions that existed in the aftermath of that horrible tragedy. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322494893-19TDJXNT64BNI4ZKRP9I/36-109+Harrison+Campaign.jpg The Stars and Stripes: Fabric of the American Spirit - 36-STAR HARRISON 1888 CAMPAIGN FLAG c. 1888 Printed on glazed cotton muslin. Great Star pattern within wreath of stars. Attached cotton band with last name of presidential candidate Benjamin Harrison stenciled in black: Harrison (Letter “s” is reversed.) Throughout the latter part of the nineteenth century, politicians recognized the popularity of the Stars and Stripes and used the flag to promote their candidacy and political slogans during election campaigns. This flag was used by Benjamin Harrison during the presidential campaign of 1888. In that election, Harrison received fewer popular votes than incumbent Grover Cleveland, but carried the Electoral College to become the nation’s twenty-third president. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322427309-TRZQPUL664GLP3GZZDRJ/31-079+Great+Star.jpg The Stars and Stripes: Fabric of the American Spirit - 31-STAR GREAT STAR FLAG c. 1851-58 Printed on glazed cotton muslin. Great Star pattern with outlying star between each point. The Great Star pattern has an extraordinary folk art quality and is widely regarded as the most beautiful of the Stars and Stripes. This magnificent configuration arranged in an unusual offset pattern was likely transformed from an earlier twenty-six-star design. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322524173-NHO0NC4JYOVZMKNDGSBW/38-276+Grant+Reception.jpg The Stars and Stripes: Fabric of the American Spirit - 38-STAR GRANT HARTFORD RECEPTION FLAG c. 1880 Printed on glazed cotton muslin. Global pattern with central star, flanked by star in upper right and lower right corners. Ink inscription: Gen. Grant Reception Hartford Oct 16th 1880 During a trip from Boston to New York on October 17, 1880, former President Ulysses S. Grant stopped in Hartford for a public reception and was met by large crowds of admirers lining the streets along the route from the train station to Bushnell Park. Among the dignitaries welcoming General Grant was Mark Twain who spoke highly of Grant and his leadership abilities, describing him as a great soldier, honored statesman and unselfish citizen. Grant and his party were escorted through the city by a procession of more than 2,000 veterans and soldiers and thousands of members of Republican campaign clubs from Hartford and the surrounding towns. After dinner at the home of General William Bulkeley, the celebration continued with a torchlight parade and fireworks. Later that evening, Grant boarded a train for New York. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322395875-3DT2MCAD8HB4ZPQFIES0/13-046+Centennial.jpg The Stars and Stripes: Fabric of the American Spirit - 13-STAR CENTENNIAL FLAG c. 1876 Machine-sewn cotton; hand-sewn appliqué stars. Wreath pattern with three stars in center forming a triangle. The popularity of the flag reached new heights during the years following the Civil War, and Americans continued their love affair with the Stars and Stripes through the time of our nation’s 100th birthday celebration in 1876. One-of-a-kind flag designs epitomized the true expression of individual freedom and a renewed faith in the principles on which the republic was founded. This flag is one of only a few known examples in which the stars are configured in a wreath pattern surrounding a triangle of stars. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322623769-HI4HNPKQY8XCD3FU8XA3/48-172+Red+Cross+Worker.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR RED CROSS WORKER FLAG c. 1918 Printed on silk. Handwritten note accompanying the flag: Flag and ribbon I carried in the parade in 1918 the end of the World War. (signed) Bertha as a Red Cross worker View note here When the United States entered World War I, the American Red Cross turned its energies to supporting the needs of the thousands of young men joining the allied forces on the battlefields of Europe. Communities throughout the country flooded Red Cross headquarters with requests to establish local chapters, with the number growing to 3,700 and membership increasing to more than twenty million by the end of the war. In every community, the Red Cross called upon patriotic women to sew and knit for the boys in camps and overseas. After the war, parades were held in cities across the nation celebrating the return of American troops and demonstrating the country’s patriotic solidarity. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322624753-6RTETEERDBBD72RVRY1U/48-172b+Red+Cross+Ribbon.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR RED CROSS WORKER FLAG (RIBBON) https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322621665-V5OWMPGQ8IL7NEGG968U/48-155+Gettysburg+Reunion.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR GETTYSBURG REUNION FLAG c. 1938 Printed on cotton. Stamped overprint: Gettysburg Blue And Gray Reunion 75th Anniversary Battle of Gettysburg 1938 The 75th anniversary of the Battle of Gettysburg, the Blue and Gray Reunion, was held July 1-4, 1938. This was the last Civil War reunion and the only time when the major veterans’ organizations were assembled on a national stage. All living veterans of the Civil War received formal invitations to the event and were given free railroad passage. A special souvenir medal was struck for the occasion and presented to each of the 1,359 Union and 486 Confederate veterans in attendance. Pennsylvania’s Governor George Earle welcomed the veterans to the reunion. Other speakers included Secretary of War Harry Woodring, GAR Commander in Chief Dr. Overton Mennet, and UCV Commander in Chief General John Claypool. A lavish parade followed that was described as seven miles long and moved with clock-like-precision. The lasting contribution of the reunion was the dedication by President Franklin Roosevelt of the Eternal Light Peace Memorial on the Gettysburg battlefield before a crowd of 450,000 visitors. Roosevelt spoke of the sacrifices, healing of wounds, and peace, but most strongly invoked the memory of Abraham Lincoln who chose the dedication of the Gettysburg Cemetery to deliver his famous address in November 1863. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322635622-OYUDD47R66YCUJ0DDETV/48-215+Suffrage+Parade.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR SUFFRAGE PARADE FLAG c. 1914 Printed on glazed cotton muslin. Inscription: Suffrage Parade June – 30 – 1914 In 1890, the two leading women’s organizations of the time, one led by Elizabeth Stanton and Susan B. Anthony and the other headed by Lucy Stone and Julia Ward Howe, merged to form the National American Woman Suffrage Association. Its agenda was to pressure state legislatures to amend state election laws and at the same time to pursue the adoption of a constitutional amendment for women’s voting rights. By 1914, Alice Paul and other activist leaders realized that full suffrage would be achieved only through the adoption of a federal Constitutional amendment and that more militant action was necessary to strengthen their cause and give courage to friends of the movement. To this end, public parades, silent vigils and hunger strikes were staged in large cities The “Anthony Amendment” passed both houses of Congress in 1918 and two years later was ratified as the Nineteenth Amendment to the Constitution. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322579328-JHXNS7TWZUD4YDDYAYWJ/45-243+Ambulance+Train.jpg The Stars and Stripes: Fabric of the American Spirit - 45-STAR AMBULANCE TRAIN FLAG c. 1917 Printed on cotton. Diagonal overprint: Souvenir of Ambulance Train Construction by the Lancashire & Yorkshire Railway for use on the Continent. November 1917. During the First World War, ambulance trains were used in France and Belgium to transport wounded and sick soldiers to hospitals. One such train built by the Lancashire & Yorkshire Railway Company made a tour of northern towns and cities before going into service on the Western front in November 1917. The superb train featured ten wards, eight with thirty-six cots each and two with eighteen cots each for treating infectious diseases, a well-equipped pharmacy, two kitchen cars, a medical staff car and a separate car for other personnel. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322679882-XRNNFTTSWYEVKAOC5R3Y/48-313+Lindbergh+Day.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR LINDBERGH DAY FLAG c. 1927 Printed on glazed cotton muslin. Staggered pattern. Inscription: I saw Charles Lindbergh July 26th 1927 Springfield Vermont Spirit of St Louis Katherine Grace age 8 Following his record breaking trans-Atlantic flight to Paris, Charles Lindbergh flying the “Spirit of St. Louis” set out on a three month nationwide tour to promote the aeronautical industry. The tour sponsored by the Daniel Guggenheim Fund included stopovers at eighty-two cities in forty-eight states. One such appearance was a celebration on July 16, 1927 in Springfield, Vermont organized by ex-governor James Hartness, a friend of Lindbergh and fellow pilot. When Lindbergh landed at Hartness’ private airport, he was greeted by a cheering crowd of more than 30,000 people. The flag’s inscription written by a young girl who attended the event captures the essence of the respect and admiration the American public held for Charles Lindbergh, a true hero and aviation pioneer. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322612572-MO2AQ995TOWUCC8RW0UR/48-102+Menu.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR MENU FLAG c. 1904 Printed on satin ribbon. Fourth of July dinner menu from the Hotel Alleesaal in Langen-Schwalbach, Germany in 1904. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322682786-XL3VFAHYRFASGGTBBI41/MS-262+Gettysburg+Cyclorama.jpg The Stars and Stripes: Fabric of the American Spirit - GETTYSBURG CYCLORAMA SOUVENIR FLAG c. 1894-99 Printed on paper. Image of Gettysburg National Park Cyclorama Center. The Battle of Gettysburg Cyclorama, a circular oil-on-canvas painting depicting the heroic charge of the Confederate infantry led by General George Pickett on July 3, 1863, was painted by French artist Paul Philippoteaux and opened to the public in Chicago in 1883. It received such public acclaim, Philippoteaux painted a second version that opened in Boston a year later. At the conclusion of the Boston exhibition, the cyclorama was displayed in New York, Washington D.C. and Baltimore before being transported to Gettysburg where it has been on display at the Gettysburg National Military Park since 1913. A nine million dollar renovation to repair sections of the canvas and restore some of the original details of the painting was completed in 2007. The Cyclorama is 359 feet long, 27 feet high and weighs 3 tons. The Chicago cyclorama was recovered from a warehouse and sold privately in 1965 and later donated to Wake Forest University. Two other Gettysburg cycloramas were painted by Philippoteaux. One was shown in Denver and cut up for use as tents on a Shoshone Reservation; the fate of the other painting is unknown. This souvenir flag is from the Battle of Gettysburg Cyclorama exhibition in Baltimore. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322461862-O5WM5NXAK01AZ1C5NID4/34-147+Great+Star.jpg The Stars and Stripes: Fabric of the American Spirit - 34-STAR GREAT STAR FLAG c. 1861-63 Printed on cotton. Great Star pattern. The thirty-four stars form a perfect pentagram, unlike earlier flower-like Great Star patterns. One of similar design, edged with a band of black crepe, was used as a mourning flag for Abraham Lincoln. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322687978-6KSUM9KMH3QAY7RUWB74/48-324+Harley-Davidson.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR HARLEY DAVIDSON FLAG c 1942-45 Printed on oil cloth. Image of two soldiers riding a motorcycle with inscription: Put us down for Harley-Davidsons when we get back. Harley-Davidson Motor Company, Dept. PS, Milwaukee, Wis. Harley-Davidson Motorcycle Company was founded in 1903 in Milwaukee, Wisconsin by William Harley and three Davidson brothers, Walter, William and Arthur. One of only two American motorcycle manufacturers to survive the Great Depression, Harley prospered during World War II by producing large numbers of military-specific motorcycles for use by the Army as police, escort and courier vehicles. Harley received two Army-Navy “E” Awards, one in 1943 and the other in 1945, for excellence in war time production. After the war, the company once again produced recreational and racing bikes. This advertising flag reflects Harley-Davidson’s strong support of U.S. troops and its appreciation for the sacrifices made by those who served our nation. As a reliable supplier of military equipment, the company built a solid reputation and in doing so earned the respect and loyalty of armed forces personnel who relied on motorcycles during the war effort and potentially could become customers in civilian life. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322583554-O35WU7O8YZ4I7ROAN15H/46-068+Lincoln+Birthday.jpg The Stars and Stripes: Fabric of the American Spirit - 46-STAR LINCOLN BIRTHDAY FLAG c. 1909 Printed on silk. Inscription: One Hundredth Anniversary Celebration Of The Birthday Of Abraham Lincoln, February 12, 1909 Lincoln Park Chapter, No. 177, R.A.M. Abraham Lincoln was born in Harden County, Kentucky on February 12, 1809, to Thomas and Mary Hanks Lincoln. The family moved to Illinois when he was seven. Lincoln served in the state legislature and Congress and was elected the sixteenth United States president in 1860. Known as the “Great Emancipator,” he was shot by John Wilkes Booth at Fords Theatre on April 14, 1865 and died the following morning. This flag was printed by the Lincoln Park Chapter of the Royal Arch Masons (R.A.M.) to commemorate the 100th anniversary of Lincoln’s birth. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322395548-21Y3AY5XXG87OQIQKPYV/13-001+Centennial-1.jpg The Stars and Stripes: Fabric of the American Spirit - 13-STAR CENTENNIAL FLAG c. 1876 Hand-sewn cotton and appliquéd stars. Wreath pattern with central star, flanked by star in each corner. Following the Civil War and during the centennial celebration in 1876, a renewed spirit of patriotism swept across America and with it increased popularity and respect for the Stars and Stripes. Throughout the nation, homes, public buildings and businesses were proudly decorated with flags and patriotic banners. It was a time when flag designers, limited only by their own imagination, created a variety of star patterns. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322481151-J7RRGT1WKS6TEV70ZJSX/35-074+Bliss.jpg The Stars and Stripes: Fabric of the American Spirit - 35-STAR GEORGE BLISS FLAG c. 1865 Hand-sewn silk. Diamond pattern with embroidered gold stars; stripes in white and red sequence. Handwritten note: Waved at the return of the 1st R.I. Regt, Capt. George N Bliss Commanding Officer. April 9, 1865. Made by Annie Francis Carpenter. View note here The 1st Rhode Island Cavalry regiment organized at Pawtucket in December 1861 and mustered out in Baltimore in August 1865. The regiment served in Virginia with Sheridan’s Army, in the Shenandoah Valley Campaign, at the Battle of Gettysburg and in the defense of Washington. Captain Bliss was awarded the Medal of Honor for heroic actions during the Battle of Waynesboro, Virginia on September 28, 1864. He received three saber wounds, his horse was shot and he was taken prisoner. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322629537-ZDCZKQYYLYW8K39MSLBB/48-182+18th+Infantry.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR 18th U.S. INFANTRY FLAG c. 1918 Printed on silk. Inscription on fifth white stripe: 18th US Infentry” (sic) The 18th Infantry Regiment was organized in New York in June 1917 and assigned to the 1st Expeditionary Division. In May 1918, it took part in the battle of Contigny, the initial offensive action conducted by U.S. military forces against the Germans. The regiment was awarded two French Croix de Guerre and the French Fourragere for its part in the Soissons offensive and operations around Exermont. The First Division, known as the “Big Red One,” is the oldest continuously serving division in the U.S. Army. Its shoulder patch, a red numeral “1” on a solid olive green background, dates back to World War I. View patch here https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322655262-M20GD3LCJCMJCNOS4RIA/48-285+Buy+War+Bonds.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR BUY WAR BONDS FLAG c. 1917-18 Printed on cotton. Ink inscription along lower left hoist end: “U.S. Trsy Dept.” Stamped overprint: Buy War Bonds Third Liberty Loan When the United States entered World War I, large sums of money were needed to fund the allied war effort in Europe. To raise the necessary financial support, an aggressive campaign was created by Secretary of the Treasury William McAdoo to sell war bonds, a special type of bond that could be redeemed for its original value plus interest, to the American public. Famous artists designed posters and movie stars and other celebrities hosted rallies and made personal appearances to promote the concept that purchasing a liberty bond was the patriotic thing to do. Boy Scout and Girl Scout troops sold bonds using the slogan “Every Scout to Save a Soldier.” A series of four Liberty Loan notes were approved by Congress between April 1917 and September 1918, raising more than 18 billion dollars. The Third Liberty Loan was offered for sale on April 6, 1918, the first anniversary of the declaration of war by the United States. Issue terms included a ten year maturity and 4.5% annual interest rate; the amount subscribed and issued was 4.2 billion dollars. Bonds were exempt from federal income tax and state and local taxes, but not from estate and inheritance taxes. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322677619-PUEVSVR3WHDHATS1I0UE/48-307+St.+Peters+Basketball.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR SAINT PETERS BASKETBALL FLAG c. 1938 Printed on cotton. Ink inscription: St. Peter’s High Home-Coming 1938 Eastern-States Basketball Champions (March 28) First Team Co-Captain Vinnie Reagen (All-State-1938) – Co-Captain Billy Harkins – Jimmie Hearn – Jack Kelly –Bill Borinheimer – J-V or Second String – Johnson – Tacacks – Clark – Burns – Dougherty Written vertically on the stars are the names of the team’s starting five players during the St. Peter’s High School, New Brunswick, New Jersey, 1938-39 basketball championship season. The team won the State Parochial Championship as well as the Eastern States Invitation Tournament. This flag commemorates a homecoming celebration and has inscribed on its stripes the names of all the team members. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322411705-8XNWXXNQ0T20OW9I6NR2/13-279+Mabel+Mayer.jpg The Stars and Stripes: Fabric of the American Spirit - 13-STAR MABEL MAYER FLAG c. 1892 Printed on glazed cotton muslin. Wreath pattern with central star, flanked by star in each corner. Pencil inscription: Mabel Florence Mayer 9 years old was Goddess of Liberty in her class at Sherman School in 1892 Columbus celebration. In 1892, President Benjamin Harrison issued a proclamation declaring October 12 as the first official Columbus Day holiday in the United States marking the 400th anniversary of the discovery of America. The public responded enthusiastically, putting on plays and singing songs about Columbus, organizing school programs and community activities across the country. Columbus Day was designated a national holiday by President Franklin Roosevelt in 1937 and since 1971 has been celebrated on the second Monday in October. The inscription on this flag so proudly records a special occasion in which Mabel Mayer, a young elementary schoolgirl plays the role of the Goddess of Liberty (Statute of Liberty) in a program celebrating the discovery of America. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322619118-Y0XGJD9V84GEQE90HOMQ/48-125+Japan+Surrender.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR JAPAN SURRENDER FLAG c. 1945 Printed on cotton. Handwritten inscription: Japan’s Surrender Tues. Aug. 14, 1945 V-J Day Sept. 2, 1945 It had become evident during the early days of August 1945 that the time had come for Japan to surrender, yet the Japanese military hoped the coming invasion of its mainland would result in heavy losses of American forces, thereby making possible a more favorable negotiated peace. On August 6, 1945, the United States dropped an atomic bomb on Hiroshima and three days later conducted a similar bombing of Nagasaki. These events failed to induce Japan’s military leaders to concede defeat, but their resistance was overcome by Emperor Hirohito’s decision on August 14 to accept the terms of surrender and end the war. The actual surrender document was signed aboard the USS Missouri on September 2. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322616858-FPYKPYYSDUVVU0E7IWUP/48-119+SS+Amerika.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR S.S. AMERIKA FLAG c. 1909 Printed on cotton. Staggered pattern. Handwritten inscription: On board the ‘Amerika’ Aug 12th 1909 (with) signatures of 17 ship passengers with address and/or home town. The German passenger liner Amerika sailed its maiden voyage from Hamburg to New York in October 1905. The ship offered superior service and luxurious traveler accommodations. In spite of its many technological innovations, the ship was involved in a number of at-sea incidents, including one on April 10, 1912 (same day as maiden voyage of the Titanic) when the Amerika rammed and sank a British submarine off the coast of Dover. In 1917, the ship was seized by the U.S. Navy, commissioned the USS America, and converted to a troop transport. After the war, the ship was rebuilt and served as a passenger liner until 1943 when it was reactivated as the U.S. Army transport Edmund B. Alexander. The ship was sold for scrapping in January 1957. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322446009-OPJDFVKQPSXVRT3EQ09H/31-293+31-Star.jpg The Stars and Stripes: Fabric of the American Spirit - 31-STAR FLAG c. 1858-59 Printed on wool. Modified diamond pattern with central star, flanked by star in each corner. The Treaty of Guadalupe Hidalgo, ending the two-year Mexican-American War, was signed on February 2, 1848, and under its terms, Mexico ceded California and several southwestern territories to the United States. In the ensuing period, Congress failed to organize a legal form of government for California because it was deadlocked over the issue of slavery in newly-acquired territories. In September 1849, Californians acted on their own and at a convention held in Monterey adopted a state constitution, including a provision to prohibit slavery. The constitution was approved by popular vote in November and the following month the first legislature met to create an unofficial state government. The Compromise of 1850, a series of bills introduced in the Senate by Henry Clay and supported by Stephen Douglas and Daniel Webster, was proposed to resolve the major slavery controversies arising from the Mexican-American War. Among its most important provisions, the legislation ensured that a balance between free states and slave states would be maintained, which paved the way for California to be admitted to the union on September 9, 1850, as a free state. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322546538-8WB6L9CY88PM4ZO2W6KF/42-224+7th+Cav+Guidon.jpg The Stars and Stripes: Fabric of the American Spirit - 42-STAR 7th CAVALRY PARADE GUIDON c. 1889 Parade guidon printed on cotton. Stenciled overprint: 7 [crossed sabers] US A guidon is a military flag or pennant carried by a cavalry company to identify its location on the battlefield and to signal troop movements. The size and shape of the usual regimental flag was not suitable for the mounted cavalry soldier so a swallowed tail design was adopted which enabled the colors to fly in the wind as the horseman galloped. This guidon of the 7th Cavalry was used solely for ceremonies and parades at Fort Sheridan, Illinois. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322680555-8MSVKCRA16DN7TVNEAVC/MS-061+Commissioning+Pennant.JPG The Stars and Stripes: Fabric of the American Spirit - COAST GUARD COMMISSIONING PENNANT c. 1930–45 Cotton muslin; single brass grommet. Thirteen blue stars in diminishing size on a white field; sixteen vertical stripes of equal width, alternate red and white, with a red swallow tail. Inscription stamped in black ink at hoist end: C.G. No. 7. The Coast Guard was formed in 1915 under control of the Treasury Department, but design of its commissioning pennant dates to 1799 when it was specially created for the Revenue Cutter Service, alternately known as the Revenue Marine Service. The thirteen stars represent the original colonies and the sixteen stripes the number of states in the Union at the time the pennant was designed in 1799. Following the Civil War, the Revenue Service adopted the identical commissioning pennant as the Navy, thirteen white stars on a blue field and thirteen vertical red and white stripes. The old pennant was revived in 1938. The hoisting of the commissioning pennant is a key moment in the commissioning of a new coast guard cutter. Once hoisted, it flies until the vessel is decommissioned. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322478776-VGQQLYHWGQO7ZQLTVW7C/34-309+JJ+Janney.jpg The Stars and Stripes: Fabric of the American Spirit - 34-STAR JOSEPH J. JANNEY FLAG c. 1861-65 Hand-sewn silk stripes and embroidered eight-pointed stars. Initials “JJJ” embroidered in gold on fourth red stripe. This flag was carried during the Civil War by Joseph J. Janney, a member of Company C, Purnell Legion Cavalry, organized in Baltimore and initially stationed at Camp Bradford. After being assigned to Harper’s Ferry and later Wilmington, Delaware, the company transferred to the Purnell Infantry and saw extensive action in several battles as part of the Army of the Potomac. Janney mustered in as a private in September 1862 and was discharged with the rank of sergeant in December 1864. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322589341-FUV0SI1QSWNLPK9E0RW5/46-314+Great+White+Fleet.jpg The Stars and Stripes: Fabric of the American Spirit - 46-STAR GREAT WHITE FLEET FLAG c. 1907-09 Printed on silk. Oval images of sixteen American battleships encircling the portraits of President Theodore Roosevelt, Rear Admirals Charles Sperry, William Emory, Charles Thomas and Robley Evans superimposed on stripes. The Great White Fleet, a United States naval force consisting of sixteen battleships painted white with gilded scrollwork and red, white and blue banner on their bows, was sent around the world by President Theodore Roosevelt from December 1907 to February 1909 to showcase American military strength and sea power. The fleet consisted of four squadrons, each with four battleships and escorts, and 14,000 sailors. The fourteen-month, worldwide voyage covered 43,000 miles and made twenty port calls on six continents. In every port, thousands turned out to greet the Americans and to get a glimpse of the ships. The fleet sailed from Hampton Roads, Virginia under the command of Rear Admiral Robley D. Evans aboard the USS Connecticut as flagship. Due to poor health, Evans was later replaced by Rear Admiral Charles S. Sperry. The historic cruise provided the officers and sailors with a revitalized sense of pride in their service to our country and a unique opportunity to serve as ambassadors of good will for America and the United States Navy. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322424825-BJKJ0OHK2P0U5J5EH8AF/26-113+26-Star.jpg The Stars and Stripes: Fabric of the American Spirit - 26-STAR FLAG c. 1837-45 Printed on cotton. Double medallion pattern with central star, flanked by star in each corner. Parade flags made prior to the Civil War are extremely rare, and only a dozen or so twenty-six star flags are known to exist, most of which are Great Star patterns. This double medallion with various-sized stars is unique in its design and may be one of only a few surviving examples. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322429440-2IE64BCD639XM0SMN69G/31-135+Bell+%26+Everett.jpg The Stars and Stripes: Fabric of the American Spirit - 31-STAR BELL 1860 CAMPAIGN FLAG c. 1860 Printed on polished cotton. Pentagon pattern with outlying star, flanked by star in each corner. Overprint: For President, John Bell. For Vice President, Edward Everett./The Union And The Constitution. The Constitutional Union Party was formed in 1860 at a time of growing conflict over the issue of slavery within the Republican and Democratic Parties. Comprised primarily of Whigs and Know-Nothings, the newly-formed third party presented a modest election platform of adherence to the Constitution, the Union and enforcement of laws. John Bell was born in Nashville, served in the House and Senate, was Speaker of the House and for a short time Secretary of War under President William Harrison. His vice-presidential running mate, Edward Everett, was a Harvard professor, served in Congress and was elected Governor of Massachusetts. In the election of 1860, Bell carried the states of Virginia, Kentucky and Tennessee. He garnered more electoral college votes than Stephen Douglas, however both men lost by a wide margin to Abraham Lincoln. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322564544-REKRXCPB29T3O0GWFYZF/44-242+Althoff+Adv.jpg The Stars and Stripes: Fabric of the American Spirit - 44-STAR HENRY ALTHOFF ADVERTISING FLAG c. 1896-1908 Printed on silk. Overprint: Compliments of Henry Althoff “The Doctor” Sample, Meeting and Lunch Room, Cor. Livingston St., 251 Springfield Ave, Newark, N.J. Government Steam Launch, 42 ft. long, to Let for Pleasure and Fishing Parties. The flag was often a popular medium to promote a variety of goods and services, including food items, tobacco, games, liquor products and other forms of commercial merchandise. All of this occurred much to the displeasure of veterans and patriotic organizations as well as legislative bodies, both at the federal and state level. Through the lobbying efforts of committees and veterans groups concerned with protecting the flag, by 1905, thirty-two states had enacted flag protection laws. Passage of a national law remained stymied in Congress until 1968. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322610543-IS6AEDNZHGW0U93TJXHP/48-099+WRC.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR WOMEN’S RELIEF CORPS FLAG c. 1912-59 Printed on cotton. Staggered pattern. Stamped overprint: W.R.C. No. 85. The Women’s Relief Corps was founded as an auxiliary of the Grand Army of the Republic in Denver in 1883 and incorporated by an act of Congress in September 1962. Organized into state and local chapters, initially membership was limited to relatives of Civil War veterans. The WRC was established to care for disabled veterans and to see to the needs of Civil War widows and orphans. Today its purpose is to honor those who have served our country in war and to promote patriotism by teaching the principles of citizenship. The origins of this flag can be traced to Wiley Post No. 85, Bowling Green, Ohio, organized with forty-two charter members in June 1885 and ceased activity in 1974. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322508426-4QY80YR3ZE3R5W130FHW/38-078+38-Star.jpg The Stars and Stripes: Fabric of the American Spirit - 38-STAR FLAG c. 1876 Printed on glazed cotton muslin. Square surrounding wreath with large central star. The thirty-eight-star flag representing Colorado statehood did not become official until July 4, 1877, however the star count was widely used on flags a year earlier during America’s centennial celebration. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322404254-B8116NDSHNYEZPVQNYTC/13-238+Salem+Parade.jpg The Stars and Stripes: Fabric of the American Spirit - 13-STAR SALEM PARADE FLAG c. 1896 Printed on glazed cotton muslin. Six-pointed Great Star pattern. Handwritten inscription: Worn Nov. 6, 1896. At The Parade in Salem To Celebrate The Republican Victory. Josh Rode Baby in This Parade. McKinley and Gold Wolcott Governor The election of 1896 was a contrast in styles between William McKinley with his “front porch” campaign and flamboyant orator William Jennings Bryan, who traveled across the country making speeches before large audiences. In the end, the voters chose Republican candidate McKinley, a strong supporter of the gold standard, by a convincing margin over Bryan, an advocate of the pro-silver movement. Roger Wolcott was born in Boston in 1847, and after graduating from Harvard Law School, served as a member of the state legislature. He was elected lieutenant governor in 1892 and succeeded Governor Frederic Greenhalge who died in office. In 1896, Wolcott was elected governor of Massachusetts and served three terms. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322614662-P2M0WFSAJ041NI36R9DV/48-106+Creme+Salon.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR CRÈME SALON FLAG c. 1945 Printed on paper. Overprint: Vivent Les Allies Crème Simon Soins De La Peau A patriotic advertising flag distributed at the end of World War II by Simon Crème as a tribute to the American armed forces for their role in liberating France from occupation by the Germans. The flag with its slogan “Hooray for the Allies” was also used by the company to promote one of its woman’s skin care products. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322607402-HWAH2IKQJ1W4DJ64N39N/48-058+Pearl+Harbor.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR PEARL HARBOR FLAG c. 1941-45 Printed on cotton. Overprint: Remember Pearl Harbor Dec 7, 1941 Following the Japanese attack at Pearl Harbor, a resolute spirit of nationalism swept across America. United in spirit, millions of men and women joined the armed services and fought valiantly on battlefields throughout Europe and the Pacific. On the home front, Americans worked in factories and shipyards to build planes, tanks, ships and other weapons needed to successfully wage war against our enemies. It was the heroic deeds of these citizens that preserved our freedoms for future generations. Patriotic items were produced with the motto “Remember Pearl Harbor” as a symbol of America’s resolve in the war effort. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322401931-ZJ04RZO2TJGAE6H5RFNZ/13-159+Envelope.jpg The Stars and Stripes: Fabric of the American Spirit - 13-STAR FLAG ON ENVELOPE c. 1893 Printed on glazed cotton muslin. Wreath pattern with central star, flanked by star in each corner. Affixed 2-cent 1893 Columbian Exposition stamp with post office cancellation. Handwritten address: For Miss Emily Bosworth - Florence Mass C/of Uncle Sam This flag was folded around a post card, sealed with red wax to form an envelope and mailed through the postal system. The cancellation is not completely legible but it appears to have been postmarked July 4, 1893 from Stonington, Connecticut. A two-cent Columbian Exposition stamp issued in January 1893 was used for postage. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322549409-CETH9HFPJ0418S6KZW43/44-101+John+Drew.jpg The Stars and Stripes: Fabric of the American Spirit - 44-STAR JOHN DREW FLAG c. 1892 Printed on silk. Overprint: John Drew 100th Standard Theater December 28th 92 John Drew, Jr. (1853-1927) was born in Philadelphia, the eldest child of parents who were stage performers and managed a theatre. As a young actor, Drew joined a Shakespeare company and for the next fifteen years performed in a number of plays. Later in his career he starred in modern comedies. His sister Georgiana married Maurice Barrymore, uniting two distinguished families of the stage. They had three children: Lionel, Ethel and John. This flag celebrates the 100th performance of John Drew in “The Masked Ball” at the Standard Theatre (later named Manhattan Theatre) in New York City. The play also starred Maude Adams, another of America’s great stage actors. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322416988-BFZV7FWVPNHCAICENZ44/13-321+July+4tha.jpg The Stars and Stripes: Fabric of the American Spirit - 13-STAR JULY 4th FLAG c. 1876 Printed on glazed cotton muslin. Wreath pattern with central star, flanked by star in each corner. Ink inscription: July 4th, 1786 The Civil War ended a decade earlier, and Americans were once again beginning to come together. The centennial provided the perfect opportunity to celebrate a century of progress and to look ahead to the future as one country, one people. Most likely this flag dates to the centennial period. While it is not possible to determine for certain, the writer may have intended to inscribe July 4th 1876, honoring the one-hundredth birthday of America. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322424714-FCB1ZUPZNGVT0F63I4MK/26-064+Great+Star.jpg The Stars and Stripes: Fabric of the American Spirit - 26-STAR GREAT STAR FLAG c. 1837-45 Printed on homespun cotton. Great Star pattern. At the request of a Congressional committee in 1818, naval hero Captain Samuel Reid recommended a new design to replace the existing flag of fifteen stars and fifteen stripes. Rather than adding an additional stripe and star for each new state, Reid suggested standardizing the use of thirteen stripes, representing the original colonies, and configuring the stars, one for each state, into a Great Star pattern, with stars for newly admitted states added on July 4 following the year of statehood. The Third Flag Act signed by President James Monroe specified thirteen stripes and a star for each state, however the arrangement of the stars was not defined in the final legislation enacted by Congress. As a result, for nearly the next 100 years, the pattern of stars representing the states was left to the discretion of the flag maker. Great Star patterns were commonly in use until the end of the nineteenth century. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322570583-MGRSNMJ8TY0G93YYVVSV/45-206+Lowell+Signatures.jpg The Stars and Stripes: Fabric of the American Spirit - 45-STAR LOWELL SIGNATURES FLAG c. 1889 Printed on cotton. Staggered pattern. Handwritten notation: Ezekiel Morse 19 Hastings St. Lowell Mass. John A. Hunt Providence RI July 4th, 1899 Hattie S. Sawyer #4 Maple Pl. Lowell, Mass. Aaron C. Sawyer Lowell Mass. Age 80 Years July 3rd 1899 Edith L. M. Harlon #3 Maple Pl. Lowell, Mass. Mrs. James A.F. Merley Blanche L. Merley #3 Maple Place Lowell Mass. Mr. James A Merley Possibly this flag was signed by family and friends to commemorate the 80th birthday of Aaron Sawyer during the July Fourth holiday in 1889. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322506322-9X9IZTB2UUZPKOHWASKC/38-060+Great+Star.jpg The Stars and Stripes: Fabric of the American Spirit - 38-STAR GREAT STAR FLAG c. 1876-90 Printed on silk. Great Star pattern, flanked by star in each corner with one outlying star. A beautiful and delicate design more like a great flower than a Great Star. First appearing on flags in 1818, the great star pattern was in use for a longer period of time than any other form of the Stars and Stripes. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322627426-NNBF1ACNXJ2X9QZ0UKVL/48-173+Coleman.JPG The Stars and Stripes: Fabric of the American Spirit - 48-STAR COLEMAN FLAG c. 1923 Printed on silk. Inscription written on Wesley Coleman & Sons envelope: Flag placed on David Coleman’s casket by his comrades the Civil War veterans. View note here David O. Coleman, first child of Orrin and Susan Coleman, was born in Bradford County, Pennsylvania in November 1848. He died in April 1923 at the veteran’s home in Bath, NY and is buried in Floral City cemetery. David was married to Carrie Pipher (they divorced in 1884) and later Orpha Shores. He was a member of the local GAR Post and attended the 43rd New York State encampment held in Binghamton, June 15-17, 1909. His delegate badge from the reunion accompanied this flag. David’s brother John Wesley moved to Binghamton, NY in 1883 and a few years later formed a contracting partnership under the firm name of Davis and Coleman. After devoting his time to government work during World War I, he organized J. Wesley Coleman and Sons, contractors and builders, which erected many business buildings and residences in Binghamton. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322544086-XXO31W9G6WSVQ20WNL6G/40-178+Peabody+GAR.jpg The Stars and Stripes: Fabric of the American Spirit - 40-STAR PEABODY POST GAR FLAG c. 1889 Printed on glazed cotton muslin. Rare star count. Overprint: Everett Peabody Post No. 108 G.A.R. Georgetown, Mass. Colonel Everett Peabody commanded a brigade on the western flank of Grant’s Army at the Battle of Shiloh. Fearing a Confederate attack, Peabody became an unsung hero when he sent a reconnaissance force to strengthen the brigade’s position ordering his men to hold their ground if the enemy was encountered. Acting on his own, Peabody hoped to provide a warning to the Union Army in time to prepare for the coming onslaught. When the Confederates were engaged, Peabody and his men joined the battle. He was mortally wounded, but his action surprised the enemy and eventually led to their surrender. A Harvard graduate, Everett Peabody is among one-hundred and thirty-six alumni who gave their lives on behalf of the Union cause and are so honored in Harvard’s Memorial Hall. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322517137-STNFM04S6V3GMEXFFA2P/38-089+Centennial+1876.jpg The Stars and Stripes: Fabric of the American Spirit - 38-STAR CENTENNIAL FLAG c. 1876 Printed on cotton. Rare example of printed gold stars. Inscription in selvage: Philadelphia, Sept 1876, G.N.M. Overprint: Centennial 1876 This flag, specially designed for the nation’s centennial celebration that opened on May 10, 1876 in Philadelphia, is unique for several reasons. The printing on the stripes is not an overprint but rather was incorporated at the time the flag was manufactured, and the canton was printed intentionally in the upper right corner. Also, the use of gold stars on parade flags is virtually unknown. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322497004-I5CRWDPT5UL82GEWLRBY/37-120+Grant+Parade.jpg The Stars and Stripes: Fabric of the American Spirit - 37-STAR GRANT PARADE FLAG c. 1880 Printed on silk. Two handwritten notes accompany the flag, one reads: In the fall of 1880, from the balcony of Roscoe Conklin’s house in the city of Utica (John Street), Gen. U.S. Grant received a grand torch-light procession of the Republicans- a procession in which the students of Colgate (then Madison) University marched. When Gen. Grant’s sharp eye caught sight of the large transparency that revealed the identity of our student company, his face was pleasantly lighted up, he uncovered his head, and graciously bowed, the boys enthusiastically rending the air with their college yell. I had this little flag with me in the procession. Many of the boys had brought them that day, and worn them as neckties. A man that fought so indomitably for the flag, ought to be saluted with it. So I saluted Grant with it. He has gone, but this flag is here.(signed) Thos. Broxholm. View notes here & here Hiram Ulysses Grant was born in Point Pleasant, Ohio in 1822. A West Point graduate and outstanding military figure, he served from 1869-77 as the nation’s eighteenth president. Grant’s middle name was ‘Ulysses’ not Simpson as frequently reported, and he admitted that the ‘S’ in his name had no meaning. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322522177-RAO1QB7TM07GIPZ3QISL/38-184+GAR+Badge.jpg The Stars and Stripes: Fabric of the American Spirit - 38-STAR GAR BADGE FLAG c. 1877-90 Printed on silk. Modified triple medallion pattern surrounding image of the 1880 GAR membership badge. The Grand Army of the Republic (GAR) was founded in 1866 by Dr. Benjamin F. Stephenson to provide fraternity among Union Army veterans who served in the Civil War and to actively support legislation advancing benefits to veterans and their families. The national organization reached a membership of nearly half a million in 1890 with posts in every state and overseas. The last member, Albert Woolsen, died in 1956 at the age of 109 years. The original GAR membership badge was manufactured in the form of a shield but was redesigned in 1869 with a ribbon and badge resembling the Congressional Medal of Honor. Its similarity to the Medal of Honor caused a great deal of controversy, necessitating a new design in 1880. GAR badges were struck from captured Confederate cannon metal, with the last believed to have been produced around 1940. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322544841-O3X9OQ3IT4A2L6ZIQ2R9/41-107+41-Star.jpg The Stars and Stripes: Fabric of the American Spirit - 41-STAR FLAG c. 1889 Printed on cotton. Rare star count. Staggered pattern. On November 2, 1889, North Dakota and South Dakota were added as the thirty-ninth and fortieth states, the first and only time in history two states were admitted on the same day. Montana, the forty-first state, joined the Union on November 8, pre-dating Washington, the forty-second state, by three days. As a result of these rapid changes in the number of states, only a very small number of forty-one star flags was ever produced, thereby making them extremely rare. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322493000-PXZA2AHUWUZUTA62L59U/36-072+Centennial+Exh.jpg The Stars and Stripes: Fabric of the American Spirit - 36-STAR CENTENNIAL EXHIBITION FLAG c. 1876 Woven silk. Staggered pattern. Inscriptions: [Obverse]: Philadelphia International Exhibition America and France Union Forever 1776 Centennial 1876 Souvenir./[Reverse]: Philadelphia International Exhibition Union For Ever 1776 Centennial 1876 Memento. The Centennial Exhibition celebrating 100 years of American cultural and industrial progress took place at the Fairmount Park Fairgrounds in Philadelphia and marked the first time a major world’s fair was held in the United States. The event was immensely popular and introduced America as a new industrial world power. Although there were thirty-seven states when the Centennial Exposition opened, this souvenir flag was produced with thirty-six stars, illustrating the liberty sometimes taken by flag makers to favor graphic design over historical accuracy. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322665434-EFDFT9QXRGC64J35L59R/48-296+Sgt+Paff.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR SERGEANT HARRY PAFF FLAG c. 1918 Hand painted on linen. Ink inscription on reverse side of flag: Given to me by a little French boy at Hery, France Nov. 12, 1918. Made by him. Sargt. Harry Lat Paff Co. B 66 Regt. AM EF. France View inscription here The American Expeditionary Force, commanded by General John J. Pershing, fought alongside French and British units against the German army during World War I. The American soldiers, called “Doughboys” by the other allied troops, evolved into a modern, combat-tested army engaging in a number of major offensive operations during the closing months of the war. When the armistice was declared on November 11, 1918, every town, every village in America and Europe celebrated the allied victory. Civilians gathered in the streets, singing and dancing, sharing their happiness and cheering the parading troops. Women and children pelted the soldiers with flowers, pressed flags in their hands and kissed them. The story of this flag’s origin is a poignant reflection of the joy shared by the French people who were thankful to those who fought bravely to restore peace to their war-torn country. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322553678-5K2CRUHN774QJIUV8BE2/44-226+Cleveland+Portrait.jpg The Stars and Stripes: Fabric of the American Spirit - 44-STAR CLEVELAND PORTRAIT FLAG c. 1892 Printed on silk. Image and facsimile signature of Grover Cleveland superimposed with stamped 1892 date. Grover Cleveland was elected President in 1884 but lost his bid for re-election four years later to Benjamin Harrison, even though Cleveland won a larger popular vote. They faced each other again in the election of 1892, a contest dominated by the issue of tariff policies and one in which neither candidate led a unified party. Cleveland won handily, outpolling both Harrison and third party candidate James Weaver. In doing so Cleveland became the first, and only president to date, to serve two non-consecutive terms. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322549416-V6CY2KA47R3FNA4FF0UQ/44-036+Harrison+Portrait.jpg The Stars and Stripes: Fabric of the American Spirit - 44-STAR HARRISON PORTRAIT FLAG c. 1892 Printed on silk. Image and facsimile signature of Benjamin Harrison superimposed with stamped 1892 date. Benjamin Harrison, grandson of President William Henry Harrison, defeated Democrat incumbent Grover Cleveland in 1888 to gain the presidency even though Cleveland won the larger popular vote. Harrison received 90,000 fewer popular votes but carried the Electoral College 233 to 168. Four years later in the election of 1892, Cleveland handily defeated Harrison to regain the White House. Following the Civil War, Harrison remained active in the Grand Army of the Republic (GAR) and was a strong proponent of veterans affairs. He served in the United States Senate from 1881-1887. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322559455-02OQVXIJXBFIBYWQI212/45-093+Memorial+Day.jpg The Stars and Stripes: Fabric of the American Spirit - 45-STAR MEMORIAL DAY FLAG c. 1899 Printed on glazed cotton muslin. Overprint: Memorial Day. 1899. In 1865, Henry Welles, a druggist in Waterloo, New York, came up with an idea to designate a special day for townspeople to place wreaths and flowers on graves of Civil War soldiers in the town cemetery. Coincidentally, similar ceremonies honoring those who died in the Civil War were being held in other regions of the country. Originally established as Decoration Day, in 1868 General John Logan, commander of the Grand Army of the Republic, proclaimed May 30th as a day to honor Civil War dead by placing flowers and wreaths on their graves in Arlington National Cemetery. After World War I, the annual ceremony was expanded to honor all armed forces personnel who died in America’s wars. Congress declared Memorial Day a national holiday in 1971 and changed the day of observance to the last Monday in May. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322415361-5TR8BJ2XOQR4SP19FI48/13-294+Ettie+Dunn.jpg The Stars and Stripes: Fabric of the American Spirit - 13-STAR ETTIE DUNN FLAG c. 1861-65 Printed on glazed cotton muslin. Wreath pattern with central star, flanked by star in each corner. Handwritten note: This flag was used by Miss Ettie Dunn during a Civil War troop rally in Erie PA for President Lincoln’s call for volunteers. View note here Within days after the Confederates fired on Fort Sumter, President Lincoln issued a proclamation ordering governors to detach a specified quota of men, aged 18-45, from their state militia to serve in the infantry for a period of three months. In Pennsylvania, Lincoln’s call for 75,000 volunteers attracted thousands more than could be accepted. In the city of Erie, four days after the recruitment call, twelve hundred men from Erie, Crawford and Warren counties assembled to volunteer their service. The Erie Regiment was permitted to take only ten companies of seventy-five men each, so hundreds were turned away. The regiment’s tour of duty ended without seeing action. A few months later, there was another call to arms, and again more than one thousand men from these counties volunteered for service, this time for three years. These volunteers honorably served in the 83rd, 111th and 145th Pennsylvania regiments. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322604742-7IG0Y9G3GEV5SYAW85FO/46-319+Relief+Corps.jpg The Stars and Stripes: Fabric of the American Spirit - 46-STAR RELIEF CORPS FUNERAL FLAG c. 1980-12 Printed on silk. Inscription on accompanying envelope and note card: This contains a little flag put away by mother. This flag was on the flowers sent by Relief Corps for my boy’s funeral and laid beside his dear still face till the coffin hid it from my eyes- Mother. May I see him in glory. View envelope here & note here The Women’s Relief Corps (WRC) is a patriotic organization with origins dating to 1869 in Portland, Maine. Within the ensuing decade, women in other states formed similar local aid societies, and in 1879 representatives from several of these groups met in Fitchburg, Massachusetts and founded the Women’s Relief Corps. In 1883 it was reorganized as an auxiliary branch of the Grand Army of the Republic. Among its primary responsibilities, the WRC provides aid and comfort to all veterans and their dependents, extends needed assistance to their widows and orphans and assures them of sympathy and friends. The sadness of a grieving mother is so fittingly captured on the note she wrote about her loss and her sentiment for the flag that was placed beside her son in honor of his military service to our country. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322650046-35MJK1E5NFCQAHWYFD2M/48-256+Aetna.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR AETNA HONOR ROLL FLAG c. 1917 Printed on silk. Patterned after the small flags that were proudly displayed in the windows of families with sons or daughters in the armed forces, “in service flags” were used by organizations and businesses to honor members who answered their nation’s call to duty during the First World War. These flags were large in size and sometimes flown on a pole or hung from the ceiling of a factory, office or meeting hall. A blue star for each person on active service was placed in the center of the red-bordered white rectangular flag, and by tradition, was replaced or covered with a gold star if a member died in action. The service flag was originally designed by Army Captain Robert Queissner of the 5th Ohio Infantry who had two sons serving on the front line, and it quickly became the symbol of a family member in service. This flag and brochure were distributed by the Aetna Insurance Company in appreciation for the sacrifices their employees were making as members of the military serving on active duty. The envelope in which the flag and pamphlet were enclosed is inscribed “Florence H. Grimshaw 1917.” View brochure here & here https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322631842-UR6CD9N6TO8P4ED1OFNL/48-200+Probst+Parade.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR PROBST PARADE FLAG c. 1915 Printed on cotton. Staggered pattern. Inscription written on lower white stripe: Carried By George Probst G.A.R. Parade Wash D.C./Sept. 30, 1915 R. Gaus Celebrating the 50th anniversary of the end of the Civil War, the Grand Army of the Republic marched from the Capitol to the White House passing in review before President Woodrow Wilson and receiving the plaudits of a quarter of a million people who lined Pennsylvania Avenue. There were 20,000 veterans in the long blue line, a small remnant compared to the number who marched before President Andrew Johnson a half century earlier. America’s highest-ranking government and military officials as well as many diplomats and ambassadors from other nations were present to pay tribute to the “boys in blue.” In accordance with tradition, the procession was led by Illinois followed by the veterans of Pennsylvania, New York and other departments in regular order. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322664655-BSJQEVUEILJMQL8W1AMD/48-289+Pershing+Parade.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR PERSHING PARADE FLAG c. 1919 Printed on cotton. Ink inscription: The Great Victory Parade “General Pershing” The First Division AEF Sept. 17, 1919 Washington DC Born in Missouri in 1860, John J. Pershing graduated from West Point where he was commended for his high leadership skills and superb ability. Nicknamed “Black Jack,” he commanded the American Expeditionary Force during World War I and rose to the highest rank ever held in the United States Army- General of the Armies- equivalent only to the posthumous rank given to George Washington. In 1921, Pershing became U.S. Army Chief of Staff and served for three years in that position before retiring from active duty. He died in Washington in July 1948 and is buried in Arlington National Cemetery. Pershing was regarded as a mentor to a generation of Army generals who led U.S. forces in Europe during the Second World War, including George Marshall, Dwight Eisenhower, Omar Bradley and George Patton. In the months following the end of World War I, parades were held in every city throughout America to honor our servicemen returning from Europe. On September 17, 1919, a National Victory Day Parade was held in Washington, D.C. with General Pershing riding on horseback leading the First Division down Pennsylvania Avenue. No official victory parade was held again in the nation’s capital until the end of Desert Storm in 1991. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322566070-9GAZEUOD63P2DEP0IWDF/45-150+Howell+GAR.jpg The Stars and Stripes: Fabric of the American Spirit - 45-STAR HOWELL POST GAR FLAG c. 1896-1908 Paint-printed on cotton. Staggered pattern. Printed inscription: Gen’l Howell Post 31 G.A.R. Woodbury, N.J. Joshua Blackwood Howell was born near Woodbury, New Jersey on September 11, 1806. Educated at the University of Pennsylvania, he was a lawyer and served in the state militia prior to the Civil War. During the war, Howell served with the 85th Pennsylvania Regiment in the defense of Washington and later commanded the 1st Brigade, Army of the Potomac, at Charleston. He died September 12, 1864 from injuries resulting from a fall from his horse. His death occurred two days before the orders arrived promoting him to Brigadier General. Howell’s great grandfather, John Ladd, was hired by William Penn in the late 1600’s to survey and assist in laying out the city of Philadelphia. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322400950-RN02UFKC5YIZP136PT7N/13-153+Third+Maryland.jpg The Stars and Stripes: Fabric of the American Spirit - 13-STAR THIRD MARYLAND FLAG c. 1848-65 Hand-sewn silk with linen sleeve and appliquéd stars. Wreath pattern with central star. This design is often referred to as the Third Maryland pattern because it is believed to have been originally adopted by a regiment of Maryland soldiers at the Battle of Cowpens during the Revolutionary War. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322546706-D5Q2WTJCOVQBCN32T9QO/42-090+7th+Illinois+Reunion.jpg The Stars and Stripes: Fabric of the American Spirit - 42-STAR 7th ILLINOIS REUNION GUIDON c. 1889 Reunion guidon printed on cotton. Double medallion pattern with central star, flanked by star in each corner. Stamped inscription: 7th Illinois Cavalry G.A.R. Encampment Camp Butler Illinois July 4th 1889 The 7th Illinois Cavalry organized at Camp Butler in October 1861 and mustered out in November 1865. During its three years of service, the regiment engaged in battles at Corinth, Franklin, Nashville and Vicksburg as part of the famous Grierson Raid, a decisive victory that helped General Grant secure the last Confederate stronghold on the Mississippi River. This souvenir guidon commemorates the regiment’s twenty-fifth reunion encampment held at Fort Butler. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322620885-ZFGXBXC33Z8MIKZIU54I/48-142+Berlin+Convoy.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR BERLIN CONVOY FLAG c. 1945 Machine sewn cotton and satin stripes with machine embroidered stars. On June 23, 1945 a U.S. military convoy entered Berlin to take control of the American sector of the city. In honor of the occasion, flags hand made in the nearby town of Halle were specially ordered for convoy vehicles. Colonel John J. McGinnis, a field officer with the Army’s military government operations, saved one of the flags as a souvenir of the historic event. He later bequeathed his flag to the National Museum of American History where it became part of the Smithsonian Institution exhibit July 1942: United We Stand, The Flag In World War II. This is another of the original flags that was among the first to enter Berlin following the end of the Second World War. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322632121-DCOZEQHJIL9WYU1MS3EE/48-192+Victory+Parade.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR VICTORY PARADE FLAG c. 1918 Printed on cotton. Top red stripe removed. Ink inscription: In Memory Victory Parade Dec. 7 1918 Given In Honor of Signing of Armistice Nov. 11, 1918 Which Stopped The World War For Democracy After 4 Years Of War. The fighting in World War I ended on November 11, 1918, and in the months thereafter as our soldiers returned from Europe, parades were held in every city throughout America to honor their victory and to celebrate world peace. Large gatherings were highlighted by marching bands, the singing of patriotic songs and tributes to the soldiers, sailors and war workers for their efforts in winning the war and restoring democracy abroad. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322623762-EDIWL5K2YK6276RUWTZO/48-166+Four+Brothers+GAR.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR FOUR BROTHERS POST GAR FLAG c. 1912-59 Printed on cotton. Vertical stamped overprint: Four Brothers Post No. 453 G.A.R. Four Brothers GAR Post 453, named in honor of the four Lyons brothers who served in the Civil War, was organized in Montrose, Pennsylvania on September 4, 1884. Born to Nathan and Elizabeth Lyons, three of the brothers, Benjamin, Luke and Clark died during the war. The surviving brother, Captain Jerome Lyons, was discharged in October 1864 after three years of active duty service for wounds received in battle; he died three years later. Jerome led the movement and was the architect who designed the Civil War Soldiers’ Monument erected on the green in Montrose in 1876. Monument Square, which lies between the courthouse and the County Historical Society, has four stone tablets on each side of the monument, each identifying a township in Susquehanna county with the names of the men who served in the Civil War. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322445856-TVC9WP6NY9UH1P5008H3/33-268+Decoration+Day.jpg The Stars and Stripes: Fabric of the American Spirit - 33-STAR DECORATION DAY FLAG c. 1887 Printed on glazed cotton. Double medallion pattern with central star, flanked by star in each corner. Handwritten inscriptions: [Obverse] Decoration Day May 30, 1887/Arlington National Cemetary (sic) Washington, D.C./[Reverse] Arlington Heights Gen. R.E. Lee Old./May 30/87 The first national celebration of Decoration Day for the purpose of decorating the graves of comrades who died in the Civil War took place on May 30, 1868 at Arlington National Cemetery. This patriotic gesture honoring those who had fallen in battle helped reunite the country after a long and bitter war. In 1882, the Grand Army of the Republic (GAR) renamed this solemn holiday Memorial Day to recognize soldiers who fought in all American wars, and in 1971 federal law changed the observance to the last Monday in May. Arlington National Cemetery is the most sacred place of burial for veterans of every war and conflict in American history. Since 1864, more than two hundred thousand burials have taken place in the more than six hundred acres devoted to America’s honored dead. Each year on Memorial Day, a wreath is placed at the Tomb of the Unknowns, and each grave is decorated with a small American flag. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322469779-V392O5FGQ19IXXV4KVPB/34-273+Union+Bible+Flag.jpg The Stars and Stripes: Fabric of the American Spirit - 34-STAR UNION SOLDIER BIBLE FLAG c. 1861-65 Hand-sewn silk ribbon stripes with sequin stars; red, white and blue silk page markers. Often when a soldier left home to fight in the Civil War, a family member would sew a small flag which was given to him to use as a bookmark in the Bible he carried. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322635467-G2APIKZTXZK8NF1P6IXQ/48-208+13th+NY+Reunion.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR 13th NEW YORK REUNION FLAG c. 1901-12 Printed on silk. Staggered pattern. Overprint stamped in gold: 13th N.Y. Inf. Vols. Blackburn’s Ford, 1st Bull Run Smith’s Mills Siege of Yorktown, W. Pt., Va. Hanover Court House, Mechanicsville Gaines Mills Savage Sta. Malvern Hill Second Bull Run, Antietam, Shepherdstown Fredericksburg The 13th Infantry Volunteers, the “Rochester Regiment”, was organized at Elmira, New York under the command of Colonel Isaac Quinby in May 1861, and initially attached to Sherman’s Brigade and later to Porter’s Division, Army of the Potomac. The Regiment saw significant action as evidenced by the battle honors printed on the stripes of this reunion flag, date unknown. The unit suffered 450 casualties during its two years of active duty service before mustering out in May 1863. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322563286-2RQQNL55HD2IZ9BC7KWH/45-149+Eden+Park.jpg The Stars and Stripes: Fabric of the American Spirit - 45-STAR EDEN PARK FLAG c. 1896-1908 Printed on glazed cotton muslin. Notched pattern. Handwritten inscriptions: Souvenir of the flag-raising in Eden Park (selvage): Souvenir of the flag Eden Park was created in 1859 as part of Cincinnati’s municipal park system, and today it is the largest and most popular recreational facility, combining culture, city history and beautiful architecture. Named after the Garden of Eden, the park is home to the Cincinnati Art Museum, Playhouse in the Park and Krohn Conservatory. Five memorial tree plantings are located throughout the park: the Presidential grove containing a tree planted for each U.S. President; heroes grove in memory of the 1776 patriots; a second heroes grove honoring Cincinnati men and women who lost their lives in World War I; pioneers grove with trees planted by the forestry service in honor of Cincinnati’s pioneers; and authors grove in memory of authors and statesmen. The water tower and Melan Arch Bridge, both completed in 1894, are two of the many architectural landmarks. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322617729-0NP6E8J0TOA8SABTZRKQ/48-115+Baseball++Game+%28Obv%29.jpg The Stars and Stripes: Fabric of the American Spirit - 48-STAR BASEBALL GAME FLAG c. 1903 Printed on glazed cotton. Staggered pattern. Hand-written inscriptions on both sides of flag: [Obverse]: Fireworks at Harlows G.B.S. & S.A.W. H.A.H.& A.B.W. Went July 4, 1903. Ball game 6 to 4 in favor of Kingfield./[Reverse] July 4, 1903. H.A.H. Ball game between Lexington & Kingfield 6 to 4 in favor of Kingfield. Since the earliest days of the republic, Americans have observed the anniversary of our nation’s independence as a major holiday and an important time for celebration. Many of today’s Fourth of July traditions- fireworks, parades and games- have their roots in local customs dating back to the post Revolutionary War period. The written notations on this flag recount the July 4 fireworks celebration and baseball game most likely played between the neighboring towns of Kingfield and Lexington, Maine at the Harlow family farm in 1903. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585322400127-ESBCW0DCEEHPN271B3JR/13-104+Centennial.JPG The Stars and Stripes: Fabric of the American Spirit - 13-STAR CENTENNIAL FLAG c. 1876 Nine hand-sewn satin ribbon stripes with multi-pointed embroidered stars in scatter pattern. The popularity of the flag greatly increased during the nation’s centennial celebration in 1876. A variety of original, handmade examples like this one were created in tribute to the Stars and Stripes and to the spirit and birth of America one-hundred years earlier. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1585321508125-0ITDBF7SKNEC5TO8CODK/MS-262+Gettysburg+Cyclorama.jpg The Stars and Stripes: Fabric of the American Spirit https://sale.morven.org/artists-gather daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620066854316-9V6Z47SEMUBQUSXVVSTR/Prestopino.G--2Men-2Bridges.jpg Artists Gather In Roosevelt - Two Men, Two Bridges, 1947 Two Men, Two Bridges, 1947 Gregorio Prestopino (1907–1984) Oil on canvas Estate of Gregorio Prestopino Born in New York’s Little Italy neighborhood, Gregorio Prestopino, or “Presto,” as he came to be known, first set out to be a sign painter. After he received a scholarship to the National Academy of Design at age 14 he was influenced by the Ashcan School, an early 20th century group known for their gritty urban subject matter. He had a studio under the Brooklyn Bridge in a building that also served as a boarding house for sailors. He painted many scenes along the waterfront. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620066854316-9V6Z47SEMUBQUSXVVSTR/Prestopino.G--2Men-2Bridges.jpg Artists Gather In Roosevelt - Two Men, Two Bridges, 1947 Two Men, Two Bridges, 1947 Gregorio Prestopino (1907–1984) Oil on canvas Estate of Gregorio Prestopino Born in New York’s Little Italy neighborhood, Gregorio Prestopino, or “Presto,” as he came to be known, first set out to be a sign painter. After he received a scholarship to the National Academy of Design at age 14 he was influenced by the Ashcan School, an early 20th century group known for their gritty urban subject matter. He had a studio under the Brooklyn Bridge in a building that also served as a boarding house for sailors. He painted many scenes along the waterfront. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620067427959-QQ68PYGC8OUAGUV1X134/Prestopino.G--Decoration-Day.jpg Artists Gather In Roosevelt - Decoration Day, 1934 Decoration Day, 1934 Gregorio Prestopino (1907–1984) Egg tempera on board Estate of Gregorio Prestopino Decoration Day was the original name for Memorial Day, which honors those who have died while serving in the United States Military. It was called Decoration Day because of the flowers, flags, and wreaths decorating the graves of the deceased. Prestopino’s anti-war sentiments, which would drive him to join the anti-war movement in the 1960s and 1970s, can be felt in this tragic painting of war heroes. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620067461087-K2VBRRIJ4TLOP5T9JAC5/Shahn-Ben--ForAllTheseRights.jpg Artists Gather In Roosevelt - For All These Rights We’ve Just Begun to Fight, 1946 For All These Rights We’ve Just Begun to Fight, 1946 Ben Shahn (1898–1969) Paper on board Special Collections and University Archives, Rutgers University Libraries In 1944, Ben Shahn became the head of the graphics department for the Political Action Committee of the Congress of Industrial Organizations (CIO-PAC). This was the first political action committee (PAC) in the country. It was created to elect candidates who would build on the progressive policies of the New Deal. Shahn’s posters, like this one demanding that basic standards of living be treated as rights, played a role in the 1946 congressional elections. In a 1968 interview, Shahn said, “Propaganda is to me a noble word. It means you believe something very strongly and you want other people to believe it; you want to propagate your faith.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620067461352-XAUYE7LVWOBW8JC0B5JR/Shahn-Ben--MadameLucie.jpg Artists Gather In Roosevelt - Madame Lucie Dreyfus Sortant de la Prison de Rennes, 1930 Madame Lucie Dreyfus Sortant de la Prison de Rennes, 1930 Ben Shahn (1898–1969) Gouache on paper Lent by The Metropolitan Museum of Art, Walker Evans Archive, 1994 (1994.263.105) This painting is one of a series of ten by Shahn, illustrating scenes and characters from the Dreyfus Affair, which involved Alfred Dreyfus (1859–1935), a Jewish artillery captain in the French army who was convicted of treason for passing military secrets to the Germans. The evidence against Dreyfus was fabricated as a result of antisemitism in the French army. In 1898 French writer Emile Zola famously sent an open letter, titled, J’Accuse! to French president Felix Faure in defense of Dreyfus who was eventually exonerated and reinstated in the army. Shahn learned of the case while traveling in France. The Dreyfus Affair series was the first of several Shahn created about major trials. The following year Shahn did a series of paintings on the story of Sacco and Vanzetti, the Italian born anarchists who were convicted of murder, despite scant evidence, and executed. A later series focused on Tom Mooney, who was wrongfully convicted of planting a bomb during a parade. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621005252937-U5F98OE4RHX3GZWAO1LK/1948_0204+Shahn.jpg Artists Gather In Roosevelt - The Clinic, 1944 The Clinic, 1944 Ben Shahn (1898–1969) Tempera on paper mounted on Masonite Georgia Museum of Art, University of Georgia; Eva Underhill Holbrook Memorial Collection of American Art, University purchase GMOA 1948.204 This work was one of more than 100 paintings included in the State Department’s Advancing American Art, a project which planned to exhibit American art worldwide to show the country’s diversity and powerful new art movement. Exhibitions were held in New York, Paris, Czechoslovakia, and Cuba before President Harry Truman wrote to the Assistant Secretary of State stating that modern art was “merely the vaporings of a half-baked lazy people.” Within 48 hours the project began shutting down. Ben Shahn was in good company though, other artists included: Georgia O’Keeffe, Stuart Davis, Jacob Lawrence, Arthur Dove, Marsden Hartley, Edward Hopper, Romare Bearden, Max Weber, Charles Sheeler, and John Marin, to name a few. The government auctioned their works as “war surplus” in 1948. Surrounded by the green tile walls of a prenatal clinic two women wait to be seen. The question posed in the poster behind them feels as relevant today as it must have in 1944. President Truman would be the first president to suggest a national health insurance program in 1945. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621005814839-MMW9245ODDA1XZTIBE92/Rosskam.L--Cabrer-Hat-Factory.jpg Artists Gather In Roosevelt - Cabrer Hat Factory, Ponce, Puerto Rico, 1947 Cabrer Hat Factory, Ponce, Puerto Rico, 1947 Louise Rosskam (1910–2003) Silver gelatin print Collection of Gary Saretzky Edwin and Louise Rosskam worked as photographers for the Office of Information for Puerto Rico, a government agency on the island that reported to the U.S. Department of the Interior. Their project involved photographic coverage of the social and economic conditions of the island. Their archive encompassed rural and urban life: housing, health care, education, agriculture, transportation, religion, recreation, and politics. Louise became the campaign photographer for Luis Muñoz Marin, the first popularly elected governor of Puerto Rico. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621005815324-QZX6L20MXGWRE99IY3XZ/Rosskam.L--Amateur-Radio.jpg Artists Gather In Roosevelt - Amateur Radio Night, 1944 Amateur Radio Night, 1944 Louise Rosskam (1910–2003) Silver gelatin print Collection of Ani Rosskam and Bill Leech Thomas Jefferson Robinson, billed as “the Catskinner from Elk Basin,” and his daughter Sally June sing a cowboy song for Carter Oil Company’s Amateur Radio Night in Elk Basin, Wyoming. In 1943, Louise and Edwin Rosskam began as freelance photographers for the Standard Oil Company of New Jersey to show the human side of oil use. Although they had reservations about working for a powerful corporation and making pictures to improve its public image, they felt they could contribute patriotic service by showing oil’s role in the war and traveled to all corners of the country while being generously compensated. They later spoke about their Standard Oil years as among the best of their lives. Images like this one were intended to show the oil company’s treatment of its employees and their families in a positive light. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621005827073-XTK49RUV7XJY55RUKRN1/Rosskam.E--Towboat-Thomas-Moses.jpg Artists Gather In Roosevelt - Towboat Thomas Moses, c. 1945 Towboat Thomas Moses, c. 1945 Edwin Rosskam (1903–1985) Silver gelatin print Collection of Gary Saretzky Living with pilots, captains, mates, deckhands, cooks, and chambermaids, Edwin and Louise Rosskam photographed life on towboats that pushed barges of oil and other goods along the Mississippi and Ohio Rivers. They were especially swept up by the distinct culture of river life and the people who endured long periods of isolation. They published Towboat River, a documentary photo-book chronicling the history, sociology, and anthropology of the culture. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621005829887-05MWBX4SJIQ87LAIQ3X1/Libsohn.S--Motorcycle-Barker.jpg Artists Gather In Roosevelt - Motorcycle show barker at the New Jersey State Fair, Trenton, New Jersey, 1947 Motorcycle show barker at the New Jersey State Fair, Trenton, New Jersey, 1947 Sol Libsohn (1914–2001) Silver gelatin print Estate of Sol Libsohn https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621005843168-RH6621MIJZUQS0UOP0RM/Libsohn.S--Lunch-Counter.jpg Artists Gather In Roosevelt - Lunch counter in Trylon Diner, Clinton, NJ, 1945 Lunch counter in Trylon Diner, Clinton, NJ, 1945 Sol Libsohn (1914–2001) Silver gelatin print Estate of Sol Libsohn Sol Libsohn traveled and lived with truck drivers over two months for his photographic series “The Trucking Story.” He made late-night portraits of the waitresses, diners, and other roadside attractions the truckers encountered on their cross-country runs. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621005840879-22MMYNYGLV2CS8I82HB3/Libsohn.S--Iron-Worker-Rigging.jpg Artists Gather In Roosevelt - Iron Worker Rigging a Section of Standpipe, Bayway Refinery, Linden, New Jersey, 1948 Iron Worker Rigging a Section of Standpipe, Bayway Refinery, Linden, New Jersey, 1948 Sol Libsohn (1914–2001) Silver gelatin print Estate of Sol Libsohn Toward the end of World War II, Sol Libsohn was hired by Roy Stryker, to work for the Standard Oil Company of New Jersey. Stryker had launched the documentary photography project of the Farm Security Administration (FSA) – hiring legendary photographers like Dorothea Lange, Walker Evans, Ben Shahn, and Louise Rosskam. When the FSA photographic unit disbanded Stryker went to work on a public relations documentary project for Standard Oil, employing first the Rosskams and then Libsohn. The NJ oil project paid $50 a day, allowing Libsohn to move his family from his fifth-floor walkup in New York, into a home in Roosevelt. He had visited Ben Shahn, one of his photographic heroes, in Roosevelt, and moved there in 1947. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621005853373-F8DAPP3ONUEJUXW7MR33/Libsohn.S--Farmers-at-an-Inn.jpg Artists Gather In Roosevelt - Farmers at an Inn, Pennsylvania, 1945 Farmers at an Inn, Pennsylvania, 1945 Sol Libsohn (1914–2001) Silver gelatin print Estate of Sol Libsohn Libsohn lived in Roosevelt for the rest of his life. He described the town as a “monument to a democracy of various ideas, various peoples, various everything and a nature preservation idea, and a decent upbringing for your kids idea. It is really... it’s a monument that should be preserved, as well as any monument of FDR, as well as any monument of Abe Lincoln; this is a monument to how democracy can work if it’s encouraged.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621005850334-DRA28OWRIJP4B5DGDBTD/Libsohn.S--Children-in-Car-Parked.jpg Artists Gather In Roosevelt - Children in car parked in tomato field where their parents, migrant farm workers, are picking tomatoes. Cranbury, New Jersey, 1948 Children in car parked in tomato field where their parents, migrant farm workers, are picking tomatoes. Cranbury, New Jersey, 1948 Sol Libsohn (1914–2001) Silver gelatin print Estate of Sol Libsohn Known for his social-realist images of ordinary Americans, Sol Libsohn’s work was included in The Family of Man, the landmark photographic exhibition curated by Edward Steichen at the Museum of Modern Art in 1955. In an oral history Libsohn said, “What makes a picture important is...because it’s really recorded...not only an incident, but also a place that somehow relates to the growth of the United States of America in some essential way.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621005867110-L61WYEA9Q3XF37XV2634/Dauber.E--Late-Sun.jpg Artists Gather In Roosevelt - Late Sun Late Sun Elizabeth Dauber (1910–2005) Oil on canvas Collection of Paul and Sara Prestopino https://sale.morven.org/tradition-endures daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620068598618-Q30J1XPKA71KW6RVQGII/Folsom.R--MaryDank.jpg Roosevelt’s Artistic Tradition Endures - Mary and Dank, 2008 Mary and Dank, 2008 Rachel Folsom (b. 1944) Oil on panel Collection of Rachel Folsom “Mary and Dank” are the parents of artist Rachel Folsom, who grew up in Roosevelt. Mary Elting and Franklin “Dank” Folsom were authors; together they wrote more than 125 children’s books. They moved from Manhattan to Roosevelt in 1949 and lived there until 1971. In 1986, Dank marched from California to Washington, D.C., as part of the Great Peace March for Total Nuclear Disarmament along with 500 other peace activists. He co-wrote a book about the experience. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620068598618-Q30J1XPKA71KW6RVQGII/Folsom.R--MaryDank.jpg Roosevelt’s Artistic Tradition Endures - Mary and Dank, 2008 Mary and Dank, 2008 Rachel Folsom (b. 1944) Oil on panel Collection of Rachel Folsom “Mary and Dank” are the parents of artist Rachel Folsom, who grew up in Roosevelt. Mary Elting and Franklin “Dank” Folsom were authors; together they wrote more than 125 children’s books. They moved from Manhattan to Roosevelt in 1949 and lived there until 1971. In 1986, Dank marched from California to Washington, D.C., as part of the Great Peace March for Total Nuclear Disarmament along with 500 other peace activists. He co-wrote a book about the experience. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620068601571-9N7F5BR4UU8IMRMLDSZ7/Rosskam-Ani--Ribcage.jpg Roosevelt’s Artistic Tradition Endures - Rib Cage, 2017 Rib Cage, 2017 Ani Rosskam (b. 1952) Collage Collection of Ani Rosskam and Bill Leech Growing up in Roosevelt, with parents who were documentary photographers, and surrounded by other artists and musicians, gave Ani Rosskam the confidence to become an artist herself. “It was a very stimulating environment with late-night discussions on politics and art,” she has said. She describes Jonathan Shahn as being like a brother to her. After earning a bachelor of fine arts at Temple University’s Tyler School of Fine Arts in Elkins Park, PA, in 1974, and spending time in Boston, Ani returned to Roosevelt because of its location between New York and Philadelphia. In her early career she painted murals for architect Michael Graves, and with her husband Bill Leech runs Rosskam & Leech Murals, an architectural rendering and mural painting business. Their clients have included the New Jersey State House and the Old Barracks in Trenton. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620068611882-OVKIBID1MRHZSF0NFH9H/Shahn.J--MLKBust.jpg Roosevelt’s Artistic Tradition Endures - Study for Martin Luther King Jr., 2004 Study for Martin Luther King Jr., 2004 Jonathan Shahn (1938–2020) Plaster Collection of Jonathan Shahn Sculpture Jonathan Shahn was one of 40 artists commissioned by the New Jersey State Council on the Arts Transit Arts Committee to produce work for the Hudson-Bergen Light Rail. This plaster bust and accompanying drawings were done in preparation for the series of panels at the Martin Luther King Drive Station in Jersey City and chronicle events in the civil rights movement. They have captions like “Attacked by Dogs” and “Beaten Unconscious” and “Arrest of Dr. King.” One plaque shows the faces of people killed during the Civil Rights Movement. The list of 37 starts with “George Lee, 52, Shot in Face, May 7, 1955” and ends with the assassination of Dr. King. Other panels illustrate “The Right to Vote,” “A Seat on the Bus,” and “March on Washington.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1624999552715-IB9QH7HM4E25MCOJ784I/Leech.B--Flowers.jpg Roosevelt’s Artistic Tradition Endures - Red Painting - flowers - buildings etc., 2009 Red Painting - flowers - buildings etc., 2009 Bill Leech (b. 1952) Acrylic on canvas Collection of Ani Rosskam and Bill Leech Born in Oskaloosa, Kansas, Bill Leech moved to Roosevelt after meeting his wife, Roosevelt native Ani Rosskam, at the Skowhegan School of Art in Maine. From his Roosevelt studio his art career flourished, leading to museum and gallery exhibitions and a fellowship from the New Jersey Council on the Arts in 1983. Reviewing a 1997 three-person show he shared with Ani and Jonathan Shahn at New York’s Simon Gallery, the New York Times wrote: “His imagery is mostly taken from the natural world (trees, flowers and the like) or the human figure (always male in the paintings here), but rather than being arranged into a naturalistic scene, his images are arrayed like pictograms in rows and columns.” Bill is also a musician who performs regularly in Roosevelt. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1624998973800-8U6E6NAVNOJIWQ6K2P17/Leech.B--1.jpg Roosevelt’s Artistic Tradition Endures - Back of Heads, flowers, turquoise, 2001 Back of Heads, flowers, turquoise, 2001 Bill Leech (b. 1952) Acrylic on canvas Collection of Ani Rosskam and Bill Leech https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1624998956857-FQJZRL5JMX6POJHP8TJ3/Folsom.R--Self-Portrait.jpg Roosevelt’s Artistic Tradition Endures - Self Portrait in Green Mirror, 2008 Self Portrait in Green Mirror, 2008 Rachel Folsom (b. 1944) Oil on panel Collection of Rachel Folsom https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1624999002212-2EUXS6HTR5VEKQ1QTRSB/Shahn-Abby--Little-Black-Shadow-man.jpg Roosevelt’s Artistic Tradition Endures - Little Black Shadow Man, 1988 Little Black Shadow Man, 1988 Abby Shahn (b. 1940) Gouache on paper Collection of Paul and Sara Prestopino https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1624999022095-G5C9BVNWJI87294ZD0TO/Shahn.Abby--Untitled.jpg Roosevelt’s Artistic Tradition Endures - Untitled Untitled Abby Shahn (b. 1940) Gouache on paper Collection of Paul and Sara Prestopino The daughter of Bernarda and Ben Shahn, Abby grew up in Roosevelt. She has been living and working in Maine since 1969 and has taught at Haystack School of Crafts, Maine College of Art, College of the Atlantic, and Thomaston State Prison. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1624999032871-GU5H62TRJB0Q0HLSYJK8/Shahn.J--Nakashima.jpg Roosevelt’s Artistic Tradition Endures - George Nakashima, 1990-91 George Nakashima, 1990-91 Jonathan Shahn (1938–2020) Plaster Collection of Jonathan Shahn Sculpture Architect and furniture sculptor George Nakashima, who lived in nearby Solebury, Pennsylvania, was a good friend of the Shahn family. An anecdote told by Nakashima’s daughter, Mira, recalls when Ben and Bernarda purchased a Nakashima table at his studio, they drove it home in their convertible with the top down. It was in the middle of winter, and Nakashima loaned Bernarda the World War I wool army hat that Mira remembers her father wearing when their family was incarcerated in an internment camp in Idaho. Ben and George began to collaborate. Nakashima created beautiful frames for some of Shahn’s prints which he then sold in the New Hope studio. In the 1960s Shahn designed a mosaic for a wall of a new building Nakashima was constructing. After Shahn’s passing in 1969, the maquette was sent to France where the concept was realized in memoriam. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1624999027575-YU28J4P7MGQW32MSI1B0/Shahn.J--Gregorio-Prestopino.jpg Roosevelt’s Artistic Tradition Endures - Gregorio Prestopino Gregorio Prestopino Jonathan Shahn (1938–2020) Bronze Collection of Sara and Paul Prestopino For many years, Jonathan Shahn kept a studio in the original Jersey Homestead garment factory. Upon arriving, a visitor would encounter dozens of heads–works of sculpture in plaster, bronze, and other media. Many were modeled on Roosevelt residents, including this one of Gregorio Prestopino. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1624999008850-B59M8UJENTW59EGDS97L/Shahn-J--Small-Head-01.jpg Roosevelt’s Artistic Tradition Endures https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1624999012915-OX8GMMZ31IQGSHGX6B53/Shahn-J--Small-Head-02.jpg Roosevelt’s Artistic Tradition Endures https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1624999017214-FOAHZ66I7KD4XUHXX4H0/Shahn-J--Small-Head-03.jpg Roosevelt’s Artistic Tradition Endures https://sale.morven.org/nature-in-and-around-roosevelt daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621006057683-QCNM4JHKY6C1MXPC2GTE/Bryson.B--Figure-in-Stoney-Landscape.jpg Nature In and Around Roosevelt - Figure in a Stony Landscape, 1985 Figure in a Stony Landscape, 1985 Bernarda Bryson (1903–2004) Etching on paper Collection of David S. & Constance J. Herrstrom Bernarda Bryson Shahn produced a body of work with hooded figures in stony landscapes. In paintings and works on paper, she explored the Goddess of Malta theme in the 1980s, based on the ancient figures and temples built on the Mediterranean island nation of Malta. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621006057683-QCNM4JHKY6C1MXPC2GTE/Bryson.B--Figure-in-Stoney-Landscape.jpg Nature In and Around Roosevelt - Figure in a Stony Landscape, 1985 Figure in a Stony Landscape, 1985 Bernarda Bryson (1903–2004) Etching on paper Collection of David S. & Constance J. Herrstrom Bernarda Bryson Shahn produced a body of work with hooded figures in stony landscapes. In paintings and works on paper, she explored the Goddess of Malta theme in the 1980s, based on the ancient figures and temples built on the Mediterranean island nation of Malta. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621006064826-1LRAHYHB107CY3O1OAMH/Bryson.B--In-a-Dark-Forest.jpg Nature In and Around Roosevelt - In a Dark Forest, 1984 In a Dark Forest, 1984 Bernarda Bryson (1903–2004) Etching on paper Collection of David S. & Constance J. Herrstrom After a multi-decade career as an illustrator and following the death of her husband, Bernarda Bryson Shahn returned to creating fine art and became recognized in her own right. Critics described her work as simultaneously realistic and mysterious in style. She was inspired by the human figure, references to classical mythology, and mystery. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621006082674-CEML7IR9FCX3MC787PAH/Linz.S--Field-of-Tall-Grass.jpg Nature In and Around Roosevelt - Field of Tall Grass, c. 2012 Field of Tall Grass, c. 2012 Sheila Linz (b. 1953) Oil on canvas Collection of David S. & Constance J. Herrstrom Sheila Linz has lived in Roosevelt since 2001. Through the Roosevelt Arts Project she runs Assifa Space, an art gallery, in her home, one of the original Kastner/Kahn-designed buildings. Her appreciation of her surroundings, specifically the preserved green space with its birdsong and hawk flights, finds its way into her artwork. The field in Linz’s painting is near the Roosevelt cemetery. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621006079608-RJYH569X3CJL89C7SXCS/Martin.S--Cornfield.jpg Nature In and Around Roosevelt - Cornfield, 1967 Cornfield, 1967 Stefan Martin (1936–1994) Print and Woodblock Collection of the Notterman Family Stefan Martin is celebrated for his woodblock prints and also for the wood carvings themselves. As a friend to local pediatrician, Dr. Rebecca Notterman, he carved woodblocks for her family’s annual holiday cards. This block depicts a cornfield on their farm. Dr. Rebecca Notterman’s husband, Joseph Notterman, grew up in Roosevelt and was one of the original Jersey Homestead settlers. As a youngster he was Ben Shahn’s paper boy, delivering The Jewish Daily Forward. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621006089070-9VV18EW22WJUVZL23YZA/McGuff-Silverman.L--Assunpink-Fall.jpg Nature In and Around Roosevelt - Assunpink Fall Summer Fields, 2014 Assunpink Fall Summer Fields, 2014 Lucretia E. McGuff-Silverman (b. 1954) Acrylic on canvas board Collection of Lucretia E. McGuff-Silverman One of the aspects that makes Roosevelt a desirable place to live is that it is surrounded by the bucolic Assunpink Wildlife Management Area and its nearly six miles of trails. Roosevelt artists like McGuff-Silverman and Sheila Linz (whose work hangs nearby) have painted scenes from the 6,300 acres of forest and watershed. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621006089082-C580N14JQ8IOMYB6S90V/McGuff-Silverman.L.E--Assunpink-Winter-Fields.jpg Nature In and Around Roosevelt - Assunpink Winter Fields, Early Thaw, 2015 Assunpink Winter Fields, Early Thaw, 2015 Lucretia E. McGuff-Silverman (b. 1954) Acrylic on canvas board Collection of Lucretia E. McGuff-Silverman A Roosevelt resident since 1990, Lucretia E. McGuff-Silverman is entranced by the natural world surrounding her and the play of color and light in the trees. She depicts the verdant place Roosevelt is today, surrounded by preserved land. https://sale.morven.org/thou-shalt-not-stand-idly-by daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1624998488161-006NJTMAIVPWZ8MPHODS/_DSF6185.jpg "Thou Shalt Not Stand Idly By" - Woodblock carving plate for Procession, 1955 Woodblock carving plate for Procession, 1955 Jacob Landau (1917–2001) From the Monmouth University Permanent Art Collection Born in Philadelphia, Jacob Landau started drawing at age three on whatever he could find. He drew everything he saw and as a teenager won a Scholastic Magazine competition two years in a row, illustrating Rudyard Kipling’s The Jungle Book. That led to a scholarship from Philadelphia’s Museum of Industrial Art (today the University of the Arts) to study illustration, printmaking, and painting. While in Paris after serving in World War II, Jacob Landau shared a room with printmaker Leonard Baskin and was introduced to the medium of woodcuts. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1624998488161-006NJTMAIVPWZ8MPHODS/_DSF6185.jpg "Thou Shalt Not Stand Idly By" - Woodblock carving plate for Procession, 1955 Woodblock carving plate for Procession, 1955 Jacob Landau (1917–2001) From the Monmouth University Permanent Art Collection Born in Philadelphia, Jacob Landau started drawing at age three on whatever he could find. He drew everything he saw and as a teenager won a Scholastic Magazine competition two years in a row, illustrating Rudyard Kipling’s The Jungle Book. That led to a scholarship from Philadelphia’s Museum of Industrial Art (today the University of the Arts) to study illustration, printmaking, and painting. While in Paris after serving in World War II, Jacob Landau shared a room with printmaker Leonard Baskin and was introduced to the medium of woodcuts. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1624998487592-TX8I0XA7W7SGXWDEFOUJ/Prestopino.G--Notterman.jpg "Thou Shalt Not Stand Idly By" - Design for Notterman Mosaic, c. 1972 Design for Notterman Mosaic, c. 1972 Gregorio Prestopino (1907–1984) Mosaic Estate of Gregorio Prestopino Later in his career, Prestopino focused on painting colorful nymphs in landscapes of New Hampshire, where he had a second home. In 1972 Dr. Rebecca Notterman, who was also a muse for the artist, commissioned Prestopino to create a mosaic mural for her pediatric building in East Windsor; it was fabricated by Anthony Schiavo. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1624998488893-DZVO3YTD48TN990KKALU/Dauber.E--Hancock-Pond.jpg "Thou Shalt Not Stand Idly By" - Hancock Pond Hancock Pond Elizabeth Dauber (1910–2005) Oil on canvas Collection of Paul and Sara Prestopino Elizabeth Dauber’s art career included working on children’s book illustrations and magazine covers. In her early years, she created cover art for Mademoiselle magazine. She lived in Roosevelt with her husband, artist Gregorio Prestopino. Beginning in 1954, the couple began to spend summers near the McDowell Colony in Peterborough, New Hampshire after Prestopino became the art organization’s director. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1624998489408-5YMMZ76MA36VUP3NMYPA/Bryson-Shahn.B--Little-Winter-Sky.jpg "Thou Shalt Not Stand Idly By" - Little Winter Sky, 1990 Little Winter Sky, 1990 Bernarda Bryson (1903–2004) Oil on Masonite Courtesy of the Estate of the Artist and the Susan Teller Gallery, New York, NY Trees were a favorite subject for Bernarda Bryson Shahn. In her appointment book, she doodled pictures of trees and clouds. The dreamy subject matter of Little Winter Sky could have been inspired by the woods in her Roosevelt backyard or Skowhegan School of Painting and Sculpture in Maine, where she served on the board of governors and continued to visit until her late 90s. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1624998487732-IO4PBG6510OWXWS6T0TH/Leipzig.M--Bernarda-Shahn.jpg "Thou Shalt Not Stand Idly By" - Portrait of the Artist Bernarda Bryson Shahn in her studio in 2001, 2001 Portrait of the Artist Bernarda Bryson Shahn in her studio in 2001, 2001 Mel Leipzig (b. 1935) Acrylic on canvas Springville Museum of Art Trenton-based artist Mel Leipzig, acclaimed for his environmental portraits of artists, spends many hours getting to know his subjects as they sit for him. He does not believe in working from photographs, preferring to paint directly from life. After painting his subject, he continues to spend days painting the details of their surroundings. He included many of Bernarda Bryson Shahn’s paintings in progress. She was 98 at the time of this portrait which won a Purchase Prize from the American Academy of Arts and Letters. Subsequently, Leipzig painted an environmental portrait of Bernarda’s son, Jonathan. https://sale.morven.org/gallery-3 daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1624998032454-BYRWNI7IHWAXR8106MXC/Mueller.R.E--Lower-East-Side.jpg Gallery 3 - Lower East Side, 1949 Lower East Side, 1949 Robert Emmett Mueller (1925–2017) Oil on canvas board From the Monmouth University Permanent Art Collection Considered a “Renaissance man,” Robert Emmett Mueller was a renowned artist, MIT-educated electrical engineer, author, inventor, puppeteer, and musician—he played flute and viola, and founded the Lawrence Sight-Reading Community Orchestra in Lawrence, New Jersey. Mueller developed what he termed a “mathematico-abstract” style, painting abstractions that came out of mathematical functions. He cited Gregorio Prestopino as one of his greatest influences. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1624998032454-BYRWNI7IHWAXR8106MXC/Mueller.R.E--Lower-East-Side.jpg Gallery 3 - Lower East Side, 1949 Lower East Side, 1949 Robert Emmett Mueller (1925–2017) Oil on canvas board From the Monmouth University Permanent Art Collection Considered a “Renaissance man,” Robert Emmett Mueller was a renowned artist, MIT-educated electrical engineer, author, inventor, puppeteer, and musician—he played flute and viola, and founded the Lawrence Sight-Reading Community Orchestra in Lawrence, New Jersey. Mueller developed what he termed a “mathematico-abstract” style, painting abstractions that came out of mathematical functions. He cited Gregorio Prestopino as one of his greatest influences. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1624998042704-KRXLZ5YAE0UI16C44XUK/Shahn-Ben--All-That-Is-Beautiful.jpg Gallery 3 - All That is Beautiful, 1966 All That is Beautiful, 1966 Ben Shahn (1898–1969) Screenprint and watercolor Private Collection Having grown up in New York, Ben Shahn was not pleased to see the architecture he had grown up with replaced by concrete and glass. He shows the buildings he was fond of in the foreground, in detail and enhanced with color. To mourn the demise of old New York, Shahn quotes Greek philosopher Maximus of Tyre, in the vertical lines of text, referring to the works of Greek sculptor Phidias, whose greatest works did not survive. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1624998065472-KA0JH8WGYLCDKINNS6BA/Record-album-vitrine.jpg Gallery 3 https://sale.morven.org/panel-photos daily 0.75 2023-01-09 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1663611095929-OQZ0CFI6HL8N8N5TQ21J/LMW004.jpg Panel Photos - Gerard Rutgers Hardenbergh https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1663611095929-OQZ0CFI6HL8N8N5TQ21J/LMW004.jpg Panel Photos - Gerard Rutgers Hardenbergh https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1663611891223-FFMLZSL2EPSMIPDEQPJG/Stevenson+website.jpg Panel Photos - Jacob Rutsen Hardenbergh (1736–1790) (great-great grandfather of Gerard and first president of Rutgers College). Gordon Stevenson (1892–1982) Jacob Hardenbergh moved from Ulster County, New York to New Jersey to study under Reverend John Frelinghuysen at the Dutch Reformed Church in Somerville, a parsonage he later took over. Hoping to establish the first classical and divinity school for Dutch Reformed clergy in America, Hardenbergh petitioned Royal Governor William Franklin in 1766. That same year a charter came from King George III establishing Queens College, in honor of Queen Charlotte, later Rutgers College. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1663611349021-ULV2FWXPCPXE2P4D53XS/Sojourner+Truth+website+image.jpg Panel Photos - Sojourner Truth (1791–1883), 1863 Leading abolitionist Sojourner Truth was once enslaved by the Hardenbergh family in New York. She was born Isabella in 1797 to James and Elizabeth Bomefree, who were enslaved by Johannes Hardenbergh, Jr. (1670–1745) (Gerard’s great-great-great grandfather). At nine years old she was separated from her parents and sold three times. She escaped to freedom with her infant daughter in 1826 and in 1843 she renamed herself Sojourner Truth. Truth became a leading advocate for abolition, temperance, and women’s rights. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1663611111726-QPADHCYS8GF5CGD3Y2HM/Samuel_Lockwood+%281%29.png Panel Photos - Sketch of Samuel Lockwood (1819–1894) by W. S. Snyder Lockwood may have been the first real exposure Hardenbergh had to ornithology. In 1877, Lockwood recalled in Popular Science Monthly that Gerard, “...became at once an enthusiast, and, with the spirit of a devotee, gave himself up to the study of birds in their native haunts. By wood and stream, in all seasons, the young artist naturalist watches his subject, learns its habitat, gets its attitudes, then shoots it, and in his study, with a knowledge of all its ‘positurae’ produces a portrait that sparkles with active life.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1663611513433-DVXL5QJFNJXMTSTHXWFH/LMW003+2_2.jpg Panel Photos - Chadwick House, 1885. A.W. Bronson Chadwick House was a well-known sportsmen’s retreat located in Chadwick Beach, just south of Mantoloking, New Jersey. It’s register contains famous visitors, including Ulysses S. Grant and George B. McClellan who were “...all drunk as owls.” A September 8, 1896 entry records, “Gerard R. Hardenbergh, Morgan Davis and George Endicott, killed 63 yellow-legs & 2-gelpers. The first good shooting of the season. Yesterday we shot 43 yellow-legs.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1664214088220-4871ICGS72SA7N4RCCBQ/storyofbirdlover00scot_0008_large.jpg Panel Photos - William Earle Dodge Scott, May 1902 One of only four salaried curators of birds in American museums at the time, Scott taught a graduate course in ornithology in the Department of Biology at the College of New Jersey (today’s Princeton University). Hardenbergh would send specimens he collected to Scott for the growing bird collection at Princeton. See a Hardenbergh-caught specimen from 1878 in the next gallery. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1663612329516-WW7TY1PQYIL0D03NNE6U/LMW003+2_1.jpg Panel Photos - Gerard Rutgers Hardenbergh https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1664219513398-3568LOQIOY8G2UOF80W5/LMW003.jpg Panel Photos - Gerard Rutgers Hardenbergh at his easel https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1664220264560-LBOJC6T13OECC47FE1AS/Hardenbergh+Gerard+New+Brunswick+1893.jpg Panel Photos - 1893 New Brunswick Business Directory listing Gerard Hardenbergh Besides his gallery in New Brunswick, Hardenbergh exhibited at the Brooklyn Art Association and the Pennsylvania Academy of the Fine Arts throughout the 1880s. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1664219521131-JR34ORWQQ4T0CH9AUFI8/Hardenbergh+%26+Endicott.jpg Panel Photos - Gerard R. Hardenbergh and George Endicott on the beach George Endicott was a close friend of Hardenbergh. With their shared interest in hunting and painting birds, the two men spent time together along the shore and at Chadwick’s lodge. Endicott was listed on the census as an “insurance agent,” while Hardenbergh is always recorded as an “artist.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1663613425852-DERYMZPQX2LI0BNEY17D/LMW001.jpg Panel Photos - Elizabeth Rutgers Hardenbergh (b. 1858) with her brother Gerard, c.? Gerard’s sister Elizabeth studied art and was one of the partners of Byrdcliffe Pottery, active in the Byrdcliffe Arts and Crafts Colony from around 1907-28. She also belonged to the New York Watercolor Club and the National Association of Women Painters and Sculptors. In 1904, her watercolor Geraniums was exhibited at the St. Louis World’s Fair. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1663613395688-5UF1POM0XTVLOZT8M85Y/Henry_Janeway_Hardenbergh.jpg Panel Photos - Henry Janeway Hardenbergh (1847–1918), 1899 Hardenbergh’s cousin was Henry Janeway Hardenbergh, the famous architect responsible for the Waldorf, the Astoria, the Plaza Hotel and the Dakota in Manhattan, as well as the Palmer Physical Laboratory at Princeton University. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1663613363618-ZJU7YSIWTLKURZF3BCVL/Postcard+of+dock+in+Bay+Head+with+pelican.jpg Panel Photos - Postcard of dock in Bay Head, NJ with Pelican, postmarked 1906 Hardenbergh’s houseboat became part of local lore, one remembrance recalled “Hardenbergh’s houseboat with holes in the door to let his pet cats go in and out…” another who knew Hardenbergh as a child remembered, “Hardenbergh welcomed visits by young people who came to watch him paint or stuff birds.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1663613407615-SPPR3XMSTKGHWD2IP2I9/Hardenbergh+and+Nip+on+Pelican.jpg Panel Photos - Hardenbergh and Nip on Pelican, c. ? Hardenbergh’s dog Nip was his lifelong companion. A newspaper article on Nip and his owner explained that the dog in his old age spent “...most of his time on soft pillows and cushions in a Morris chair” on the Pelican. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1663613401914-M63HWQP001BY6MPRJVXU/The+Houseboat+Pelican.jpg Panel Photos - The House Boat Pelican, Postcard The town of Bay Head eventually burned the abandoned Pelican. Local lore states that some of Hardenbergh’s paintings were lost in the fire. https://sale.morven.org/hardenbergh-art daily 0.75 2023-09-05 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667232907995-3NUUIRD3AW4T57AQ2AII/king_12.5HX12.5W_2146949.jpg Hardenbergh Art - Pair of Woodcock, 1881 Pair of Woodcock, 1881 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “GERARD R. HARDENBERGH / 1881” Collection of Ed King American Woodcocks (Scolopax minor) are a small shorebird species found in the eastern half of North America. Unlike other kinds of shorebirds, woodcocks mainly live in wooded areas, hence their nicknames “timberdoodle,” “bogsucker,” “night partridge,” and many more depending on the location. Thanks to conservation efforts, the population density of these birds is on the rise. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667232907995-3NUUIRD3AW4T57AQ2AII/king_12.5HX12.5W_2146949.jpg Hardenbergh Art - Pair of Woodcock, 1881 Pair of Woodcock, 1881 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “GERARD R. HARDENBERGH / 1881” Collection of Ed King American Woodcocks (Scolopax minor) are a small shorebird species found in the eastern half of North America. Unlike other kinds of shorebirds, woodcocks mainly live in wooded areas, hence their nicknames “timberdoodle,” “bogsucker,” “night partridge,” and many more depending on the location. Thanks to conservation efforts, the population density of these birds is on the rise. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667232984711-EWMELS56BHRGGKHZQAZR/king_19HX21W_2146950.jpg Hardenbergh Art - Inland Creek Inland Creek Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “G.R. Hardenbergh” Collection of Ed King https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667233046145-3W04L6P1THN9KFSICB2T/king_19HX30W_2146946.jpg Hardenbergh Art - Wave and Sand Dunes, 1903 Wave and Sand Dunes, 1903 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed lower left: “GERARD R. HARDENBERGH / 1903” Collection of Ed King Coastal sand dunes are found on any beach with a large enough amount of sand and wide enough space. These dunes provide habitats for flora and fauna and can minimize the effects of coastal storms. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667233554979-IEFX87QV6I7TTVVL889U/King_Mallard_Website.jpg Hardenbergh Art - Hanging Mallard, 1906 Hanging Mallard, 1906 Gerard Rutgers Hardenbergh (1856–1915) Oil on canvas Signed, lower left: “G.R. HARDENBERGH / 1906” Collection of Ed King Mallards, also known as wild ducks (Anas platyrhrnchos), are found on every continent except for Antarctica. Unlike many other members of the waterfowl family, these birds are considered invasive species in some areas. The more colorful birds are male while the mostly brown mallards are female. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1668446738764-YRXHR14C5U6Y7768WK9J/burke+woodcock.jpg Hardenbergh Art - Woodcock Woodcock Gerard Rutgers Hardenbergh (1856–1915) Oil on canvas Signed, lower left: “G.R. HARDENBERGH” Collection of Patricia H. Burke American Woodcocks (Scolopax minor) are a small shorebird species found in the eastern half of North America. They mainly live in wooded areas. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667234097212-DFKWOH4Q6DA8TMDXPJXF/Burke_Road.jpg Hardenbergh Art - Road to New Brunswick, NJ, with St. James Methodist Church and St. Peter’s Catholic Church, 1897 Road to New Brunswick, NJ, with St. James Methodist Church and St. Peter’s Catholic Church, 1897 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “GR Hardenbergh / 1897” Collection of Patricia H. Burke Born in New Brunswick, NJ in 1856, Hardenbergh would split his life between there and the shore and continued to conduct his work there throughout his life when he was not at the shore. He maintained his New Brunswick studios on Neilson and later George Street. To learn more about Hardenbergh’s life in New Brunswick, visit the main page for this online exhibit. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667234132664-LSKEGXRB3O94V9620XDM/Burke_Trout2.jpg Hardenbergh Art - Trout Trout Gerard Rutgers Hardenbergh (1856–1915) Oil on canvas Collection of Patricia H. Burke “Trout” is the generic name for numerous types of fish that live in freshwater areas. They have been caught for a long time due to their benefits for humans as food and because of how easy they are to fish. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667234517957-UP8BWY45KGW6BF5DNCRJ/applegate_15Hx21W_02.jpg Hardenbergh Art - Edge of Herbert's Creek with Marsh Hibiscus Edge of Herbert’s Creek with Marsh Hibiscus Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Collection of Robert M. Applegate Jr. Also known as swamp rosemallow or swamp hibiscus, the Marsh Hibiscus in this painting grows best in wet and humid conditions and grows best in the southeast United States. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667234579834-B7Z6J9QYVYDW1NPTSBC6/applegate_13Hx21W_03.jpg Hardenbergh Art - Trail Along Beaver Dam Creek Trail Along Beaver Dam Creek Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “HARDENBERGH” Collection of Robert M. Applegate Jr. Beaver Dam Creek in Point Pleasant is between the Point Pleasant Canal to the south and Metedeconk River to the north. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667234632053-4127H2UP3V2SOENDSISU/applegate_29Hx24W_09.jpg Hardenbergh Art - Mallards in the Creek Mallards in the Creek, 1914 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed: “GERARD R. HARDENBERGH / 1914” Collection of Robert M. Applegate Jr. Mallards, also known as wild ducks (Anas platyrhrnchos), are found on every continent except for Antarctica. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667235468665-WRSFIKDJXOQYXQWIT0ON/van_snipe_82.jpg Hardenbergh Art - Snipe, 1882 Snipe, 1882 Gerard Rutgers Hardenbergh (1856–1915) Watercolor Signed, lower left: “GR HARDENBERGH / 1882'“ Collection of the Van Nostrand Family Watercolor “Snipe” is the general name for a few birds in the Scolopacidae family. Hardenbergh was likely looking at Wilson’s Snipes, as they make their home throughout North America. These birds are mostly found in marshy areas and are related to woodcocks. While not critically endangered, these birds are affected by habitat destruction. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667235542670-1M810V2757UDRUKOJPW9/van_goldenrod.jpg Hardenbergh Art - Golden Rod, Lovelandtown Meadow, 1885 Golden Rod, Lovelandtown Meadow, 1885 Gerard Rutgers Hardenbergh (1856–1915) Oil on canvas Signed, lower left: “GERARD R. Hardenbergh / 1885” Collection of the Van Nostrand Family Lovelandtown was settled in current day Point Pleasant at the turn of the nineteenth century. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667235666567-YU9LN0N28EOD30QTK5RF/van_quail_00.jpg Hardenbergh Art - Quail, c. 1900 Quail, c. 1900 Gerard Rutgers Hardenbergh (1856–1915) Oil on canvas Signed, lower left: “G.R HARDENBERGH” Collection of the Van Nostrand Family “Quail” is a general term for a variety of different mid-sized birds. Most quail in the Americas make their home in Central and Southerner America, but the Northern bobwhite can be found on the East Coast of the United States. They are mostly found in the woodlands and are affected by habitat loss, to the point where they are “near-threatened” according to the International Union for Conservation of Nature. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667235704516-ATKRS52P6P0HAF4Y0IZJ/van_yachtclub.jpg Hardenbergh Art - Bay Head Yacht Club with the Old Yacht Club in the Background Bay Head Yacht Club with the Old Yacht Club in the Background Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “G.R. HARDENBERGH / 1899” Collection of the Van Nostrand Family Over the course of his life, Hardenbergh had three residences in Bay Head: the houseboat he named Pelican, a home on West Lake Avenue, and finally his wifes’ home on Lake Avenue. Learn more about Hardenbergh’s time at Bay Head on the main page for this online exhibit. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667235915995-Y9BKJJPC7NCIL25ILE97/van_raritan.jpg Hardenbergh Art - Raritan River from Sonomon's Hill, New Brunswick, NJ, 1894 Raritan River from Sonomon's Hill, New Brunswick, NJ, 1894 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, bottom center: “Gerard R. Hardenbergh / 1894” Collection of the Van Nostrand Family Sonomon’s Hill is now the location of the Antilles athletic field on the Rutgers Douglass Campus. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667236019662-2P6B2EFL8T0LNXNG47Z9/van_bevy.jpg Hardenbergh Art - Bevy of Quail, c. 1900 Bevy of Quail, c. 1900 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “GR. Hardenbergh” Collection of the Van Nostrand Family “Quail” is the general term for many mid-sized birds. Most quail in the Americas make their home in Central and Southern America, but the Northern bobwhite can be found on the East Coast of the United States. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667236169966-7V51YMWCS9WTGX0181IR/van_woodock_94.jpg Hardenbergh Art - Two Woodcock, 1894 Two Woodcock, 1894 Gerard Rutgers Hardenbergh (1856–1915) Watercolor Signed, lower left: “Gerard R. Hardenbergh / 1894” Collection of the Van Nostrand Family American Woodcocks (Scolopax minor) are a small shorebird species found in the eastern half of North America. They mainly live in wooded areas. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667236271179-LS2R4DGYBQEI6VOMYKYY/van_threewoodcock_00.jpg Hardenbergh Art - Three Woodcock, c. 1900 Three Woodcock, c. 1900 Gerard Rutgers Hardenbergh (1856–1915) Watercolor Signed, lower left: “G.R. HARDENBERGH” Collection of the Van Nostrand Family American Woodcocks (Scolopax minor) are a small shorebird species found in the eastern half of North America. They mainly live in wooded areas. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667236350770-FK4UJ6X0WGO8VXXVVLRZ/van_marshhawk_14.jpg Hardenbergh Art - Marsh Hawk on Quail, 1914 Marsh Hawk on Quail, 1914 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “GERARD R. HARDENBERGH / 1914” Collection of the Van Nostrand Family Marsh hawks are found throughout the United States, Canada, and Central America and are larger than other hawks found in the States. While called “marsh” hawks, they are not confined to the shorelines or wetlands like other birds that Hardenbergh painted. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667236463989-BCOZ3CCI9LOTVWRKIAWG/van_chadwick_04.jpg Hardenbergh Art - Chadwick House, 1904 Chadwick House, 1904 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “GR HARDENBERGH / 1904” Collection of the Van Nostrand Family The 1875 Atlas of the New Jersey Coast includes information that William P. Chadwick had made “many improvements” to his hotel to meet “...the demands of the times, such as a good supply of boats, decoys, fishing tackles, having also his own cattle, poultry, and an ice-house. The house can accommodate about fifty persons.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667236590696-GDZ2IT2PSP0FM9HQ4PM5/van_chadwick_07.jpg Hardenbergh Art - Chadwick House in Autumn, 1907 Chadwick House in Autumn, 1907 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “GR HARDENBERGH, 1907” Collection of the Van Nostrand Family See previous painting for more information on Chadwick House. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667843109344-SWOWKV37A9F2S5VCR7SJ/van_nip_point.jpg Hardenbergh Art - Hardenbergh's Dog, Nip, on Point c. 1900 Hardenbergh’s Dog, Nip, On Point, c. 1900 Gerard Rutgers Hardenbergh (1856–1915) Oil on canvas Signed, lower left quadrant: “GR HARDENBERGH” Collection of the Van Nostrand Family Hardenbergh did several paintings of his dogs. Nip, seen here, was his most famous, as he was featured in the 1901 Daily Times article, “Mr. Hardenbergh and Nip, Writer Tells of the Close Friendship Between Artist and Dog.” The article recounted that, “For more than 20 years now these two have been inseparable companions and are now to be bound together on Mr. Hardenbergh’s house boat on Barnegat Bay, near Bay Head...During all the years Mr. Hardenbergh has owned the dog they have been separate for only one night.” When Nip died a few months later a marble tombstone was erected at Ortley in his memory. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667843356576-PUO1DLOUJB2ZSK5GNCIZ/van_hanging_birds.jpg Hardenbergh Art - Hanging Green-winged Teal, 1896 Hanging Green-winged Teal, 1896 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “G.R. Hardenbergh / 1896” Collection of the Van Nostrand Family Green-winged Teals are ducks found in North America. They are migratory birds and are commonly seen in wetlands, but can be found in tundras and meadows. You’ll often find these birds in New Jersey during the winter months. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667843443846-5MW811OAHBP5IY783EB7/van_sunset.jpg Hardenbergh Art - Hardenbergh's Sky, Sunset over Lovelandtown Meadow, 1901 Hardenbergh's Sky, Sunset over Lovelandtown Meadow, 1901 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “GR Hardenbergh / 1901” Collection of the Van Nostrand Family Lovelandtown was settled in current day Point Pleasant at the turn of the nineteenth century. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667843529976-VHTW3VPV6O4TJDJUFQ7K/van_rabbit.jpg Hardenbergh Art - Rabbit in Snow, High Hill, Lovelandtown, c. 1900 Rabbit in Snow, High Hill, Lovelandtown, c. 1900 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “G.R. HARDENBERGH” Collection of the Van Nostrand Family Lovelandtown was settled in current day Point Pleasant at the turn of the nineteenth century. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667843813722-1JV9DF0YP8EGAT42F9XP/van+boats.jpg Hardenbergh Art - Herbert's Homestead with Salt Hay & Loveland's Dock with Sailboat, 1891 Herbert's Homestead with Salt Hay & Loveland's Dock with Sailboat, 1891 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “GERARD R. HARDENBERGH / 1891” Collection of the Van Nostrand Family James Loveland’s dock became the site of the Bay Head Yacht Club. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667844057690-OQ1TG8W7SO16T47QJ858/van+idk.jpg Hardenbergh Art - Herring Island with Channel Marker, 1900 Herring Island with Channel Marker, 1900 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “GR HARDENBERGH / 1900” Collection of the Van Nostrand Family Herring Island is located at the head of the Metedeconk River between Bay Head and Mantoloking. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667846582245-MQ2T7Z1YKE2BHZYOKGQ8/van+creek.jpg Hardenbergh Art - Upper Beaver Dam Creek, c.1900 Upper Beaver Dam Creek, c. 1900 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “GR HARDENBERGH” Collection of the Van Nostrand Family Beaver Dam Creek in Point Pleasant is between the Point Pleasant Canal to the south and Metedeconk River to the north. Today, you can walk along the boardwalk on the wetlands to try to spot some of the birds Hardenbergh once painted! https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667846664437-N9JXBFHOWVZN5SYW5NO4/van+osborn.jpg Hardenbergh Art - Osborn Island with Cooke Mansion and Cedar Bluff Cottage, c.1900 Osborn Island with Cooke Mansion and Cedar Bluff Cottage, c. 1900 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “GR. HARDENBERGH” Collection of the Van Nostrand Family Osborn Island sits in the Manasquan River. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667846736526-ND8VZS6D0JJVFAZI771D/van+hay.jpg Hardenbergh Art - Hay Scow on Barnegat Bay, 1900 Hay Scow on Barnegat Bay, 1900 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “G.R. HARDENBERGH” Collection of the Van Nostrand Family Hay Scow were small river (and lake) boats that were popular before the advent of gasoline powered boats. They helped move supplies and people around- sometimes between islands and the shore or just from one side of a river to another. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667846803458-8DCBXG7S8P0QVN1MQHXS/van+blue.jpg Hardenbergh Art - Bluejays, 1901 Bluejays, 1901 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “G.R HARDENBERGH / 1901” Collection of the Van Nostrand Family Blue jays (Cyanocitta cristata) are found on the East Coast of North America. You will likely find these birds in the woods and in residential areas, even around Princeton. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667846879613-81GI1IQBEFMBEU67OP5D/van+apple.jpg Hardenbergh Art - Israel Johnson's Homestead, with Apple Orchards Along Beaver Dam Creek, 1908 Israel Johnson's Homestead, with Apple Orchards Along Beaver Dam Creek, 1908 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “GR HARDENBERGH / 1908” Collection of the Van Nostrand Family Beaver Dam Creek in Point Pleasant is between the Point Pleasant Canal to the south and Metedeconk River to the north. Today, you can walk along the boardwalk on the wetlands to try to spot some of the birds Hardenbergh once painted. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1668446277932-YMDORYH8K88A3GXINW39/van+pect+sand.jpg Hardenbergh Art - Pectoral Sandpipers Pectoral Sandpipers, 1894 Gerard Rutgers Hardenbergh (1856–1915) Oil on canvas Signed, lower left: “Gerard R. Hardenbergh / 1894” Collection of the Van Nostrand Family Pectoral sandpipers (Calidris melanotos) are small birds found mostly in the Americas but also in northern Asia. These migratory birds make their nests in the ground. They are likely affected by global warming as they spend part of their year in the Arctic. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1668446399465-IANUVIKQ30M0ZMO00Z47/van+sora+94.jpg Hardenbergh Art - Sora Rail, 1894 Sora Rail, 1894 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “Gerard R. Hardenbergh / 1894” Collection of the Van Nostrand Family Sora rails (Porzana carolina) are small, water birds that make their home in North and Central America. They are a migratory bird that prefer to spend their time near marshes and water. They have been affected by the ongoing loss of habitation that many wetland birds face. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1668446594000-1IXURGLJOTKREPS6RLEZ/van+pect+c+1900.jpg Hardenbergh Art - Pectoral Sandpipers, c.1900 Pectoral Sandpipers, c. 1900 Gerard Rutgers Hardenbergh (1856–1915) Oil on canvas Signed, lower left: “GERARD R HARDENBERGH” Collection of the Van Nostrand Family Pectoral sandpipers (Calidris melanotos) are small birds found mostly in the Americas but also in northern Asia. These migratory birds make their nests in the ground. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1668446944080-MP9YX6TX7G3WDJGYCZ71/van+two+groose.jpg Hardenbergh Art - Two Grouse, c.1900 Two Grouse, c. 1900 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “G.R. Hardenbergh” Collection of the Van Nostrand Family Grouse make up a large amount of birds that are found in forested, prairie, and tundra areas. North America hosts a wide range of grouse types and these birds are closely related to turkeys. Grouse that mainly live in the prairies and open meadows of North America are facing difficult times with the continued loss of their habitats. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1668447438359-K2QDMBDLSYGP35K5TBXC/van+sand+dunes+99.jpg Hardenbergh Art - Herbert's Creek with Bay Head Sand Dunes, 1899 Herbert’s Creek with Bay Head Sand Dunes, 1899 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “G.R. HARDENBERGH / 1899” Collection of the Van Nostrand Family This painting shows Herbert’s Creek which was ran through the current location of the man-made Point Pleasant Canal. Esther Loveland Kinsley recalled the creek in the 1920s, “... turtles and frogs slid from the embankments into the water as our boat glided gracefully through the smooth waters. There was no bulkheading at the time so the trees and bushes hung precariously over the banks of the canal where occasionally you would see a boy fishing. Further back from the water’s edge you could see mountains of white sand dotted with pines, cedars and pin oaks.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1668447527219-ID6QDG7G06SB3O9PBMQ3/van+sand+dunes+95.jpg Hardenbergh Art - Herbert's Creek with Bay Head Sand Dunes, 1895 Herbert’s Creek with Bay Head Sand Dunes, 1895 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “GERARD R. HARDENBERGH / 1895” Collection of the Van Nostrand Family This painting shows Herbert’s Creek, which ran through the current location of the man-made Point Pleasant Canal. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1668448400937-6NO8Z7O6U7TI4IDCZBD4/van+bass+1912.jpg Hardenbergh Art - Striped Bass, 1912 Striped Bass, 1912 Gerard Rutgers Hardenbergh (1856–1915) Oil on canvas Signed, lower left: “G.R. HARDENBERGH / 1912” Collection of the Van Nostrand Family Striped bass (Morone saxatilis) are most commonly found in the Atlantic ocean around the United States. They are the state saltwater fish of New Jersey and New York and state fish of Maryland, as well as a few other states along the east coast. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1668449545942-2IXYI45EPPVTWS79DPTT/van+groose.jpg Hardenbergh Art - Grouse, 1885 Grouse, 1885 Gerard Rutgers Hardenbergh (1856–1915) Oil on canvas Signed, lower left: “GR HARDENBERGH / 1885” Collection of the Van Nostrand Family Grouse make up a large amount of birds that are found in forested, prairie, and tundra areas. North America hosts a wide range of grouse types and these birds are closely related to turkeys. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1669659791649-Z56XPR4N0P9QKPSWSIGY/applegate_16Hx26W_07.jpg Hardenbergh Art - Bay Head Beach Bay Head Beach, 1906 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “GR HARDENBERGH / 1906” Collection of Robert M. Applegate Jr. Over the course of his life, Hardenbergh had three residences in Bay Head: the houseboat he named Pelican, a home on West Lake Avenue, and finally his wifes’ home on Lake Avenue. Learn more about Hardenbergh’s time at Bay Head on the main page for this online exhibit. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1669660191572-N78F79MJQIBQUMNGL6K8/sora.jpg Hardenbergh Art - Sora Rail, 1882 Sora Rail, 1882 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “GERARD R HARDENBERGH / 1882” Collection of the Van Nostrand Family Sora rails (Porzana carolina) are small water birds that make their home in North and Central America. They are a migratory bird that prefer to spend their time near marshes and water. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1669654855863-RYWV8IFJ3EQ0ZS8GCLG6/TVAN_05_Hardenberghs%2BBird%2BPlaymates.jpg Hardenbergh Art - Hardenbergh’s Bird Playmates, 1916 Hardenbergh’s Bird Playmates, 1916 Published by Charles Scribner’s Sons Collection of the Van Nostrand Family Advertised as “a unique device that ought to prove to be of immense value to teachers of nature study,” this game was made up of two sets: one for land birds and one for water birds. Each came with its own background and set of birds “following with scientific exactness the colors of the living bird.” The game could counter “the chief difficulty that teachers have found in teaching children to identify birds” which was “the impossibility of bringing living birds into the classroom.” Bird Lore magazine reviewed the game stating, “It seems well designed to instruct as well as amuse…” To see more of the images from this game, click here. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1679935500529-8V40W6TL9NLPZWJ1FAM1/SKM_C22723032712190.jpg Hardenbergh Art - Platter, English Snipe and Ruffed Grouse English Snipe and Ruffed Grouse, Game Bird Set Platter Gerard Rutgers Hardenbergh (1856–1915) Haviland & Company, Limoges, France, 1887 Ocean County Historical Society Collection, 99.48.1 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1679934998004-P4HY347HANT948M21D3R/SKM_C22723032712140.jpg Hardenbergh Art - Plate, Canvas-back Ducks Canvas-back Ducks, Game Bird Set Plate Gerard Rutgers Hardenbergh (1856–1915) Haviland & Company, Limoges, France, 1887 Ocean County Historical Society Collection, 99.48.12 Canvas-back ducks (Aythya valisineria) are the largest diving ducks in North America. They make their homes in the prairies and wetlands of the continent and were a popular dish in the 19th century. They were endangered in the 1980s, but made a comeback a decade later and thanks to protected areas, they are no longer a concern to conservationists. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1679935156493-IWFWZ55RJY5B3PW7T4Z2/SKM_C22723032712150.jpg Hardenbergh Art - Plate, English Snipe Game Bird Set Plate Gerard Rutgers Hardenbergh (1856–1915) Haviland & Company, Limoges, France, 1887 Ocean County Historical Society Collection, 99.48.7 “Snipe” is the general name for a few birds in the Scolopacidae family. These birds are mostly found in marshy areas and are related to woodcocks. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1679935262369-JMUNR9D9HI366QNX4SM5/SKM_C22723032712151.jpg Hardenbergh Art - Plate, French Partridge Game Bird Set Plate Gerard Rutgers Hardenbergh (1856–1915) Haviland & Company, Limoges, France, 1887 Ocean County Historical Society Collection, 99.48.5 French partridges are Red-legged partridge (Alectoris rufa) and make their home across the southwest of Europe, not just France. They have also been introduced to England as a game bird so you can find French and English partridges in southern England. They’ve even been kept as pets in New Zealand! https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1679935292513-IR6UCFQ5CHB97OEHMGB4/SKM_C22723032712160.jpg Hardenbergh Art - Plate, Killdeer Plover Game Bird Set Plate Gerard Rutgers Hardenbergh (1856–1915) Haviland & Company, Limoges, France, 1887 Ocean County Historical Society Collection, 99.48.9 Killdeer plovers (Charadrius vociferus) are found throughout the Americas. They make their homes in both wetlands and in fields and consist of three subspecies. While their population is declining, it is not decreasing fast enough to be a concern to conservationists. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1679935319140-W83F05RHUIQXAKXEX2TG/SKM_C22723032712161.jpg Hardenbergh Art - Plate, Reed Birds Game Bird Set Plate Gerard Rutgers Hardenbergh (1856–1915) Haviland & Company, Limoges, France, 1887 Ocean County Historical Society Collection, 99.48.4 Common reed warblers (Acrocephalus scirpaceus) live in Europe, Western Asia, and Africa. Like their name suggests, they make their homes in reeds and bushes and consist of 10 subspecies. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1679935343280-VKKYCZVVXOOKZ6MVH3IF/SKM_C22723032712162.jpg Hardenbergh Art - Plate, Ruffed Grouse Game Bird Set Plate Gerard Rutgers Hardenbergh (1856–1915) Haviland & Company, Limoges, France, 1887 Ocean County Historical Society Collection, 99.48.6 Grouse make up a large amount of birds that are found in forested, prairie, and tundra areas. North America hosts a wide range of grouse types and these birds are closely related to turkeys. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1679935371762-V3QC02GQQOOQUYDDEUOK/SKM_C22723032712170.jpg Hardenbergh Art - Plate, Sora Rail Birds Game Bird Set Plate Gerard Rutgers Hardenbergh (1856–1915) Haviland & Company, Limoges, France, 1887 Ocean County Historical Society Collection, 99.48.11 Sora rails (Porzana carolina) are small, water birds that make their home in North and Central America. They are a migratory bird that prefer to spend their time near marshes and water. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1679935407653-HJC9BGBMM0EA3L9VCNO8/SKM_C22723032712171.jpg Hardenbergh Art - Plate, Virginia Rail Birds Game Bird Set Plate Gerard Rutgers Hardenbergh (1856–1915) Haviland & Company, Limoges, France, 1887 Ocean County Historical Society Collection, 99.48.2 Virginia rails (Rallus limicola) are small, water birds that make their home in North America. They make their homes in marshes and migrate to the southern United States and Central America in the winter. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1679935429998-7EKCJC961IV3HNIC5M2O/SKM_C22723032712180.jpg Hardenbergh Art - Plate, Woodcock Game Bird Set Plate Gerard Rutgers Hardenbergh (1856–1915) Haviland & Company, Limoges, France, 1887 Ocean County Historical Society Collection, 99.48.10 American Woodcocks (Scolopax minor) are a small shorebird species found in the eastern half of North America. They mainly live in wooded areas. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1679935452477-2Z71K2LUN0RYEK3BDETP/SKM_C22723032712181.jpg Hardenbergh Art - Plate, Yellowleg Snipe Game Bird Set Plate Gerard Rutgers Hardenbergh (1856–1915) Haviland & Company, Limoges, France, 1887 Ocean County Historical Society Collection, 99.48.3 “Snipe” is the general name for a few birds in the Scolopacidae family. These birds are mostly found in marshy areas and are related to woodcocks. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1679935473983-V1HIQU349E5G3ATPFXJL/SKM_C22723032712182.jpg Hardenbergh Art - Plate, Doe-witch Snipe Game Bird Set Plate Gerard Rutgers Hardenbergh (1856–1915) Haviland & Company, Limoges, France, 1887 Ocean County Historical Society Collection, 99.48.8 “Snipe” is the general name for a few birds in the Scolopacidae family. These birds are mostly found in marshy areas and are related to woodcocks. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667234162002-L5OUN0WORSOLZSMYUL9T/Burke_Trout.jpg Hardenbergh Art - Plate design with Bluefish, 1899 Plate design with Bluefish, 1899 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “G.R Hardenbergh / 1899” Collection of Patricia H. Burke Bluefish are ocean fish found around the world, especially in tropical and subtropical areas as well as along the coasts. In North America, you can find these fish around Florida in the winter before they migrate as far north as Nova Scotia in the summer. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667234184301-M4X2VHE813ZGRU4D1071/Burke_Seagrass.jpg Hardenbergh Art - Plate design Shells and Seagrass Plate Design with Shells and Seagrass Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, bottom: “GR Hardenbergh” Collection of Patricia H. Burke Seagrass looks and acts a lot like their namesake: grass. Underground meadows full of seagrass provide shelter and food for many of the animals that call the ocean home. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667848022177-P6DMUCCVCSD03SSH4HYO/van+aster.jpg Hardenbergh Art - Plate design with Aster, 1890 Plate Design with Aster, 1890 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, lower left: “GR Hardenbergh / 1890” Collection of the Van Nostrand Family Most aster species are found across Eurasia but in North America you’ll usually find New England aster (Symphyotrichum novae-angliae) and New York aster (Symphyotrichum novi-belgii). These perennial flowers are great for all types of gardens and for the local pollinators. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667848304075-NIUY3TT7A9R5HDC5O3O5/van+butterflies.jpg Hardenbergh Art - Plate design with Butterflies: Eastern Tailed Blue, Clouded Sulphur, Dainty Sulphur, Milbert’s Tortoiseshell, 1888 Plate design with Butterflies: Eastern Tailed Blue, Clouded Sulphur, Dainty Sulphur, Milbert’s Tortoiseshell, 1888 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, center left: “GR Hardenbergh / 1888” Collection of the Van Nostrand Family Eastern Tailed Blue, Clouded Sulphur, Dainty Sulphur, Milbert’s Tortoiseshell Butterflies are found around the world and are often migratory species. The four butterflies painted here are the Eastern Tailed-Blue, a small butterfly from the east of North America; Clouded Sulphur, found across North America in open spaces; Dainty Sulphur, a rare type of North American butterfly; and Milbert’s Tortoiseshell, making their homes in Canada and the United States’ woodlands. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667848384672-YDP00CLIPZU8HUFQNBVR/van+may.jpg Hardenbergh Art - Plate design with May Beetles, 1888 Plate Design with May Beetles, 1888 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, center left: “Gerard R Hardenbergh / 1888” Collection of the Van Nostrand Family Also known as June bugs and July beetles, these small nocturnal bugs are found across North and South America. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667848557073-3BTY9JWX0VHB3NQJMPNT/van+dragon+2.jpg Hardenbergh Art - Plate design with Dragonflies: Blue-fronted Dancer, Broad-winged Damselfly, Widow Skimmer, 1888 Plate design with Dragonflies: Blue-fronted Dancer, Broad-winged Damselfly, Widow Skimmer, 1888 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, center left: “Gerard R Hardenbergh / 1888” Collection of the Van Nostrand Family Dragonflies are found around the world, usually in tropical areas but can be found in temperate regions as well. As wetlands continue to be threatened, so too are many populations of dragonflies. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667848693407-YE7UUG0LWY24Q8T0A7BK/van+plate.jpg Hardenbergh Art - Plate design with Red-legged Grasshoppers, 1888 Plate design with Red-legged Grasshoppers, 1888 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, center left: “Gerard R Hardenbergh / 1888” Collection of the Van Nostrand Family Red-legged grasshoppers (melanoplus femurrubrum) are found across North America and prefer grasslands or areas with thick vegetation. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667848767975-QI7OWP1KKHAZY9PMCLP0/van+cherry.jpg Hardenbergh Art - Plate design with Cherry Tree, c.1890 Plate Design with Cherry Tree, c. 1890 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Collection of the Van Nostrand Family The cherry trees we know originated in Europe, western Asia, and northern Africa before coming to North America. Most of the United States cherry production comes from the western and central states as well as New York. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667848907419-7XZ39VPUDW4B9H5NF299/van+grape.jpg Hardenbergh Art - Plate design with Grapevine, c.1890 Plate Design with Grapevine, c. 1890 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Collection of the Van Nostrand Family Most grapes thrive in the Northern Hemisphere, with most species from North America and eastern Asia. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1667848966164-7T43A17ITRCF846XM1AX/van+locust.jpg Hardenbergh Art - Plate design with Flying Locust, 1888 Plate Design with Flying Locust, 1888 Gerard Rutgers Hardenbergh (1856–1915) Watercolor on paper Signed, along left edge: “Gerard R Hardenbergh / 1888” Collection of the Van Nostrand Family Locusts look a lot like grasshoppers, but you can tell the two species apart by how they act. After a drought, they are known to have population booms and start swarms that can completely destroy crops in a short period of time. https://sale.morven.org/hardenbergh-objects daily 0.75 2022-11-28 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1669654855863-RYWV8IFJ3EQ0ZS8GCLG6/TVAN_05_Hardenberghs%2BBird%2BPlaymates.jpg Bird Playmates - Hardenbergh’s Bird Playmates, 1916 Published by Charles Scribner’s Sons Collection of the Van Nostrand Family Advertised as “a unique device that ought to prove to be of immense value to teachers of nature study,” this game was made up of two sets: one for land birds and one for water birds. Each came with its own background and set of birds “following with scientific exactness the colors of the living bird.” The game could counter “the chief difficulty that teachers have found in teaching children to identify birds” which was “the impossibility of bringing living birds into the classroom.” Bird Lore magazine reviewed the game stating, “It seems well designed to instruct as well as amuse…” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1669654855863-RYWV8IFJ3EQ0ZS8GCLG6/TVAN_05_Hardenberghs%2BBird%2BPlaymates.jpg Bird Playmates - Hardenbergh’s Bird Playmates, 1916 Published by Charles Scribner’s Sons Collection of the Van Nostrand Family Advertised as “a unique device that ought to prove to be of immense value to teachers of nature study,” this game was made up of two sets: one for land birds and one for water birds. Each came with its own background and set of birds “following with scientific exactness the colors of the living bird.” The game could counter “the chief difficulty that teachers have found in teaching children to identify birds” which was “the impossibility of bringing living birds into the classroom.” Bird Lore magazine reviewed the game stating, “It seems well designed to instruct as well as amuse…” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1668445553789-BD8AMDIMG0CPVZR0I8S0/TVAN_06_Hardenberghs+Bird+Playmates.jpg Bird Playmates - Hardenbergh’s Bird Playmates, 1916 Published by Charles Scribner’s Sons Collection of the Van Nostrand Family https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1668453253676-KMNN6H3ZN96RPF3DG2II/TVAN__07.jpg Bird Playmates - Hardenbergh’s Bird Playmates Background, 1916 Published by Charles Scribner’s Sons Collection of the Van Nostrand Family https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1668445647183-QQD8D928Y3Z44EU4JE5I/TVAN__09_Hardenberghs+Bird+Playmates.jpg Bird Playmates - Hardenbergh’s Bird Playmates Birds, 1916 Published by Charles Scribner’s Sons Collection of the Van Nostrand Family https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1668445646287-COTOGMJXDEHHT3EXQDI2/TVAN_08A_Hardenberghs+Bird+Playmates.jpg Bird Playmates - Hardenbergh’s Bird Playmates Birds, 1916 Published by Charles Scribner’s Sons Collection of the Van Nostrand Family https://sale.morven.org/online/ma-bell/gallery1/business daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692397173981-KIBJMWAJ8ZACTU2KCAWF/CU1017.jpg Business of the Telephone - Construction of Vail Mansion, 1916 As head of one of the largest monopolies in the country, Vail amassed considerable wealth. With a home in Vermont, he also wanted a grand new home in New Jersey. Construction started in 1916 on an Italian-inspired mansion in Morristown. Vail died before he could move into the estate, and it was given to the town. Frederick Curtiss, photographer. Image Courtesy of the Collections of the North Jersey History & Genealogy Center, The Morristown and Morris Township Library. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692397173981-KIBJMWAJ8ZACTU2KCAWF/CU1017.jpg Business of the Telephone - Construction of Vail Mansion, 1916 As head of one of the largest monopolies in the country, Vail amassed considerable wealth. With a home in Vermont, he also wanted a grand new home in New Jersey. Construction started in 1916 on an Italian-inspired mansion in Morristown. Vail died before he could move into the estate, and it was given to the town. Frederick Curtiss, photographer. Image Courtesy of the Collections of the North Jersey History & Genealogy Center, The Morristown and Morris Township Library. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692397287597-NM6ENZS9FVC57GWPH1V9/CU1918.jpg Business of the Telephone - Front of Vail Mansion, in snow, 1923 As head of one of the largest monopolies in the country, Vail amassed considerable wealth. With a home in Vermont, he also wanted a grand home in New Jersey. Construction started in 1916 on an Italian-inspired mansion in Morristown. Vail died before he could move into the estate, and it was given to the town. Frederick Curtiss, photographer. Image Courtesy of the Collections of the North Jersey History & Genealogy Center, The Morristown & Morris Township Library. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1682452425417-QER2UQCPH9XU7FR6JNKR/Vail%2C+Theodore+N.+1878.jpg Business of the Telephone - Theodore Vail, 1878 Born in Ohio in 1845, Theodore Vail grew up in New Jersey where he had important family ties. His great uncle was Stephen Vail, founder of Speedwell Iron Works in Morristown, NJ (today’s Historic Speedwell). His cousin, Alfred Vail had worked alongside Samuel Morse to popularize the telegraph in the United States in the mid-nineteenth century. Theodore grew up in Morristown, attending public school and the Morristown Academy. Vail secured a job with the mail service and worked his way up through the Postal System, eventually becoming the General Superintendent of the Railway Mail service. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1682451739681-RHU87ZR2VU9YQSPLM8BQ/%5B1915%5D+Vail%2C+Theodore+N.+at+his+desk.jpg Business of the Telephone - Theodore Vail, 1915 In 1878, Vail left his job as General Superintendent of the Railway Mail Service for Bell Telephone. Peers in Washington, D.C., thought he was making a mistake by placing his bets on new technology. One colleague wrote, “For T.N.V. to accept the superintendency of a Yankee notion in preference to the position he holds now is certainly laughable.” Vail commuted to New York from his home in New Jersey. Vail’s remarkable business instincts helped to squash competition coming from Western Union and other smaller phone companies. In 1885, he was named AT&T’s first president. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692397416777-SJ76SIW5GAJS0ZKQF2KT/Screenshot+2023-08-18+152320.jpg Business of the Telephone - Quote from Albert Bigelow Paine, Biographer of Theodore Vail “It has been said that Bell created the telephone and Vail created the telephone business.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692397140054-8TGICFWJHDSXTDYSLXRN/Screenshot+2023-08-18+151541.jpg Business of the Telephone - Three Branches of the Bell System By 1925, the Bell System was comprised of three entities, that lasted until the 1984 divestiture. 1. American Telephone & Telegraph (AT&T): AT&T was the original corporation that linked the Bell System together. Its function was to provide telecommunication service. It was made up of many regional Bell Telephone companies. 2. Western Electric: Western Electric was licensed to make telephones for the Bell Telephone Company by 1879, and became part of the Bell System in 1882. Its chief responsibility was to manufacture devices and purchase material goods for use in the Bell System. 3. Bell Telephone Laboratories: Bell Telephone Laboratories branched off from the Western Electric Engineering Department in 1925. It became a division of research and development to create and improve technologies needed for the Bell System. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1682451740836-27HXYL4WH9R4ZNN3FX1I/The-History-of-Science-and-Engineering-Vol-I_0044.jpg Business of the Telephone - Early Company Chart This chart shows the path from Bell’s small Boston start-up, backed by Gardiner and Hubbard to the company known as AT&T. Bell and Watson had largely stayed out of managing this growing business, and by 1881 both had left to pursue other interests. Featured in A History of Engineering and Science in the Bell System, The Early Years (1875–1925). Prepared by Members of the Technical Staff, Bell Telephone Laboratories, M.D. Fagen, Editor. Bell Telephone Laboratories, Inc., 1975. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1682451740541-LQXBTCBVKX6A2WSP0Y6N/%28King1893NYC%29_pg843_THE_WESTERN_ELECTRIC_BUILDING._GREENWICH_AND_THAMES_STREETS.jpg Business of the Telephone - The Western Electric Building, Greenwich and Thames Streets, New York City, 1893 By 1879 Western Electric was licensed to make telephones for the Bell Telephone Company, becoming the exclusive manufacturer within three years. In 1888, the ten-story Western Electric office and factory was built on Greenwich Street. Construction started on the larger Western Electric headquarters at 463 West Street in Manhattan in 1896. From King’s Handbook of New York City, An outline history and description of the American metropolis. With ... illustrations, etc. (Second edition.) 1893. By Moses King. Page 843. Digitized by The British Library.. https://sale.morven.org/online/ma-bell/gallery1/placing-call daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683045185077-QXIAEMJABTWS15XQ9UQB/P1020409.JPG Placing a Telephone Call - Newark Telephone Exchange Directory, 1879 This 1879 directory for the city of Newark takes up just one sheet of paper. Considering the first phone call was only made three years earlier, however, the growth of the Bell System is remarkable. Note the absence of phone numbers. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683045185077-QXIAEMJABTWS15XQ9UQB/P1020409.JPG Placing a Telephone Call - Newark Telephone Exchange Directory, 1879 This 1879 directory for the city of Newark takes up just one sheet of paper. Considering the first phone call was only made three years earlier, however, the growth of the Bell System is remarkable. Note the absence of phone numbers. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683044432341-LJ4OTLG6OQ9GIHSOJXD4/njp.32101072318353-seq_65.jpg Placing a Telephone Call - Princeton Listing, Delaware and Atlantic Telegraph and Telephone Co., April 1, 1897 This 1897 phone directory shows that Morven had telephone service by that year. Callers could reach Helen and Bayard Stockton at number 8. Famous Princeton alumni and benefactor, Moses Taylor Pyne could be reached at Drumthwacket at number 1. Collection of Princeton University Library. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683045243280-PFU1P5NTMHN0TWRXVZKV/P1020664.JPG Placing a Telephone Call - Princeton Directory, 1902-03 On November 30, 1884 Princeton’s first switchboard was placed at the corner of Nassau Street and University Place inside the University’s “Old Commons” building. Telephone books grew out of town directories which previously listed addresses. As more subscribers had phone service, telephone numbers began to be included. Collection of the Historical Society of Princeton. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683044509049-WFVI3L50MFDCWGNX0URJ/ms139.jpg Placing a Telephone Call - Letter from W.T. Westbrook of Delaware and Atlantic Telegraph and Telephone Co. to Allan Marquand, January 11, 1893 In this letter from W.T. Westbrook of the Delaware and Atlantic Telegraph and Telephone Company to Allan Marquand, Westbrook explains that, “...if ten or fifteen people were to become subscribers to a local exchange at Princeton they would soon become so accustomed to the use of the telephone that they could talk satisfactorily to almost any point to which they wished to be connected.” The Delaware and Atlantic Telegraph and Telephone Co. handled local exchanges. Long distance exchanges were handed off to AT&T. Collection of the Historical Society of Princeton. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683044572745-Y9K7RIYM6X92XOGF9ECD/%5B1898+Jan%5D+Newark+Telephone+Company+Telephone+Subscribers+General+Instructions+and+telephone+rates%28134-03-03-01%29.jpg Placing a Telephone Call - Interior of Newark Telephone Company Directory, 1898 with dialing instructions and toll rates Although telephones were relatively simple machines, new technology had to be learned so step-by-step instructions were provided to help customers make a call. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683044653963-1REBPO6BJL23LAY04U4N/IMG_5597.JPG Placing a Telephone Call - Outward call slips. Princeton to Trenton, A. T. & T. Co., 13-14 Sept 1909. In addition to manually connecting calls, operators would also need to record the length of the call for billing purposes. The clock stamps on the back mark the duration of the call. This three-minute call cost ten cents. Collection of the Historical Society of Princeton. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683044653586-184Z46ZRRGXLDUTXIJXN/IMG_5596.JPG Placing a Telephone Call - Outward call slips, Back. Princeton to Trenton, A. T. & T. Co., 13-14 Sept 1909. In addition to manually connecting calls, operators would also need to record the length of the call for billing purposes. The clock stamps on the back mark the duration of the call. This three-minute call cost ten cents. Collection of the Historical Society of Princeton. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692397718325-9OKX0O6IV23JVF939QQY/Copy%2Bof%2Bb_7_040.jpg Placing a Telephone Call - Princeton Telephone Exchange, c. 1910 This photo depicts the Bell Telephone Company installation at 32 Nassau Street (today’s Lululemon Store). Princeton’s night operators were to call Trenton on the hour to prove they were awake on the job. In 1910, when Halley’s Comet appeared, the operator slipped away to Bayard Lane to catch a glimpse, leaving the switchboard unattended for an hour. Image Courtesy of the Historical Society of Princeton, Rose Studio Photo Collection. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683044654473-ZCM35WQPTDE19Q9KQZXJ/IMG_5593.JPG Placing a Telephone Call - Outward call slips. Princeton to Trenton, A. T. & T. Co., 13-14 Sept 1909. In addition to manually connecting calls, operators would also need to record the length of the call for billing purposes. The clock stamps on the back mark the duration of the call. This three-minute call cost ten cents. Collection of the Historical Society of Princeton. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683045287094-V8Y3MYN0BLX90RB8WL54/P1020541.JPG Placing a Telephone Call - No. 1317 S Wooden Magneto Wall Telephone Set, 1907. Western Electric Company The earliest phones were wall mounted, like this model. They consisted of a speaker box, a handheld receiver, and a ringer to alert the owner to a call. Note there is nothing to dial with because telephone numbers did not exist. To make a call, the user would hand crank the Magneto battery to power the phone, then speak to the operator who would connect the call. The telephone was not a privately-owned piece of equipment, rather it was rented (much like internet routers are today from cable companies). Collection of AT&T Archives and History Center. https://sale.morven.org/online/ma-bell/gallery1/operator daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692397884917-U1GI9NGO58VZP057CWJ0/Screenshot+2023-08-18+153109.jpg The Operator - Quote from Carol Zinn “I found it interesting work to realize how people were connected by phone and I was responsible for making the connection.” Carol Zinn, Recalling her time as an operator in 1960s Newark. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692397884917-U1GI9NGO58VZP057CWJ0/Screenshot+2023-08-18+153109.jpg The Operator - Quote from Carol Zinn “I found it interesting work to realize how people were connected by phone and I was responsible for making the connection.” Carol Zinn, Recalling her time as an operator in 1960s Newark. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683046807986-TP3LVI97A5ME6NYB5SWJ/P1020527.JPG The Operator - Switchboard, Patented December 28, 1897 This switchboard is typical of what would have been used in rural areas. Early New Jersey phone users would have had their call routed through a switchboard like this one. In addition to connecting callers, operators also provided information services and helped customers answer questions beyond telephone call-related inquiries including the time and weather. One operator recalled a young boy calling to ask what time his school bus came. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683046848073-L3EPK7E5G5NL894Y4LDW/P1020518.JPG The Operator - PBX Switchboard, Model 556, 1950s Possibly made in Kearny, NJ. The PBX (Private Branch Exchange) switchboard , possibly made in Kearny, NJ was used to connect internal calls within a business, as well as linking them into the greater Bell system. The addition of a PBX to a company would also mean hiring dedicated operators. View the inner workings of the switchboard around the back. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683046889745-PIX18O5O4WPDNREFPLDZ/P1020533.JPG The Operator - Sign for American Telephone & Telegraph, c.1939-64 Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683047048512-OKPDTHSHZIVUUHCE8QAV/%5B1879+May+1%5D+Newark+Telephone+Exchange+%28130-03-03-09%29.jpg The Operator - Newark Telephone Exchange Directory, 1879 This 1879 directory for the city of Newark takes up just one sheet of paper. Considering the first phone call was only made three years earlier, however, the growth of the Bell System is remarkable. Note the absence of phone numbers. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683047144483-BT90Y9RT21ZY9LBP39LO/Screenshot+2023-05-02+130530.jpg The Operator - Exterior of the Bell Telephone Building on Washington Park, 1941 Newark was home to the New Jersey Bell Headquarters. In 1929, they opened a twenty-two story Art Deco building on Washington Park. The building boasted 500 offices, a 300-seat auditorium, recreation rooms, a restaurant, cafeteria, and a medical department. In addition to marble mosaics and a gilded lobby, the façade includes six sculptures by Edward McCartarn (1879–1947) that depict telephone company employees and customers. Today the building is known as Walker House; a few floors hold telephone switching equipment (a few floors hold telephone switching equipment for Verizon), while the rest serves as an apartment building. Image Courtesy of The Newark Public Library. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683047200205-KB0CJ1NEOEGM5FF2NXM6/%5B1887%5D+Traffic+Operators+Newark+NJ+%28HM3607%29-300dpi.jpg The Operator - Traffic Operators in Newark, NJ, 1887 Newark was a central hub through which local exchanges were routed. Voice operated telephone connections required finesse, a job fit for socially adept young women. Phone companies almost exclusively hired single white women for their telephone operator positions. The first operators were teenage boys, who had worked in the telegraph business. It was assumed they would easily make the transition to connecting calls and could also be used to repair lines but in many cases the boys proved too rowdy, even playing pranks on customers. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683047307109-HX0BG87DDTT1AGDSYMS9/%5B1930%5D+Switchboard+operators+and+supervisors%2C+Rockaway%2C+NJ+%28W801D%29.jpg The Operator - Switchboard Operators and Supervisors, Rockaway, NJ, 1930s By the 1930s, operator jobs were still exclusively marketed to women. The Bell System was the largest private employer of women. By 1938, there were 115,000 female operators in the Bell System and it was projected that 25,000 more were needed to fill demand. An important quality for an operator was the ability to enunciate. This meant that people without accented speech were preferred and discrimination against immigrants and minorities occurred frequently. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683047353310-OE9FPY3V1ZK8ZPTXC78D/%5B1953%5D+Port+Huron+MI+--+Operator.jpg The Operator - Operator, 1953 By 1950, the Bell System employed over 340,000 operators – this equates to one in thirteen working women. An additional one million women operators were employed by private businesses. By 1984, this number was down to around 40,000 total switchboard operators in the US including private business exchange employees. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683047432367-RCDZG53AJVDE2WJ8TMS8/%5B1969%5D+First+Traffic+Service+Position+System+installed+in+Morristown%2C+NJ+replaced+older+switchboards+seen+far+right+%28W6363%29.jpg The Operator - First Traffic Service Position System installed in Morristown, NJ. Replaced older switchboards (can be seen far right) The Traffic Service Position System (TSPS) was a shift away from the traditional switchboard. Connections were completely automated unless a customer required special assistance. TSPS greatly increased the speed of calls, making the work of operators impossibly fast-paced. Operators were expected to answer every incoming call within three seconds, announced with a beep directly in their headphones. The grueling pace and working conditions led to job dissatisfaction and health complaints. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683047416332-61154MU69KZESYS6XM7O/%5B1969%5D+1st+TSPS+Operators+in+US%2C+Morristown%2C+NJ+%2899-0555%29.jpg The Operator - The First TSPS Operators in the United States, Morristown, NJ, 1969 The 1960s saw an increase in the hiring of black women as operators. The wages of operators were in decline and white women found they could earn more elsewhere. However, for black women who were regularly barred from many workplaces, the job of operator was a new opportunity. In a paper delivered at the 1969 Bell System’s Presidents’ Conference, AT&T Vice President Walter Straley explained, “...we need nonwhite employees. Not because we are good citizens. Or because it is the law as well as a national goal to give them employment. We need them because we have so many jobs to fill and they will take them.” Image Courtesy of AT&T Archives and History Center. https://sale.morven.org/online/ma-bell/gallery2/long daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683049069788-X7P71EME54TDOM5QPDY9/%5B1892+Dec+1%5D+American+Telephone+and+Telegraph+Long+Distance+map.jpg Reaching Long Distance - Lines and Metallic Circuit Connections. Long Distance Map, 1892 By November 1876, just eight months after the original call, connections could be made sixteen miles apart. Shortly after, there was a successful call at 100 miles distance. This map shows the connections that were possible in 1892, plus the centers in which calls were connected. Image Courtesy of AT&T Archives and History Center. American Telephone and Telegraph Co. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683049069788-X7P71EME54TDOM5QPDY9/%5B1892+Dec+1%5D+American+Telephone+and+Telegraph+Long+Distance+map.jpg Reaching Long Distance - Lines and Metallic Circuit Connections. Long Distance Map, 1892 By November 1876, just eight months after the original call, connections could be made sixteen miles apart. Shortly after, there was a successful call at 100 miles distance. This map shows the connections that were possible in 1892, plus the centers in which calls were connected. Image Courtesy of AT&T Archives and History Center. American Telephone and Telegraph Co. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683049664113-GLJZ5LR1C0COUVZ5FHD5/%5B1914%5D+Last+Telephone+pole-Transcontinental+line+in+Utah+%2891-1022%29.jpg Reaching Long Distance - Stringing Wire on the Final Pole to complete the first transcontinental telephone line, Wendover, Utah, 1914 East met West when the two existing lines were finally connected. The telephone poles that carried the cables had to withstand the gamut of North American climates, including the desert. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683049727217-ZFUUTEWH14166L980AGO/P1020411.JPG Reaching Long Distance - Group of Glass Insulators, variously produced by: Pyrex, Armstrong’s, American Telephone & Telegraph, Hemingray Glass insulators were placed on crossarms to ensure that electrical currents were not transferred to the pole, which kept the signal strong and protected the pole from fire. You can still see glass insulators on some telephone poles today. Armstrong insulators were made in New Jersey. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683049771968-KH6F9RC5H95BZ621A6SY/P1020444.JPG Reaching Long Distance - Cross section of Pole 3227 from Lumberton Township, Burlington Co, 1885–1918 As is noted in the attached label, this pole was installed as part of the New York – Washington, D.C. line in 1885. It stood in Lumberton Township, NJ for 33 years “weathering all storms and breaks.” Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683049616946-BSDR0R1Z2MXUGLJC55Y0/Lee-de-Forest.jpg Reaching Long Distance - Lee De Forest holding Vacuum Tubes In 1907 Lee De Forest patented the audion, a device to boost electrical current. In 1912 the invention was brought to the attention of Bell executives who saw the potential for applications in telephony. Harold Arnold, a Bell engineer living in New Jersey, was assigned to work on the audion. He predicted that eliminating gas from the device would increase its power. Using a pump, Arnold was able to create a high-vacuum system. Within five months of his innovation, tubes were being tested on the New York to Baltimore line, in October 1913. Image Courtesy of Encyclopedia Britannica, Inc. © https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683049845395-QBYCN4GCAKDG06L9G902/P1020441.JPG Reaching Long Distance - Vacuum Tubes, VT2 Signal Corps, probably c. 1916 These triode (see the next two pictures), or Three Element Vacuum tubes, strengthen electrical signals. AT&T used them in repeaters, in order to amplify sound over telephone calls, making them the final puzzle piece in transcontinental communication. By 1927, repeaters could quintuple the effectiveness of each pair of wires. The VT2 model, seen here, is similar to what would have been used on the transcontinental line. The variety of sizes and shapes grew as the use of vacuum tubes was expanded to microphones, public address systems, electric sound recording, portable devices, and sound motion pictures. Learn more about their use in radio in the next gallery. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683049919714-3ENVNWOJZK7AUNJ1UG8P/P1020438.JPG Reaching Long Distance - Vacuum Tube, 215-A or “Peanut,” 1919–1930s, Western Electric These triode (see the photos before and after this one), or Three Element Vacuum tubes, strengthen electrical signals. AT&T used them in repeaters, in order to amplify sound over telephone calls, making them the final puzzle piece in transcontinental communication. By 1927, repeaters could quintuple the effectiveness of each pair of wires. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683049987568-XREOQ4J8H5W5R1JQ67OH/P1020434.JPG Reaching Long Distance - Vacuum Tube, 212-D, before 1928, Western Electric These triode (see the previous two photos), or Three Element Vacuum tubes, strengthen electrical signals. AT&T used them in repeaters, in order to amplify sound over telephone calls, making them the final puzzle piece in transcontinental communication. By 1927, repeaters could quintuple the effectiveness of each pair of wires. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683050053279-FBECZ42GSFK3CWQKQFH5/P1020416.JPG Reaching Long Distance - Local Exchange Cable, before 1940 Exchange cables were strung between telephone poles. A single copper wire would run from the telephone in a subscriber’s home to a nearby telephone pole where it would join a large cable containing the wires of surrounding subscribers. Visible in the cross section of this example, the copper wires would be bound together, insulated in paper, then housed in a sheath of lead and antimony alloy. Local exchange cables like this one were made at the Western Electric Plant in Kearny, NJ. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683050098061-1VP5UNCN9CZHRPQGYF56/P1020429.JPG Reaching Long Distance - Telephone Loading Coil The sound of the human voice was carried via electrical waves and diminished as it passed through miles of wire and various switchboards. Loading coils, installed on the wires at eight mile intervals, helped to reduce distortion. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683050102617-KYPCU0HOBO20EALMEHX2/P1020425.JPG Reaching Long Distance - Scale model repeater for SF Undersea Cable c. 1968 Full-size SF repeaters were about three feet long, and were the first in the transatlantic cable series to have vacuum tubes replaced by the more modern transistor. The capsule-like shape allowed for it to slide smoothly inside the protection of a submarine cable. One was placed on the ocean floor every 11 ½ miles. A Western Electric plant in Hillside, NJ was a chief manufacturer for undersea repeaters. Collection of AT&T Archives and History Center. https://sale.morven.org/online/ma-bell/gallery2/transcontinental daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683050875802-ZQSUI7H8NEPXN11GK5KR/Screenshot+2023-05-02+140743.jpg First Transcontinental Call - Invitation from Theodore N. Vail to Alexander Graham Bell, 1915 The first transcontinental call to San Francisco was tested by Vail in 1914, after the last pole was wired into the line. However, AT&T waited to officially launch service in conjunction with the 1915 celebrations of the Panama Pacific Exposition, the year also marked the opening of the Panama Canal. Image Courtesy of Library of Congress, Manuscript Division, Alexander Graham Bell Family Papers. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683050875802-ZQSUI7H8NEPXN11GK5KR/Screenshot+2023-05-02+140743.jpg First Transcontinental Call - Invitation from Theodore N. Vail to Alexander Graham Bell, 1915 The first transcontinental call to San Francisco was tested by Vail in 1914, after the last pole was wired into the line. However, AT&T waited to officially launch service in conjunction with the 1915 celebrations of the Panama Pacific Exposition, the year also marked the opening of the Panama Canal. Image Courtesy of Library of Congress, Manuscript Division, Alexander Graham Bell Family Papers. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683050918845-BA7ZESD0R6N2B1O473U2/Alexander_Graham_Bell%2C_first_transcontinental_phone_call%2C_25_Jan_1915.jpeg First Transcontinental Call - Alexander Graham Bell on the first transcontinental call, 1915 Irving Underhill, photographer. Bell, center, sits at the table with two important relics of the first telephone call: the coiled wire that carried his voice to Watson and a replica of the first phone. A portrait of Theodore Vail hangs above the group. To the crowd's delight, Bell said, “Mr. Watson, please come here. I want you” to which Watson replied, “It would take a week or two for me to do that now.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683050982448-FX3E5VL1SEHUFATJ6WIH/%5B1915+Jan+25%5D+Vail+Speaking+at+Opening+of+1st+Transcontinental+Line%2C+Jekyll+Island%2C+GA+%2895-1292%29+-+800+dpi.jpg First Transcontinental Call - Theodore Vail Speaking at the Opening of the 1st Transcontinental Line. Jekyll Island, GA. January 25, 1915 Vail, unable to travel due to a fall, joined the call from Jekyll Island, GA. In order to connect Vail to President Wilson, Watson, and Bell, an extra 1,000 miles of wire had to be added to reach Jekyll Island. Image Courtesy of AT&T Archives and History Center. https://sale.morven.org/online/ma-bell/gallery2/linemen daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683052157857-YCEWV6X6GZTEM2LBZAKR/Screenshot+2023-05-02+142449.jpg Bell Linemen - The Lineman Bell Telephone System Advertisement, 1948 Norman Rockwell (1894–1978). Bell Telephone’s advertising agency commissioned this work from Rockwell. A letter from the agency to the artist suggested a scene with a lineman repairing damage after a storm explaining that "The work of the linemen for the Telephone Company is filled with opportunities for personal sacrifices and acts which stem only from devotion to national welfare, so that it seems a fitting work to honor by such a painting." Rockwell, who always worked with models, found lineman John Toolan working on a line in Cheshire, Massachusetts and asked him to serve as his subject. The original painting is now in the Norman Rockwell Museum. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683052157857-YCEWV6X6GZTEM2LBZAKR/Screenshot+2023-05-02+142449.jpg Bell Linemen - The Lineman Bell Telephone System Advertisement, 1948 Norman Rockwell (1894–1978). Bell Telephone’s advertising agency commissioned this work from Rockwell. A letter from the agency to the artist suggested a scene with a lineman repairing damage after a storm explaining that "The work of the linemen for the Telephone Company is filled with opportunities for personal sacrifices and acts which stem only from devotion to national welfare, so that it seems a fitting work to honor by such a painting." Rockwell, who always worked with models, found lineman John Toolan working on a line in Cheshire, Massachusetts and asked him to serve as his subject. The original painting is now in the Norman Rockwell Museum. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683052194825-1E79F3NUCM0T5ERTMU2E/%5B1950-1951%5D+Lineman+in+Snow.jpg Bell Linemen - “Sleet was an enemy in the suburbs…” This photo is from an article detailing the impact of the Great Appalachian Storm of 1950 on the Bell System. The Thanksgiving weekend storm had the triple threat of wind, snow, and ice. The New Jersey Bell System was the hardest hit with 2,000 cables downed and 135,000 telephones dead. According to the article, 5,000 lineman were on the job by dawn the next day “to tackle the biggest repair job they had ever encountered.” Image Courtesy of Bell Telephone Magazine, Winter 1950-51. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683052269959-KTIIU88USBAW6J0QW99X/%5B1953%5D+Bell+Telephone+Magazine+Vol+31+Linemen.jpg Bell Linemen - Linemen The pole this lineman is working on was unique in that it supported “open wire circuits, both voice frequency and carrier; cable circuits; and a radiotelephone transmitting installation.” Image Courtesy of Bell Telephone Magazine, Autumn 1952: Vol 31 Issue 3. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683052317535-X6J0DFMZTKLGIU76JCED/%5B1955+Jul+20%5D+New+Jersey+Bell+Lineman+operates+new+aerial+cable+guide%2C+Lambertville%2C+NJ+%28A13576%29.jpg Bell Linemen - New Jersey Bell Lineman operates new aerial cable guide, Lambertville, NJ, July 1955 Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683052341519-BCK4U2FUKB6EP8T9953L/%5B1978%5D+Training+-+Outside+plant%2C+South+Plainfield%2C+NJ+%28W9325%29.jpg Bell Linemen - Training - outside plant in South Plainfield, NJ, 1978 The outside plants, like the lab in Chester, or the one pictured here in South Plainfield, served as training grounds for employees working with telephone equipment. Mock electrical boxes and telephone poles were used for drills of complicated or dangerous work. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683052409677-9TA1VWESQU21ID339G8H/%255B1954%255D%2BWilliam%2BAllan%2BSafe%2BDriving.jpg Bell Linemen - Safe Driving Resolution Card, 1954 issued by the New Jersey Bell Telephone Co. Collection of the Allan Family. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683052457865-VFHGM6PXWA2O9HINFN4L/%255B1953%255D%2BWilliam%2BAllan%2BFirst%2BAid%2B%2528Front%2529.jpg Bell Linemen - First Aid Certificate, 1953 issued by the New Jersey Bell Telephone Co. Collection of the Allan Family. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683052513848-RIGVGVXPHQMCXQV3TJ7R/P1020461.jpg Bell Linemen - Lineman's Tools, Model D Tool Pouch Part of the specialized tools linemen needed on a daily basis to complete their work. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683052671831-N8XZMOB3P3S8PP65USAQ/P1020462.jpg Bell Linemen - Lineman's Tools, Type D Belt / Strap, October 1971. Buckingham for Bell Part of the specialized tools linemen needed on a daily basis to complete their work. The belt / strap was cinched around the pole and the safety hooks at each end clip into another belt worn on the lineman’s body. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683052748653-8OZDUTIVMZ1K6B5X9ULU/P1020458.jpg Bell Linemen - Lineman's Tools, Wrench, 1940 - 1959 Part of the specialized tools linemen needed on a daily basis to complete their work. Wrenches were used for a variety of purposes, including putting climbing spikes into telephone poles. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683052830385-WDQ987L3ECCITUNYU5E7/P1020451.jpg Bell Linemen - Lineman's Tools, Bell System B-263 Wrenches, February 1963. M. Kein & Sons for Bell System These were part of the specialized tools linemen needed on a daily basis to complete their work. Wrenches were used for a variety of purposes, including putting climbing spikes into telephone poles. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683052941387-ZGX7XUTDX9XFR03ID6YL/P1020455.jpg Bell Linemen - Lineman's Tools, Pliers, April 1958 Part of the specialized tools linemen needed on a daily basis to complete their work. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683052987190-U2HMQ1Q3Q1ZRB2ZC67S3/P1020450.jpg Bell Linemen - Lineman's Tools, Climbing Spikes Part of the specialized tools linemen needed on a daily basis to complete their work. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683053073221-65QHX9FGW5VDWQJFYLPE/P1020643.JPG Bell Linemen - Hard Hat, c. 1974. Welsh Manufacturing Co. This hard hat belonged to Doug Smith, an electrical engineer who worked at the Bell Telephone Laboratories of Whippany and Holmdel. Early on, workers commonly wore felt hats to prevent life-threatening electrical accidents. Need for better protection against higher voltage combined with advances in plastics made way for hard hats. Collection of Marna Golub-Smith. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683053098345-BGPDHBWH598U5JB0XL8U/P1020542.JPG Bell Linemen - 35C Test Set, 1924-1959. Western Electric This portable set was used for testing the electrical currents supplying power to telephones via phone lines. Lineman could check to see if interruption of phone service was electrical in nature. The Weston Milliammeter dial shows the amount of electrical current. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683053116403-1979PYPBX3W5VMHZYIVB/P1020551.JPG Bell Linemen - 3A Noise Measuring Set, April 4, 1968. Western Electric Another portable piece of equipment, this set measures and diagnoses the cause of interference along telephone circuits. It’s description in the Bell System Practices manual says that it is “fully transistorized and powered by a single, self-contained 45-volt battery.” The set here is shown without its cover. Collection of AT&T Archives and History Center. https://sale.morven.org/online/ma-bell/gallery2/chester daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683053414539-1KTKWOGMJ849W72WADY4/%5B1931+Mar+2%5D+Pole+Bouring+test%2C+Chester%2C+NJ+%28CS-546%29.jpg Chester Pole Farm - George Q. Lumsden performs a Pole Boring Test, Chester, NJ, 1931 George Lumsden was a wood expert employed at Chester. Poles of varying materials were installed throughout the property to test how they would withstand the elements. Later, a high voltage laboratory put poles under the rigor of lightning strikes and downed power lines. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683053414539-1KTKWOGMJ849W72WADY4/%5B1931+Mar+2%5D+Pole+Bouring+test%2C+Chester%2C+NJ+%28CS-546%29.jpg Chester Pole Farm - George Q. Lumsden performs a Pole Boring Test, Chester, NJ, 1931 George Lumsden was a wood expert employed at Chester. Poles of varying materials were installed throughout the property to test how they would withstand the elements. Later, a high voltage laboratory put poles under the rigor of lightning strikes and downed power lines. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683053449740-I0NI2086SFWBCTJXPJSH/%5B1931+Mar+2%5D+General+view+of+Chester%2C+NJ+%28CS-547%29.jpg Chester Pole Farm - View of Chester Telephone Pole Farm taken from a camera mounted on a telephone pole, 1931 By 1931, the facility spanned at least 100 acres. The one-story building to the right was the ceramics and concrete workshop. Other facilities were added to study insulators, the effects of wind on swaying wires, ceramic conduits for underground cables, and insect damage. Fire, replicated dust storms, and ballistics damage were among the most extreme conditions tested. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683053492533-K5Y67Q9XEA4LBB5OVRL6/%5B1931+Aug+10%5D+Conduits+at+Chester%2C+NJ+%28CS-711%29.jpg Chester Pole Farm - Conduits at Chester, 1931 Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683053523981-VC9OBLCD4K1RHMMIS7N2/%5B1931+Mar+2%5D+Cable+Swaying+test%2C+Chester%2C+NJ+%28CS-549%29.jpg Chester Pole Farm - Cable Swaying Test https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683053548292-RTOA09XYI9PPZCAP06ZH/%5B1965%5D+Linemen+try+out+new+device+with+aerial+platform%2C+Chester%2C+NJ+%2888-200361%29.jpg Chester Pole Farm - Icy Conditions (1965 or 1969) https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683053577980-SNTV8NIOLC8X3TSKQMB4/%5B1969-1974%5D+Icy+slope+of+Seward+Hill+testing+for+weather+and+endurance+of+Bell+System+equipment%2C+Chester%2C+NJ+%2898-5029%29.jpg Chester Pole Farm - Icy Conditions (1965 or 1969) https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683053597304-YH98DT6T1EV88TRP5RBG/%5B1963+Oct%5D+Willard+Apgar+installs+a+self+supporting+cable+to+test+it%2C+Chester%2C+NJ+%2898-3497%29.jpg Chester Pole Farm - Willard Apgar installs a self supporting cable to test it, Chester, NJ, October 1963 The Outdoor Lab served to test equipment for linemen’s work to ensure safety and ease of use out in the field. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683053636410-U96DTGPX83L38K8NNDJK/%5B1965%5D+Cable+Ship+Fantastic%2C+Chester%2C+NJ+%2886-300738%29.jpg Chester Pole Farm - Dry Land Cable Ship Fantastic, at Chester Outdoor Plant, 1965 Fantastic, the life-size model of Cable Ship Long Lines, was used to run practice drills on dry land so that the installers were better prepared when they reached the open sea. The seaworthy Long Lines laid the longest undersea cable at the time, connecting Tuckerton, NJ to Cornwall, England in 1963. It later installed the first fiber optic transatlantic cable in 1988. Image Courtesy of AT&T Archives and History Center. https://sale.morven.org/online/ma-bell/gallery2/western-electric daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692399597985-UZA8P3M8PR2N8FY006M9/Screenshot+2023-08-18+153956.jpg NJ Western Electric Plants - Map of Western Electric locations in New Jersey by 1976 Kearny (1925), manufacturing Jersey City (1947, also known as Marion Shops), manufacturing Clark (1959, later known as Hillside), manufacturing Fair Lawn, NJ (1956), manufacturing Newark (1926) distribution house, later service and regional headquarters Union (c. 1954, also the New Jersey House), distributing and service Hopewell (1958), Engineering Research Center https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692399597985-UZA8P3M8PR2N8FY006M9/Screenshot+2023-08-18+153956.jpg NJ Western Electric Plants - Map of Western Electric locations in New Jersey by 1976 Kearny (1925), manufacturing Jersey City (1947, also known as Marion Shops), manufacturing Clark (1959, later known as Hillside), manufacturing Fair Lawn, NJ (1956), manufacturing Newark (1926) distribution house, later service and regional headquarters Union (c. 1954, also the New Jersey House), distributing and service Hopewell (1958), Engineering Research Center https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692399688189-3SLL0UB6R38VHYDK1LFE/Screenshot+2023-08-18+160116.jpg NJ Western Electric Plants - Quote from "Telephone Review", 1938 “One could see it from far away across the Jersey meadows – a patch of light against the blackness, like some great liner passing in the distance. Closer, it resolved itself into a group of immense buildings…‘Western Electric’ – said the great sign on the roof of the largest building.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683054537691-F3R3MAT0K8LLXDR9L7SV/%5Bn.d.%5D+Western+Electric+Kearny+Works%2C+NJ+%28W1018-5%29.jpg NJ Western Electric Plants - Western Electric Plant, Kearny, NJ Kearny Works was opened in 1925, as the second Western Electric plant in the US. One of its main products were switchboards, ranging in size from desktop versions to huge long-distance central office exchanges. When the plant closed in 1983, it was one of the biggest employers in Hudson County, NJ. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683054586587-WKY5SNYVW30XN1E5A1S5/%5B1940s+ca.+Jul%5D+AT%26T+-+Ruby+Dee+at+Kearny+Works+NJ.jpg NJ Western Electric Plants - Ruby Dee at Kearny Works, 1940s Before becoming a movie star and civil rights activist, Ruby Dee (1922–2014), worked at the Kearny Works when production ramped up during World War II. Here, Dee, on the verge of stardom (she had her first Broadway and on-screen roles in 1946), is soldering wires. Note her necklace decorated with bell charms. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683054625757-IXG56OI8QJ6UU7GUKPH3/%5Bn.d.%5D+Architect%27s+drawing+of+WE+Engineering+Research+Center%2C+near+Princeton%2C+NJ+%28W5472%29.jpg NJ Western Electric Plants - Architectural Drawing of Western Electric Engineering Research Center, Hopewell, NJ These Western Electric buildings formed the first corporate office park in the US. In a 1969 dedication ceremony celebrating the addition of a Corporate Education Center on the premises, Morven resident Governor Richard Hughes stated, “No other industrial or business citizen is more welcome than Western Electric.” The center was torn down in 2016 and the land of the corporate park is now part of the Mount Rose Preserve. Image Courtesy of AT&T Archives and History Center. Rudolph Associates, NYC. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683054784117-40YHM1C3JWMK7Z5BNG03/%5B1959%5D+Plans+for+WECO+research+lab+with+Governor+Robert+B.+Meyner%2C+Princeton%2C+NJ+%28W5472%29.jpg NJ Western Electric Plants - Plans for the Western Electric Engineering Research Center with Governor Robert B. Meyner, Princeton, NJ, 1959 Morven resident, Governor Meyner, looks at plans for new facilities for the Western Electric campus. It was to replace the old Princeton Film Center building in Hopewell on Route 569 (Carter Road). Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683054664430-K4AKG7FG2EZUFDQO0DVV/%5B1931%5D+Jessie+Jafizak+and+Josephine+Dziadosz+in+the+foreground+and+Thelma+Brumuller+in+the+rear+salvage+frame+wire%2C+Newark%2C+NJ+%28W1520%29.jpg NJ Western Electric Plants - Jessie Jafizak and Josephine Dziadosz (foreground) and Thelma Brumuller (background) salvaging frame wire, Newark, NJ, 1931 These women were part of Western Electric’s repair and recycling operations out of the Newark distribution house. The number of women in the ranks of Western Electric grew throughout the 20th century. In 1943, female employees outnumbered male counterparts. By 1969, women comprised about a third of all Western Electric employees. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683054711493-E8BXCWNLK4NDRW79JJJZ/%5Bn.d.%5D+Princeton+students+listening+to+the+ball+game+over+the+public+address+system+%28W3469%29.jpg NJ Western Electric Plants - Princeton University students outside of Nassau Hall listen to a ball game over Western Electric Public Address Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683054746944-CXF5GS9YYWDTBN1VCWI3/%5B1947+Mar+20%5D+Wire+Manufacturing+paper+at+Kearny+Works%2C+NJ+%28W4507%29.jpg NJ Western Electric Plants - Manufacturing paper insulation at Kearny Works, NJ, March 1947 The number of women in the ranks of Western Electric grew throughout the 20th century. In 1943, female employees outnumbered male counterparts. By 1969, women comprised about a third of all Western Electric employees. Image Courtesy of AT&T Archives and History Center. https://sale.morven.org/online/ma-bell/gallery3/wireless daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692399964650-IZP0JICOULKALMGCN0YN/%255B1920%255D%2BAsbury%2BPark%2BRadio%2BRoller%2BChair%2Bfrom%2BRadio%2BNews%2BAugust%2B1920.jpg Going Wireless - W. Harold Warren, pictured here with his sisters, thought of installing radio receivers on the roller chairs of the Asbury Park boardwalk, 1920 Featured in Radio News magazine. Engineers needed a continuous signal for wireless experiments. Instead of taking turns speaking into a transmitter they played recorded music – essentially creating a musical broadcast that could be picked up by anyone with a receiver. W. Harold Warren, pictured here, took advantage of the Deal broadcast placing radio receivers into his roller chairs – allowing his customers to listen to phonograph music while being pushed down the nearby Asbury Park boardwalk. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692399964650-IZP0JICOULKALMGCN0YN/%255B1920%255D%2BAsbury%2BPark%2BRadio%2BRoller%2BChair%2Bfrom%2BRadio%2BNews%2BAugust%2B1920.jpg Going Wireless - W. Harold Warren, pictured here with his sisters, thought of installing radio receivers on the roller chairs of the Asbury Park boardwalk, 1920 Featured in Radio News magazine. Engineers needed a continuous signal for wireless experiments. Instead of taking turns speaking into a transmitter they played recorded music – essentially creating a musical broadcast that could be picked up by anyone with a receiver. W. Harold Warren, pictured here, took advantage of the Deal broadcast placing radio receivers into his roller chairs – allowing his customers to listen to phonograph music while being pushed down the nearby Asbury Park boardwalk. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683735275292-RCA4VIZE0BOTS4HSF7G5/%5B1930%5D+Ship-to-Shore+Telephone+Service+--+Transmitting+Station%2C+Deal+Beach%2C+NJ+%28H-383+B%29.jpg Going Wireless - C.F.P. Rose of the Radio Research Department and line terminal equipment, enclosed in copper screening at Deal Beach, NJ, 1930 Deal served as the transmitting station for the first year of commercial ship-to-shore service. For this short period Deal was staffed by operators from the Long Lines Department of AT&T. Later Ocean Gate opened, taking over ship-to-shore transmission. Deal Test Site closed in 1953 with most operations moving to the Bell Labs location in Holmdel. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683735321220-39XAPYB5QBGV050BXUEJ/%5B1921%5D+Radiotelephone+Laboratory%2C+Deal%2C+NJ.jpg Going Wireless - Radiotelephone Laboratory, Deal Beach, NJ, 1921 Within a year of purchasing the Foxhurst Farm in Deal, NJ, engineers had erected three 165-foot antenna towers for testing wireless communication which still stand today. The lab building was erected in 1921 and it included dormitories for the engineers. By 1925, a staff of eight people manned the lab. The local mayor, Al Woolley, joked, “When Bell Labs moved into town, the average IQ in Oakhurst went up 15 points!” Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683735379617-79A4NM9II6RZY3TCYYSK/%5B1931+Jan+27%5D+Ocean+Gate+Transmitting+Station%2C+Front+of+the+Building+%28HM+46848%29.jpg Going Wireless - Ocean Gate Transmitting Station, 1931 Completed in 1930, the Ocean Gate Station was dedicated to ship-to-shore communications after successes with experimentation at the Deal, NJ station in the late 1920s. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683735378824-359CCU1K111ZWZW0K6AJ/%5B1931+Jan+27%5D+Ocean+Gate+Transmitting+Station+%28HM+46846%29.jpg Going Wireless - Using a D-90643 Transmitter at Ocean Gate, January 27, 1931 Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683735378558-6TIB9LXB8PO00O9H7G0T/%5B1936%5D+Ship-to-Shore+Operator+%28H+5x1%29.JPG Going Wireless - Ship-to-Shore Operator, 1936 This operator is working in the AT&T Long Lines headquarters in Manhattan. Her horn-shaped transmitter is of similar design to one in a case in this gallery. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683735368607-Z9Y37NV6RTBXMI7CICV2/8513915628_87f8ef7e35_o.jpg Going Wireless - USS Leviathan probably during its arrival to New York City on December 16, 1918 In 1929, AT&T launched its commercial ship-to-shore telephone service with a call placed from AT&T’s President to the captain of the USS Leviathan located 200 miles out into the Atlantic. The call was sent from the transmitter at Deal with the return signal received at the Forked River station. The public could now make calls to their friends and family at sea for $21 to $33 for the first 3 minutes (around $320 today) and $7 to $11 for each additional minute. Image Courtesy of the Library of Congress. Bain News Service, Publisher. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683735368573-OQ3APPOTVRUGZBEQX8MZ/%5B1923%5D+Bell+System+Technical+Journal_Radio+Extension+to+Ships+at+Sea.jpg Going Wireless - Radio Extension to Ships at Sea from Deal, NJ, 1923 Throughout the 1920s, Deal engineers worked on ship-to-shore voice transmission. Deal would receive a call through the wired network and then transmit it via radio waves to a ship at sea. The ship would have a two-way radio to receive and respond to the message. A separate receiving station in Elberon would receive messages from the ship to avoid interference. The Elberon station would then relay the response through the wired network to the original caller. Bell System Technical Journal Image Courtesy of Prelinger Library in San Francisco, CA. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683735377605-YFLCT03ZVWO2I1NUMS4A/%5B1978%5D+WOO+Postcard+Front.jpg Going Wireless - Postcard of WOO Call Sign, c. 1978 WOO, or “Whiskey Oscar Oscar” was the call sign for Ocean Gate. In the 1940s, the WOO Station broadcasted internationally for the Office of War Information. During World War II millions of calls were routed through Ocean Gate to ships. Considered a major strategic point during the war, it was protected by armed guard. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683735375992-GDCTHD7HS2BTAQHD7PFC/Forked+River+ATT-4000+%281940+complete%29.jpeg Going Wireless - Forked River Radio Receiving Station, before WWII https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683735376789-0IEXHEEPIREDDGXRYOO9/040326C-20.jpg Going Wireless - View from Ocean Gate Lab, 2004 Located on Good Luck Point on Barnegat Bay the Ocean Gate station was surrounded by 175 acres of salt marsh. The first poles were erected between 1929 and 1938 and outfitted with curtain-style antennas. Later poles were arranged in rhombic configurations. Photographed by Albert LaFrance. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683735376920-TAEGYCLRW0FQAHS8HBMK/%5B2021%5D+Ocean+Gate.JPG Going Wireless - Ocean Gate, 2021 AT&T provided single-sideband (SSB) radiotelephone service until 1999, when satellite service replaced the manned shoreside station model. The last poles were removed after severe damage by Hurricane Sandy in 2012. Today this site is part of the Edwin B. Forsythe National Wildlife Refuge. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683735893309-RZIKRS7BT8JZFIVKI6WV/P1020556.jpg Going Wireless - Model 40B transmitter and receiver, distortion measurement set This coastal harbor radio system came from the Ocean Gate transmitting station. It would have been used to test signal distortion and sound quality of at-sea radio telephone transmission. This Model 40B transmitter and receiver contains: a Western Electric 19c oscillator, a 2A sending panel, 1U amplifier rectifier, and a Source of 1000-cycle 1 mw supply. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683738738688-4A035EVOD8RAA5S6RM91/%5B1933%5D+Old+Holmdel+Laboratory+%2889-13864%29.jpg Going Wireless - Old Holmdel Laboratory, 1933 Members of the Bell Labs Radio Research Division. Shown in the first row from left to right: Art Crawford, Carl Feldman, Sam Reed, Joe Johlfs, Lewis Lowery, Russell Ohl, Bill Mumford, Karl Jansky, Merlin Sharpless, Archie King, Edmund Bruce, and Al Beck. In the second row from left to right: Carl Englund, Harald Friis, Douglas Ring, Otto Larsen, Carl Clauson, Morris Morrell, Carl Peterson, Maurice Collins, Dan Schenk, and Jim Morrell. In the 1930s, Holmdel, NJ was still mainly farmland when AT&T purchased more than 400 acres of land to accommodate an ever-growing radio staff. Anyone working on radio research understood that they would need to work in rural areas. Many engineers found the Holmdel area so idyllic that they would spend the weekends there with their families picnicking and playing “informal games.” Image Courtesy of AT&T Archives and History Center. https://sale.morven.org/online/ma-bell/gallery3/ground-comm daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683736189850-TKBH85MGR0F0GPIYYUD1/Screenshot+2023-05-10+122938.jpg Ground Comm - Radio Laboratories at Camp Alfred Vail, Little Silver, NJ, 1918 Construction on a radio laboratory for research and development started December 1917. By 1925, the Signal Corps work had become so integral that Camp Vail was made a permanent military post and renamed Fort Monmouth. There were 47 radio lab buildings on site plus experimental airfields. Image Courtesy of CECOM Historical Archive. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683736189850-TKBH85MGR0F0GPIYYUD1/Screenshot+2023-05-10+122938.jpg Ground Comm - Radio Laboratories at Camp Alfred Vail, Little Silver, NJ, 1918 Construction on a radio laboratory for research and development started December 1917. By 1925, the Signal Corps work had become so integral that Camp Vail was made a permanent military post and renamed Fort Monmouth. There were 47 radio lab buildings on site plus experimental airfields. Image Courtesy of CECOM Historical Archive. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683736126058-CLWYXB3T6PLMPXG5B6Y4/%5B1919%5D+Radio+installation+at+Camp+Vail.jpg Ground Comm - Installing radio on an airplane at Camp Vail, 1919. From a History of Fort Monmouth, New Jersey, 1917-1946 By 1925, the Signal Corps work had become so integral that Camp Vail became a permanent military post and was renamed Fort Monmouth. Image Courtesy of US Army. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683736125283-7MDRUHQWVZHK35RW9031/%5B1917%5D+Ground-to-Air+Radiotelephony+%28H-4-28%29.jpg Ground Comm - Running experimental aircraft-radio tests, at Hadley Field, South Plainfield, NJ, 1917 (Left to right: Edward B. Craft, First Lt. Ralph Bown, Major Nathan Levinson, Col. N.H. Slaughter) The radios on the table here were similar in style to the SCR-67 and SCR-68 developed by Western Electric. In 1918 higher-frequency sets were built and tested at Camp Vail after they were deemed to be more useful in the air because a smaller antenna could be used. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683736125253-1KNTITCHKHS04GB7BT0G/%5B1917%5D+Aviation+radio+test+%28W444%29.jpg Ground Comm - Aviation radio test, probably Hadley Field, South Plainfield, NJ, 1917 Morris Rosenfeld, photographer Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683736124152-6B61R0QMZQ1PTS9WA59L/%5B1917%5D+Aviation+radio+headset+%28W444%29.jpg Ground Comm - Pilot wearing aviation radio equipment, South Plainfield, NJ, 1917 Special headsets used by pilots were able to overcome the significant wind noise experienced in open cockpits. The transmitter set can be seen strapped around the pilot’s chest. Plane-mounted radio sets in the 1910s were powered by wind-driven generators. The whole set of equipment aboard the plane weighed about 58 pounds. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683736124317-4KJJT9RWQVQ3O4V78UYO/%5B1929%5D+Air-to-Ground+Radiotelephony.jpg Ground Comm - Long distance call being made from the air above Hadley Field, South Plainfield, NJ, 1929 Improvements in equipment continued after the war. The long distance call photographed here was transmitted from Hadley field via land lines to the overseas operator switchboard in New York, and directed to one of two transatlantic radio telephone transmitting stations. Radio waves carried it to Scotland where it was transferred to a landline and carried to a Miss Martha Dalrymple in London. Note how the headsets differ now that the cockpit is enclosed. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683737616135-WVSIL4TZ64G8XRXFEV9L/P1020472.jpg Ground Comm - Transmitter Breast Plate, c. 1919 This wearable apparatus for pilots was developed around the physical conditions of the open cockpits of the 1910s. The helmet-style headset kept the receivers in place on the pilots’ ears while reducing ambient noise. Microphones on the transmitter were also designed so that the person on the ground could better hear a pilot's voice over the wind. Communication equipment also had to deal with the physical vibration of the plane and electrical interference onboard. The coupling on the breast plate plug was based on switchboard technology. Operators also wore breast plates for hands-free communication. Western Electric Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683737631861-QEK7P4UPJ0ZS5HKOFR7W/P1020471.jpg Ground Comm - No. 1-A Leather Helmet, c. 1916. Size medium Western Electric, Inc Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683736833833-9P2QXJ4PMOUK4LMSEJK1/P1020464.jpg Ground Comm - Signal Corps Telegraph Key Telegraph Battalions, or forces dedicated to maintaining telecommunications equipment, were formed at Camp Vail. On October 18, 1917, the 11th Reserve Telegraph Battalion of Camp Vail boarded the train to the Hoboken Port of Embarkation, on the initial leg of the journey to the theatre of war in Europe. Western Electric, made in Kearny, NJ, 1918-1945 Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683736867324-47XWF76G0C2OLYRY35GR/P1020467.jpg Ground Comm - Signal Corp VT 1 Vacuum Tube Radio sets incorporated vacuum tubes, which had been introduced into the Bell System with the recent transcontinental telephone line. Western Electric Co. Inc., Patent Applied for 1916 Collection of AT&T Archives and History Center. https://sale.morven.org/online/ma-bell/gallery3/jansky daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683738866628-OFTQN2RSSHLU7RSX5SVR/%5B1930+ca.%5D+Jansky+with+Rotating+Antenna+%2889-13863%29.JPG Jansky - Karl Jansky with Rotating Antenna in Holmdel, 1930 This antenna, known as “Jansky’s Merry-go-Round,” was designed to collect data on short wavelengths. The antenna was outfitted with Model-T wheels so that it could rotate around a concrete track. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683738866628-OFTQN2RSSHLU7RSX5SVR/%5B1930+ca.%5D+Jansky+with+Rotating+Antenna+%2889-13863%29.JPG Jansky - Karl Jansky with Rotating Antenna in Holmdel, 1930 This antenna, known as “Jansky’s Merry-go-Round,” was designed to collect data on short wavelengths. The antenna was outfitted with Model-T wheels so that it could rotate around a concrete track. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683738867077-AN1KHATYELYMNA4CV0HC/%5B1928+Dec+12%5D+Karl+Jansky%27s+notes+from+Notebook+10136+pg+20.jpg Jansky - Karl Jansky notebook page from notebook 10136, 1928 Jansky’s colleagues at the field station in Cliffwood were studying antennas, receivers, and the behavior of radio waves. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683738865951-ARDGPLUOHW7BCS3UBED8/%5B1931%5D+Karl+Jansky+Lab+Notebook+10136+pgs+102-103.jpg Jansky - Page from Jansky’s Notebook, 1931 Here Jansky records his findings and notes static from a thunderstorm. At the 1932 International Scientific Radio Union, Jansky presented his findings, in which he described interference from storms, but also from “an origin from which is not yet known.” The next year was spent further investigating the cause of the “hiss.” Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683738864978-C6WNX0L3OOAUD1TKDBGC/%5B1933%5D+Radio+Astronomy+--+Jansky+pointing+to+chart+%28h-4-29%29.JPG Jansky - Karl Jansky pointing to Radio Astronomy Chart, 1933 Throughout 1932, Jansky observed that the static source moved across the sky at night and changed throughout the months. By December 1932 after seeing his data plotted over the course of a year Jansky was convinced he was hearing signals from space. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683738864567-OYQGJ542IWWT1TAUGSTD/%5B1933%5D+Jansky+with+chart+and+headphones+.jpg Jansky - Karl Jansky reviewing records from a shortwave receiver as featured in Popular Radio magazine, 1933 Today the unit of measurement used to convey the strength of a radio signal, a jansky (Jy), is named for him. In 2012, the Very Large Array in New Mexico, a radio astronomy observatory, was renamed in Jansky’s honor. A lunar crater and asteroid also bear his name. Image Courtesy of National Radio Astronomy Observatory, Papers of Karl G. Jansky. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683739079456-NAHHD1JHHUR7O3NOOMN4/P1020699.JPG Jansky - Ping pong paddle made by Karl Jansky Despite lifelong health issues, Jansky was athletic, even becoming the table tennis champion of Monmouth County. He lived in Little Silver, NJ with wife Alice and their children, where he built a ping pong table in the basement. Collection of National Radio Astronomy Observatory. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683739133950-AU4FUQ3W42XX1GEGX9AA/P1020698.jpg Jansky - Holmdel Labs ID Badge for Karl Jansky, 1943 Jansky was described as a stellar father by those who knew him; sharing household and childcare duties with his wife Alice. He shared his passion for outer space with his children, waking them up at night to view cosmic events as a family. Collection of National Radio Astronomy Observatory. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683739205676-9HHB7ZBQ33WK0RGXJOQO/P1020687.jpg Jansky - Headphones used by Karl Jansky By 1934, Jansky’s focus shifted to other radio wave projects. He never returned to in-depth astronomy research due to several factors, including reduced resources during the Great Depression, changing priorities in the 1940s (like the war and different radio technology), and his untimely death at age 44. Today, Jansky’s name can be found as a unit of radio strength measurement, on a radio astronomy observatory in New Mexico, and as namesakes for a lunar crater and asteroid. Collection of National Radio Astronomy Observatory. https://sale.morven.org/online/ma-bell/gallery3/lawrenceville daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683739437790-E5U99OTVSJMFB2EYL7XT/%5B1925+ca.%5D+Transmitting+Station+--+Lawrenceville%2C+NJ+%2897-1175%29.jpg Lawrenceville - Transmitting Station with Curtain Antennas, Mercer Meadows, Lawrenceville, NJ c. 1930 The steel towers visible here supported curtain antennas. There were twenty-six of these 180-foot-tall towers placed about 250 ft apart. The road running diagonally across the bottom right of the image is Keefe Road. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683739437790-E5U99OTVSJMFB2EYL7XT/%5B1925+ca.%5D+Transmitting+Station+--+Lawrenceville%2C+NJ+%2897-1175%29.jpg Lawrenceville - Transmitting Station with Curtain Antennas, Mercer Meadows, Lawrenceville, NJ c. 1930 The steel towers visible here supported curtain antennas. There were twenty-six of these 180-foot-tall towers placed about 250 ft apart. The road running diagonally across the bottom right of the image is Keefe Road. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1691797005579-L6ZJY2ABW7N8XYDQ1CSB/%255B1935%255D%2BTransmission%2Bantennas%2Bat%2BLawrenceville%2Bw3036A.jpg Lawrenceville - Photograph of Transmitter Building 1 with Sterba antennas and the first rhombic antenna, 1935 This photo shows original Sterba (or curtain) antennas on the left and the first rhombic antenna on the top right – this one transmitted to Bermuda. Rhombic antennas (named for their shape when viewed from above) had a better performance, lower cost, and smaller footprint. A single rhombic antenna required eight 80 foot poles and covered about 5 acres. In 1939, the curtain antennas were torn down and replaced with double rhombic antennas which became the standard for long distance transmission. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1691797035632-CFR5U1E2YI5ST4SDTHYH/%255B1958%2BNov%255D%2BLawrenceville%2BStation%2Ba%2BPHO-0164-000096%2BNov%2B.jpg Lawrenceville - Pole farm landscape taken from Blackwell Road, Lawrenceville, c. 1950 Land continued to be cleared to make room for more rhombic antennas. A number of farmhouses now located on Cold Soil, Blackwell and Keefe Roads were moved off the Pole Farm. By the 1960s there were more than 2,000 poles. Farmer William Uhry (third from left) cultivated land adjacent to the station – the farm equipment visible here is his tomato planter. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683739543663-E9LC1VLISUZX8R3PY8V9/ahutnik_0034+copy+2.jpg Lawrenceville - Photo of Curtain Antenna or Sterba Antenna, Lawrenceville, NJ While the steel towers were most visible, it was the curtain antennas that hung between them that did the work. While working with shortwave radio, engineers had to account for the fact that different wavelengths worked better at different points of the day (due to the changes in the Earth’s ionosphere). To solve this problem, Ernest Sterba created an antenna made of a fine wire mesh that could be raised and lowered as the transmitter frequencies were changed according to the time of day. Winches and cables (from the Roebling factory in Trenton) raised and lowered the curtains. Image Courtesy of Marie Hutnik & Family. Andrew Hutnik, photographer https://sale.morven.org/online/ma-bell/gallery3/television daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692400765788-H36D32U8A18QBMXQPIHO/Screenshot+2023-08-18+161909.jpg Television - Quote by Herbert Hoover, 1927 “Television…promises that where the voice has led the way over the telephone wires, the eye will ultimately follow.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692400765788-H36D32U8A18QBMXQPIHO/Screenshot+2023-08-18+161909.jpg Television - Quote by Herbert Hoover, 1927 “Television…promises that where the voice has led the way over the telephone wires, the eye will ultimately follow.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683740012908-ILUA8M0DULBUD0XQWSUS/%5B1927+May%5D+Receiving+apparatus+for+television%2C+Dr.+Frank+Gray+%28l%29+W.S.+Bishop+and+E.+Peterson+%28r%29%2C+setup+in+Bell+Labs+auditorium%2886-303157%29+%281%29.jpg Television - Early demonstration of television, New York, May 1927 From left to right: Dr. Frank Gray, W.S. Bishop, E. Peterson The “grid receiver” or screen in New York was made of horizontal neon tubes. Behind the grid a nest of wires carried the image that came from a large photosensitive transmitting disc. A loudspeaker sits just below the grid. Note the vacuum tube amplifiers in the control panel equipment behind the screen. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683740042212-T6MAK35BWUMU16HAYB0D/%5B1927+Apr+2%5D+Sketch+of+Television+demonstration+%2886-303162%29+%281%29.jpg Television - Sketch of television demonstration, 1927 Visual transmissions from New Jersey and Washington D.C. shown in New York were one-way, with a two-way audio dispatch. Whippany, NJ communicated to New York by radio wave, while Washington D.C. was connected to New York by wire to exhibit transmission over different mediums. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683740053277-HUXNAOAZ5ILRZOIBYH1M/%5B1927+Mar+27%5D+Television+Transmitting+Apparatus+at+Whippany%2C+NJ+%28PHO-0021-258373%29+%281%29.jpg Television - Television transmitting apparatus at Whippany, NJ, 1927 This photo taken in the studio of the 3XN experimental radio station, shows the employees behind the scenes of the first television transmission. A.R. Olpin stands on the platform narrating the proceedings to the photosensitive recorder which captures moving images in the form of light variations and translates them into electrical currents. Then the process is reversed on the receiving end. Large synchronized transmitting and receiving discs on each terminal convert the signals. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683740084187-QTD8MTJH8T6DSF60OLJ2/%5B1927+Mar+28%5D+Transmitter+Room+of+Radio+Station%2C+Whippany%2C+NJ+%2895-1405%29+%281%29.jpg Television - Transmitter Room of Radio Station Whippany, NJ, March 28, 1927 Staffed by O.A. Keefe, R.E. Poole, J.W. Smith, W.N. Mellor and J.C. Herber. The Whippany demonstration required coordinating a radio channel for audio, and another channel for visual. Within a week they were able to send both over the same wavelength. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683740087136-J6DXTPIZYKTK29EXP6SL/%5B1927%5D+Radio+Stations+Whippany%2C+NJ+%2888-200590%29+%281%29.jpg Television - 3XN Experimental Radio Stations in Whippany, NJ, 1927 In order for the radio signals to cut through the busy New York airwaves for the television demonstration, engineers had to tune the transmission to three particular radio channels. Image Courtesy of AT&T Archives and History Center. https://sale.morven.org/online/ma-bell/gallery4/murray-hill daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692401130021-X3VZVJEGNAITZWBGTESF/%255B1947%255D%2BMH%2BDrafting%2BAssistants%2B%2528A-4772%2529.jpg Murray Hill - Murray Hill Drafting Assistants, 1947 Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692401130021-X3VZVJEGNAITZWBGTESF/%255B1947%255D%2BMH%2BDrafting%2BAssistants%2B%2528A-4772%2529.jpg Murray Hill - Murray Hill Drafting Assistants, 1947 Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683742205994-4TPXEM9AAV4FHXAIG1I3/%5B1949%5D+Murray+Hill%2C+NJ+--+Aerial+View+%2888-200474%29.jpg Murray Hill - Bell Laboratories, Murray Hill, New Jersey, 1949 Murray Hill’s location was chosen because the research required a quieter and more expansive area than the Manhattan lab. Additionally, it would allow for the large employee base to find homes near their workplace. By 1943, there were about 800 employees working at Murray Hill in approximately 215,000 sq. ft. of laboratory area. Today, Nokia operates out of the Murray Hill facility. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692401380114-W42P473P1IXSCIVCXRAQ/%255B1960%255D%2BMurray%2BHill%2BLibrary%2B%252889-14320A%2529.jpg Murray Hill - Murray Hill Library, 1960 Staff could learn not only by reading in the library, but also by talking to colleagues there. The exchange of ideas was crucial at Murray Hill. Many employee accounts recall the 700 foot long hallway as an information highway, with plenty of opportunities to step through a colleague’s open door. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692401187201-W0WTMYXVKEX8CEIHT1JH/%255B1946%255D%2BMH%2BAuditorium%2BPractice%2Bfor%2BChristmas%2BShow%2B%2528A-4144%2529.jpg Murray Hill - Murray Hill Chorus, Arnold Auditorium, 1946 Staff at the labs participated in any number of social activities: sports, crafts, and music. They put on Christmas concerts and lunchtime performances. Capitola Dickerson, at the piano, served as accompanist and vocalist for many musical programs. She sang with perfect pitch, performing classical, folk, and African American spiritual music for her colleagues. Image Courtesy of Chatham Historical Society. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683742296046-WKTJBG994X73B2PYMN3A/%5B1946%5D+Murry+Hill+Chorus+Xmas+Program_full+cover.jpg Murray Hill - Christmas At Murray Hill, 1946 Chorus Program Staff at the labs participated in any number of social activities: sports, crafts, and music. They put on Christmas concerts and lunchtime performances. Capitola Dickerson (at the piano in a nearby photo) served as accompanist and vocalist for many musical programs. She sang with perfect pitch, performing classical, folk, and African American spiritual music for her colleagues. Image Courtesy of Summit Historical Society. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692401419529-1BQQUUFQZFTOR3XHQC5U/%255B1947%255D%2BMH%2BCafeteria%2BStaff%2B%2528A-4821%2529.jpg Murray Hill - Murray Hill Cafeteria Staff, 1947 Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683742316843-YHS0H0A6T7NMREIWPREU/%255B1950%255D%255D%2BMH%2BEmployee%2BLounge%2B%252886-300545%2529.jpg Murray Hill - Murray Hill Employee Lounge, 1950 Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692401273291-VM3R20OW6XZ84L4KEZNC/%255B1946%255D%2BMH%2BMedical%2BDept%2B%2528A-4149%2529.jpg Murray Hill - Murray Hill Medical Department, 1946 Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683742785118-YE54E4YBH7PJLRPU0E8E/P1020489.jpg Murray Hill - Bell Telephone Laboratory Employee Notebook Buildings 1 and 2 had “stock rooms,” storage areas in the attics, complete with supplies marked “Bell System Property,” that they could take for work. They kept records of supplies which were then billed to the appropriate department. Lab notebooks are on display in a case in this gallery. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683742826167-9X2CPDLVUUQAE4C6HBXB/P1020718.jpg Murray Hill - Cafeteria Lunch Tray from Murray Hill Hungry staff enjoyed the mix of all levels of employees in the self-serve cafeteria. Every product that was needed by lab staff, including lunch accoutrements, were made by the company. Collection of Jim Reeds. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683742801857-405VGB1VF8WE25TNY91V/P1020730.jpg Murray Hill - Knife from Murray Hill Hungry staff enjoyed the mix of all levels of employees in the self-serve cafeteria. Every product that was needed by lab staff, including lunch accoutrements, were made by the company. Note even the knife is monogrammed “BTL” for Bell Telephone Laboratories. Collection of Jim Reeds. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683742841120-24Z989YQQELY0W6HMYXS/P1020743.jpg Murray Hill - Rollin McCarthy Western Electric Pass Rollin McCarthy was in charge of construction of Building 3 of Murray Hill, completed in 1958. Collection of Louise Conley. https://sale.morven.org/online/ma-bell/gallery4/war daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683743480026-QBH2OBLTS11CHW1Q42C7/Screenshot+2023-05-10+143107.jpg War - “Army Experts Seek Cause of Nike Blast Fatal to 10” Asbury Park Evening Press, May 23, 1958. The Army and Air Force approached Bell Labs to “determine the practicability of developing a ground based guided-missile system,” under Project Nike. The world’s first guided surface-to-air missile, Nike Ajax, entered service in 1954. Nike systems were arranged outside major US cities ready for launch in the event of a Soviet attack. Fort Hancock in Sandy Hook, NJ, protected New York City. In 1958, the unthinkable happened when an accidental explosion at the Nike-Ajax battery in nearby Middletown, NJ, killed 10 people. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683743480026-QBH2OBLTS11CHW1Q42C7/Screenshot+2023-05-10+143107.jpg War - “Army Experts Seek Cause of Nike Blast Fatal to 10” Asbury Park Evening Press, May 23, 1958. The Army and Air Force approached Bell Labs to “determine the practicability of developing a ground based guided-missile system,” under Project Nike. The world’s first guided surface-to-air missile, Nike Ajax, entered service in 1954. Nike systems were arranged outside major US cities ready for launch in the event of a Soviet attack. Fort Hancock in Sandy Hook, NJ, protected New York City. In 1958, the unthinkable happened when an accidental explosion at the Nike-Ajax battery in nearby Middletown, NJ, killed 10 people. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692401517340-PNJGWSWGJVAZ32FEQJ7G/Nike_Ajax_production_model_test_launch.jpg War - Test launch of the production model Nike Ajax missile with the new booster At twenty feet long and a foot in diameter, Nike missiles were designed to attack Soviet bomber aircraft. While the initial Nike Ajax missiles were not nuclear, the later Nike-Hercules and Nike-Zeus were. Nike missile antennas were tested in Whippany, NJ. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683744032072-SG7RD1E701Q8E9ZZW1Q7/P1020712.jpg War - Shrapnel from Nike-Ajax surface to air Missile The Nike project was a partnership between the Bell System, US military and private Douglas Aircraft Company. On May 22, 1958, shrapnel like this flew through the air after a missile accidentally detonated at the US Army’s New York 53 Missile Base in Middletown, NJ. Eight missiles killed six soldiers and four civilians. Local residents found debris for miles around the area. Collection of Monmouth County Historical Association. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683743524607-EML0G6YE924TUA6PDF9O/Bell_telephone_magazine_%281922%29_%2814569949459%29.jpg War - One of four anti-aircraft guns demonstrated at Murray Hill, November 1943 (Visible behind the gun is the tracker, to the right is the computer) Bell Labs staff, army guests, and invited press gathered for a demonstration of an electrical gun director system that simulated how it would protect against an air attack. The director system electronically computed how airborne ballistics would hit the trajectory of a moving plane target. Mathematicians spent countless hours performing calculations for these types of devices. Western Electric produced and distributed these for use in combat. Bell Telephone Magazine, Winter 1943–44. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683743541614-AFGB4B2E7JF15P6JWYHR/%5B1943%5D+Radar+Antennas+Test+near+Atlantic+Highlands+NJ+%28W4157-1%29.jpg War - Radar Antennas in Atlantic Highlands NJ, 1943 In 1939, a secret bungalow housed radar equipment in the Atlantic Highlands, whose elevation was roughly the same as a battleship antenna. It had close proximity to Fort Hancock on Sandy Hook, where radar operations also took place. After the equipment was built in Whippany, it was brought here for field testing, where they used ships in New York harbor as “targets.” Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683743680044-ZF34C37VVO8G7ZXF4LAI/%5Bn.d.%5D+WWII+Guided+Missile+Kearny+Works+%2896-1356%29.jpg War - Men Working on a guided missile at Kearny Works, 1945 While weapons like this guided missile were conceived of at the labs, they were built at Western Electric Plants like the one in Kearny, along with gun directors to shoot down enemy planes and sonar to help bomb submarines. Western Electric also supplied the government with a billion dollars worth of radar, radio-telephone equipment and radios for troops, even the loudspeakers on war ships. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683743571053-70ZCDSMH7HPUCKYMRK5Z/belltelephoneaddec1942-e1335390712354.jpg War - “War Needs the Wires This Christmas,” 1942 The outbreak of war in 1939 caused a record-breaking wave of long distance phone traffic. Ads like this one encouraged people to keep the lines clear for servicemen and women to call home. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683743672246-2BPRZV0CMXFCDN8R734G/Bell+Each+Can+Say.jpg War - Bell Telephone System Recruitment Advertisement, 1941 The ad for the Bell Telephone System touts the “up-the-ranks management,” highlighting that the eighteen current company presidents started as clerks, lineman, and draftsmen. The bottom of the ad shares that “The Bell System is doing its part in the country’s program of National Defense.” The partnership with the government was mutually beneficial: the United States was receiving critical resources from the pinnacle of research and development, and the Bell System could prove themselves indispensable when it came to any criticism of the company having a monopoly. Money was poured into new technology and Bell labs doubled in size from 4,600 to 9,000 employees – most of them worked a 6-day work week. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683743671468-9H2DNRTX0A2J95GC6LHR/%5B1942%5D+Switchboard+Defense+Ad.jpg War - Switchboard operators help war effort Telephone communications played an important role in defense and military operations. Bell provided phone facilities to aircraft warning services manned by civilians. Every new training camp or military facility that was constructed necessitated a private exchange switchboard and telephone lines, as well as public telephones and booths. Bases provided a large increase from peacetime populations, which put strain on small local switchboards. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683743611741-4MSK02I036S2EFLTDN3C/Dr.+Sidney+Millman+4_2_1977.jpeg War - Sidney Millman (1904–2006), 1977 Millman and his family survived the White Russian army’s brutal treatment of Jews before emigrating to the US in 1922. He attended the City College of New York and then Columbia University, where he worked on pioneering research in nuclear magnetic resonance and radar. Millman was only the second Jewish scientist to be hired by Bell Labs. He was the Director of Physical Research from 1952–1973 during which time he helped make Murray Hill the international center of solid-state physics research. Image Courtesy of the Family of Dr. Sidney Millman. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692402382990-M24IH71LHIFT73JEFP1I/NUM.1994.106.002%2BB%2Bframe%2B3L.jpg War - Bell Labs arrives in Eleuthera, Bahamas, c. 1951 Image Courtesy of the U.S. Naval Undersea Museum. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692402419378-O3QA7PQUAIDV33VEBIH5/IMG_2534.jpg War - Unloading equipment on Eleuthera Island, c. 1951 In addition to air strikes, Soviet attack by sea was also a possibility. The U.S. Navy formed a partnership with Bell Telephone Laboratories and in 1950 the top secret Project Jezebel began using sound frequencies to detect underwater threats. Eleuthera, Bahamas was the first site, and AT&T sent technical staff to work on the island tracking Soviet submarines. Joseph Schott was working in the acoustics department at Murray Hill when, in 1951, he was sent to Eleuthera to set up hydrophones (underwater sound systems). Schott recently recalled, “Not many guys I knew at the Labs had those opportunities. I spoke up. When we were at Sandy Hook, Ted Melhose mentioned that the first test sites were going up in Eleuthera and Bermuda. ‘If you ever need anybody, I’ll go,’ I said. A few days later, he gave me the job.” Schott became the unofficial photographer of the Jezebel project. Image Courtesy of John Joseph (Joe) Schott, photographer, and the U.S. Naval Undersea Museum. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683743678852-8CST82A5V1HZ3JRPMRT4/Pres_Truman_letter.jpg War - Letter from President Truman to Leroy Wilson, President of AT&T, 1949 In 1949, Bell executives travelled to New Mexico to visit Sandia, a sister location to the better-known Los Alamos nuclear weapons facility. The US Government was looking for new management and Sandia was placed under the operation of Bell Labs. AT&T continued to run Sandia through 1993. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683743678818-97KF5JU7H4NE6QZO2UK5/%5B1952+Dec%5D+MaryJo+Vaughn+Nee+Tawzer+with+slide+rule+Mademoiselle+Magazine.jpg War - Mary Jo (Tawzer) Vaughn (1927–2019) at her desk at Sandia, 1952 Vaughn, twenty-five years old in this photo, started college at age fifteen studying mechanical engineering. She needed special permission to wear slacks so that she could scale the equipment. Mary Jo worked at the Los Alamos Z Division, part of J. Robert Oppenheimer’ s reorganization of the lab after work on the Manhattan Project ended. The Z Division branched off from Los Alamos to become Sandia. Vaughn became the first female Sandia wind tunnel engineer testing aerodynamics. Featured in an issue of Mademoiselle Magazine. Image Courtesy of Sandia National Laboratories https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683743993563-AMTHRG9A8GE9N3UYPA0K/P1020473.JPG War - Magnetron Magnetrons generated microwaves for radar. Vacuum tubes were insufficient in powering radar using wavelengths shorter than 40 centimeters. Reaching short wavelengths was necessary to get accurate readings on ships or low-flying planes, because the waves could be more directly focused and planes could use smaller antennas to receive them. Collection of AT&T Archives and History Center. https://sale.morven.org/online/ma-bell/gallery4/women daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683744334265-K4CYLKUUGWZYIQ803MOH/Screenshot+2023-05-10+144515.jpg Women - Quote from Erna Schneider Hoover, 2020 “In order to become a department head I had to wait until one particular troglodyte who opposed the promotion of women was out of the way and could no longer block my path.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683744334265-K4CYLKUUGWZYIQ803MOH/Screenshot+2023-05-10+144515.jpg Women - Quote from Erna Schneider Hoover, 2020 “In order to become a department head I had to wait until one particular troglodyte who opposed the promotion of women was out of the way and could no longer block my path.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692402556393-K08LQQU6KZCMMO9PQLKZ/Screenshot+2023-08-18+164902.jpg Women - Quote from Erna Schneider Hoover, 2020 “In order to become a department head I had to wait until one particular troglodyte who opposed the promotion of women was out of the way and could no longer block my path.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683744409138-JEMHSXHKCUZ36AINUZKL/unix.2470web-1229x1536.jpg Women - Ms. Memo, 1972 Photo by Peter Adams. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692402670207-7NBPGRTC0OCCFUEUOHC3/%255B1945%2BOct%2B16%255D%2BPortrait%2Bof%2BCapitola%2BDickson%2Bworking%2Bin%2Bthe%2BVaristor%2Band%2BCeramics%2BResearch%2BLabs%252C%2BMurray%2BHill%2B%2528A3271%2529.jpg Women - Capitola Dickerson working in the Varistor and Ceramics Research Labs, Murray Hill, October 1945. Capitola Dickerson was one of the first Black women to work at Bell Laboratories. As a graduate from the prestigious Juilliard School, her passion for music led her to teach, inspiring many students to become working musicians. Her work with the community touched many organizations and people, earning her a Key to the City of Summit in 2011, presented by the Mayor. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1684773084466-PJDTQIXRISD822LPOJBB/Screenshot+2023-05-22+123114.jpg Women - Quote from Bell Telephone Record, January 1944 Tips for how to impress your employer, from Hildegarde Fillmore, beauty lecturer and editor, in the November issue of The Blue Bell. “About your voice...Do you yourself speak shrilly when you are a little excited? Your way of smiling is the second magic key to success. It’s truly amazing to me to see how far a pleasant smile can take a girl in business…I’ve known competent women to stay in poor jobs because they had some sloppy personal habit...a messy way of fixing their hair or a slip that always showed for example” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683744455735-TP5W29UK5BESLXMX5H9Y/C.D._Thurmond_discusses_with_Mrs._E.A._Wood.original.jpeg Women - Elizabeth (Armstrong) Wood, c.1945 After an academic career as geology professor at Bryn Mawr and research assistant at Columbia University, Betty Wood started as a crystallographer at Bell Laboratories in 1942—making her their first female scientist. Her work contributed to advancements in semiconductors and lasers. In 1957 she became the first female president of the American Crystallographic Association. She penned several science books for general audiences, including Rewarding Careers for Women in Physics (1962). Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1684773651545-WQEAOTJROZHJ70AXCT6A/Screenshot+2023-05-22+123332.jpg Women - Quote from Bell Telephone Record, February 1944 Regarding recruiting female high school graduates, “The Personnel Department...will welcome any help...in the way of referring candidates for clerical and messenger jobs to Mrs. Hinrich’s in Women’s Employment...If you know any young men, just graduated from high school and possible candidates for work at the Laboratories, please refer them to Mr. Baum in Men’s Employment.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683744473980-UZLXKOEWVYPB3I19643M/%5B1964+ca.%5D+Erna+Hoover+--+1st+Female+Dept+Head+at+Bell+Labs+%2895-1199%29.jpg Women - Erna (Schneider) Hoover, c.1964 Erna Schneider Hoover received a Ph.D from Yale University, where she also met her husband. Both were hired at Bell Laboratories in the mid1950s, but Erna was brought on at a level below her qualifications. She negotiated for better terms upon returning from maternity leave, breaking a glass ceiling as a female department head, and dove into the massive No. 1 Electronic Switching Station project (find more detail in the hall). She was also awarded one of the first software patents ever issued, for an idea she mulled over while recuperating in the maternity ward after the birth of her second child. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1684773339982-7IM4WZDKY5QIWQAOWEO3/Screenshot+2023-05-22+123529.jpg Women - Quote from Bell Telephone Record, February 1944 From feature on “Women in the Labs,” “..There was an opening as a tool crib attendant, for a girl to whom the drills, clamps, cutters and vises in the Development Shop tool room would not be entirely unfamiliar. Now Mary helps to run the tool room…” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683744515963-PYNRXQEFK2SKXVQS2CC4/%5B1952+Dec%5D+MaryJo+Vaughn+Nee+Tawzer+with+slide+rule+Mademoiselle+Magazine.jpg Women - Mary Jo (Tawzer) Vaughn (1927–2019) at her desk at Sandia, 1952 Vaughn, twenty-five years old in this photo, started college at age fifteen studying mechanical engineering. She needed special permission to wear slacks so that she could scale the equipment. Mary Jo worked at the Los Alamos Z Division, part of J. Robert Oppenheimer’s reorganization of the lab after work on the Manhattan Project ended. The Z Division branched off from Los Alamos to become Sandia. Vaughn became the first female Sandia wind tunnel engineer testing aerodynamics. Featured in an issue of Mademoiselle Magazine. Image Courtesy of Sandia National Laboratories https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1684773472634-1LCHG3M9YH0N1QON3W54/Screenshot+2023-05-22+123740.jpg Women - Quote from Bell Telephone Record, February 1944 “Vivian Hoppe, the tiniest miss in the Development Shop, finds no difficulty in running a bench lathe…” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683744479577-779VVR7NV1NCQSCJ98TO/%5B1981%5D+Shirley+Jackson+at+Bell+Labs+%28in+color%29+%2898-0092%29.jpg Women - Shirley Ann Jackson, 1981 Shirley Ann Jackson was hired at the Murray Hill labs in 1976 to conduct physics research. She went on to invent Caller ID and Call Waiting. Jackson is now president of the Rensselaer Polytechnic Institute, the oldest technological research university in the US. She also served as Chairman of the US Nuclear Regulatory Commission, appointed by President Bill Clinton. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1684773571527-G8IZXFJMT7353AFKN5UF/Screenshot+2023-05-22+123922.jpg Women - Quote from Bell Telephone Record, February 1944 Alvina Mand Retires, who started as a stenographer in 1910 “We girls had a part in the construction of the teletypewriter, radio telephony, ship-to-shore telephone, television and in all the great projects of the Bell System.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683744485149-IEO9GKMZCPXSO74GTQNF/%5B1944+Aug+2%5D+Women%27s+Softball+at+Whippany+NJ+%28A1632%29.jpg Women - Women’s Softball team at Whippany, 1944 Bell Telephone Labs had plenty of sporting and social groups for employees, both men and women, to join. Employees could find a group for any number of interests, such as bowling, sewing, music, hiking, basketball, Doll and Toy Committee (who gave gifts to those in need). Image Courtesy of AT&T Archives and History Center. https://sale.morven.org/online/ma-bell/gallery4/masers daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686158775045-M4SQSNXTTK6ZK99NNK9Q/%5B1955%5D+Charles+Townes%2C+JP+Gordon%2C+TC+Wang.jpg Masers - Charles Townes and James Gordon, and T.C. Wang (background) with first ammonia beam maser at Columbia University, 1955 Charles Townes started at Bell Labs West Street in 1939, but left for Columbia University in 1948 where he continued the microwave spectroscopy projects that he had begun in relation to radar. James Gordon was a graduate student who worked in building the maser under Townes’ guidance. By the mid-fifties Townes was splitting his time between Columbia and Bell Labs. Image Courtesy of American Institute of Physics, Emilio Segrè Visual Archives, Hecht Collection. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686158775045-M4SQSNXTTK6ZK99NNK9Q/%5B1955%5D+Charles+Townes%2C+JP+Gordon%2C+TC+Wang.jpg Masers - Charles Townes and James Gordon, and T.C. Wang (background) with first ammonia beam maser at Columbia University, 1955 Charles Townes started at Bell Labs West Street in 1939, but left for Columbia University in 1948 where he continued the microwave spectroscopy projects that he had begun in relation to radar. James Gordon was a graduate student who worked in building the maser under Townes’ guidance. By the mid-fifties Townes was splitting his time between Columbia and Bell Labs. Image Courtesy of American Institute of Physics, Emilio Segrè Visual Archives, Hecht Collection. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686158825534-ZF5K4KG7I5ELSUW18FZI/Arthur+Schawlow+%28left%29+adjusts+a+ruby+optical+maser+during+an+experiment+at+Bell+Laboratories%2C+while+C.G.B.+Garrett+%28right%29+prepares+to+photograph+the+maser+flash..jpeg Masers - Arthur Schawlow (left) adjusts ruby optical maser while C.G.B. Garrett (right) prepares to photograph the maser flash, c. 1960 Arthur Schawlow transferred from Columbia University to Bell Labs in 1949 after being recommended by Sidney Millman. His ties to Townes ran deeper than colleagues; they became brothers-in-law in the early 1950s. As they were transitioning from masers to lasers, Schawlow worked on the device itself, while Townes focused on theory. Bell Laboratories / Alcatel-Lucent USA Inc., image courtesy of AIP Emilio Segrè Visual Archives, Hecht Collection. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686159484559-WULFTKQL5VLA7OI4THX1/P1020798.JPG Masers - Interior piece of a maser, 1955. This was part of one of the first two masers built at Murray Hill in 1955. Masers worked with “stimulated emission,” or by charging up gas or a crystal with electromagnetic energy in the section known as the cavity. The energy is then compacted into a narrow beam. Courtesy of MIT Collection https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686159577280-57EQNIIWIUALW2VED4PW/P1020573.JPG Masers - Radar, SCR520A, Synchronizer, D-150665 (Airborne Intercept Radar), 1941. “Radar” stands for “RAdio Detection and Ranging” and can determine the distance of an object by pinging it with radio waves. Bell’s war-time research took place at the Whippany lab. Different types of radar devices reflected the different battlegrounds of World War II: at sea, on the ground, or, like this particular model, in the air. It has been said by scientists who worked on radar, that while the atomic bomb ended the war, it was radar that won it. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692403228114-OR3P7AN7XES1TY89ABF0/Screenshot+2023-08-18+170016.jpg Masers - Quote from Clyde Bethea, 2021 “One should never stop studying, never stop learning, never stop searching for answers, never stop trying, and never stop failing and then trying again!” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686158873440-444WNWB0GZJ5QQN9ITEA/Clyde+Bethea+with+laser.jpg Masers - Clyde Bethea with his tunable organic dye laser system, 1978 Clyde Bethea was a member of the Murray Hill Quantum Physics Device Research Department. Here, he stands with the system he invented, an electronically tunable organic color dye laser. A tunable laser allows for adjustments in wavelength. Bethea’s laser was used to measure the speed of electrons traveling through semiconductors. Bethea’s 35-year career saw recognition as Black Engineer of the Year (1989). He was inducted into NASA Space Foundation’s Hall of Fame (2001) for the Quantum Well Infrared Photodetector (QWIP) Camera. Image Courtesy of the Bethea Family. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686158911626-RSMJ243LM3CF0W98DO27/SKM_C22721111516290.jpg Masers - Clyde Bethea with a seventh-grade student in East Orange, NJ, 1973 Bethea has long been dedicated to inspiring and encouraging young science enthusiasts. He visited this East Orange classroom as part of a group called Volunteers in Action. Richard Ladson, another Bell participant, said it was important to have black scientists in the program to “...provide the students with models from their own community.” Later in the year, the class took a field trip to Bethea’s Murray Hill lab. Bethea continued to work with students at all levels throughout his career. Image Courtesy of the Bethea Family. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686159225899-8WOOI4NEZZ54S2HW7NO8/P1020564.JPG Masers - Model 125 Laser, c. 1974. Spectra Graphics Lasers organize energy into a tightly focused beam of light. This Helium-Neon model was one commonly used in laboratory experiments. This specific laser was probably used in the Murray Hill location, possibly collected from laser pioneer Kumar Patel’s lab. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686159759932-TT9Q7BMB5E4BTBUOG1KU/P1020738.jpg Masers - Challenges to Science: Physical Science, Second Edition. Bethea’s inspiration to students reached beyond in-person sessions when he was featured in a popular junior high level textbook. His own personal copy, on view here, was signed by actor William Shatner. The first chapter of the book intertwined an introduction to the concepts of physical science with a twelve page interview with the 29-year-old scientist. McGraw-Hill Book Company Collection of the Bethea Family https://sale.morven.org/online/ma-bell/gallery4/solar-cells daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686159980112-N0GV8SVLHM0U6ZRKEIMN/P1020496.jpg Solar Cells - Mounted single solar battery cell, 1954. This solar cell, from the first year in which solar cells became functional, contains a strip of specially treated silicon. Today silicon is still the most commonly used semiconductor for solar cells. Battery cells such as this one would have been combined into a larger panel to provide power. Because solar cells have no moving parts scientists predicted they could “theoretically last indefinitely.” Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686159980112-N0GV8SVLHM0U6ZRKEIMN/P1020496.jpg Solar Cells - Mounted single solar battery cell, 1954. This solar cell, from the first year in which solar cells became functional, contains a strip of specially treated silicon. Today silicon is still the most commonly used semiconductor for solar cells. Battery cells such as this one would have been combined into a larger panel to provide power. Because solar cells have no moving parts scientists predicted they could “theoretically last indefinitely.” Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686160511534-VTMMDDBJAWLLC6WQBTXK/%5B1954%5DUsing+Solar+Cells+to+Power+a+radio+tranmitter+%2886-301770%29.jpg Solar Cells - The first silicon photovoltaic device demonstrated by engineer D.E. Thomas, 1954 In this demonstration, sunlight falling on a solar cell array powered a small radio transmitter. Thomas spoke into a microphone and his voice was transmitted across the lawn of Bell Labs at Murray Hill. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686160558177-0TCUD288D5UQCBEQ92RT/solar_battery2.gif Solar Cells - Advertisement for Solar Battery, c. 1954 Bell Telephone System. Unlike the transistor, this invention received publicity immediately. In addition to powering telephones, Bell scientists were able to power radio transmitters. Solar energy was exhibited to the press for the first time on April 25, 1954, by powering a 21-inch toy ferris wheel. https://sale.morven.org/online/ma-bell/gallery4/claude-shannon daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686160805095-3ME6AXFNBJSCZC6DGALN/Screenshot+2023-06-07+135953.jpg Claude Shannon - Claude and Betty Shannon on their wedding day, 1949 Betty once joked, “What do you give a guy like Claude for Christmas? He liked Erector Sets, and so I bought the biggest Erector Set I could find and it was 50 bucks.” Betty was the closest thing Claude had to a collaborator. Image Courtesy of the Shannon Family. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686160805095-3ME6AXFNBJSCZC6DGALN/Screenshot+2023-06-07+135953.jpg Claude Shannon - Claude and Betty Shannon on their wedding day, 1949 Betty once joked, “What do you give a guy like Claude for Christmas? He liked Erector Sets, and so I bought the biggest Erector Set I could find and it was 50 bucks.” Betty was the closest thing Claude had to a collaborator. Image Courtesy of the Shannon Family. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686160867899-87O9ZMRK2FT5FXWX08F7/betty.jpeg Claude Shannon - Mary Elizabeth “Betty” Moore (1922–2017) When Betty Moore graduated from the NJ College for Women (now part of Rutgers University), she accepted a computer position at Bell Labs over numerous job offers. Computers were support staff, mostly female, who did calculations and checked computations for the mostly male mathematicians and engineers. She worked first on microwave research and later radar. Betty met Claude Shannon in the fall 1948 and they were married the following March. Image Courtesy of the Shannon Family. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686161308467-GB2E71G75I3SZZC4P4Y3/Screenshot+2023-06-07+140815.jpg Claude Shannon - A page from Claude Shannon Master’s Thesis describing a Selective Circuit, 1936 Shannon’s 1936 master’s thesis, A Symbolic Analysis Of Relay And Switching Circuits, was hugely important. In it, 21-year-old Shannon tied the work of George Boole (nineteenth century English mathematician and namesake for Boolean algebra) and telephone switching circuits. Shannon would later be among the first to recognize the Bell System as more of a computer than a network, he called it “...a really beautiful example of a highly complex machine. This is in many ways the most complex machine that man has ever attempted, and in many ways also a most reliable one.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686161339354-1CAO8C3FX8XQZG44OOSH/Chess+machine.jpg Claude Shannon - Claude and Betty Shannon at home with a contraption Betty was better at arithmetic than Claude, but she left Bell Labs after their marriage. She went on to become an accomplished weaver and even pioneered the use of computers in weaving. Here they are with the chess-playing machine Shannon built. It could play six moves of an endgame. Image Courtesy of the Shannon Family. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686161633172-7GECJ0YZ3U7LVYV723LP/Shannon-Communication_v1.jpeg Claude Shannon - A schematic diagram of Shannon’s model of communication, as taken from his paper "A Mathematical Theory of Communication" The Bell System Technical Journal, July 1948. This 1948 paper became a blueprint for the Information Age, starting with the groundbreaking idea that information itself could be quantified. Information, Shannon explained, could be measured in values of zeros and ones, also known as binary digits, or, as his colleague John Tukey christened them “bits.” He then argued that all information should be compressed – removing all redundancies. Finally, he stated that the “noise” that threatens all communication could be eliminated with mathematical codes. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686161673069-0CBR6VS7891S4YX1WM7N/Claude_Shannon_1776.jpg Claude Shannon - Claude Shannon and his Artificial Intelligence machine, Theseus, 1952 One of the first examples of artificial intelligence or machine learning robotics, Theseus is a wooden mouse with copper wire whiskers. In Shannon’s words the mouse was “a demonstration device to make vivid the ability of a machine to solve, by trial and error, a problem, and remember the solution.” Like all of his major projects, Claude worked on Theseus at home in the Shannon’s Morristown living room. Betty wired the mouse and the relays beneath the maze. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692404010969-3GSN3BX15K53IBER8ZZX/P1020764.jpg Claude Shannon - Remote Truck The front included miniature NJ license plates! Among Shannon’s other pet projects were rocket-powered frisbees, gas-powered pogo sticks, flame-throwing trumpets, and special unicycles that made juggling easier. Shannon’s agile mind was drawn to a variety of hobbies including jazz clarinet, poetry, and chess. MIT Museum Collection Gift of Mary Elizabeth Shannon on behalf of the family of Claude E. Shannon. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686161804493-TTIJKOWBID7JJDTQO44D/P1020781.JPG Claude Shannon - THROBAC This machine is a desk calculator that operates only in Roman numerals, both externally and internally, a joke that appealed to his playful personality. THROBAC stands for “THrifty ROman numeral BAckward-looking Computer.” He also created a chess playing machine. Machines like this one often perplexed his colleagues at Bell Labs but they satisfied Shannon’s unwavering curiosity and desire to see if and how things could be made. MIT Museum Collection Gift of Mary Elizabeth Shannon on behalf of the family of Claude E. Shannon https://sale.morven.org/online/ma-bell/gallery4/transistor daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686162084973-8VBN6D5SBMWD9MW5EN5K/%5B1948%5D+Transistor+Inventors+--+Shockley%2C+Bardeen+and+Brattain+%2886-301665%29.jpg Transistor - Transistor Inventors William Shockley, John Bardeen, and Walter Brattain, 1948 Schockley, Bardeen, and Brattain had a contentious relationship by this point. As the photographer prepared for the shot Shockley sat down at Brattain’s bench and peered into his microscope, putting himself at the center of attention. Shockley had been working on the theory for years, but it was Brattain and Bardeen who made it a reality. Shockley resented that he had not been fully involved in the fruition of his ideas. All publicity photos and press around the new invention of the transistor were required to include Shockley. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686162084973-8VBN6D5SBMWD9MW5EN5K/%5B1948%5D+Transistor+Inventors+--+Shockley%2C+Bardeen+and+Brattain+%2886-301665%29.jpg Transistor - Transistor Inventors William Shockley, John Bardeen, and Walter Brattain, 1948 Schockley, Bardeen, and Brattain had a contentious relationship by this point. As the photographer prepared for the shot Shockley sat down at Brattain’s bench and peered into his microscope, putting himself at the center of attention. Shockley had been working on the theory for years, but it was Brattain and Bardeen who made it a reality. Shockley resented that he had not been fully involved in the fruition of his ideas. All publicity photos and press around the new invention of the transistor were required to include Shockley. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686162182891-B0AG4X7OUVQQ1CCL5E5A/%5B1947%5D+First+Transistor+%28in+color%29.jpg Transistor - The first transistor, 1947 The fiercely competitive Shockley could not stand to share credit for the transistor and spent New Year’s Eve 1947 conceiving of a way to improve upon what Bardeen and Brattain had done. He took out a patent on his improvements, excluding his former team members from the transistor project from that point forward. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686162391303-OT0SW6QUQ66BFP4EV268/P1020476.jpg Transistor - Replica of the first transistor This replica shows the first draft of the point-contact semiconductor version that Bardeen and Brattain made in 1947. John Pierce, a visionary at Bell Labs, helped name the transistor. The name comes from a combination of two words: TRANSfer resISTOR. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686162472598-WXUC08PMRGTMHLNE5ANR/P1020487.jpg Transistor - 300 B Vacuum tube, after 1938 Compare the size difference of this vacuum tube to the much smaller transistor. When vacuum tubes were replaced by transistors, electronic devices, like radios, could be made smaller and cheaper. The size of a transistor is now so small that the newest cell phone models contain as many as 15 billion of them! Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686162561648-AQQJXX4S88OEVSVM0XU1/P1020482.jpg Transistor - Two 4C NPN Transistors, 1956 The Negative-Positive-Negative (NPN) junction transistor was Shockley’s clandestinely theorized improvement to the original point-contact transistor. This 4C model was made to use in carrier systems for rural customers. One of the units here is bisected to reveal its three leads. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686162653305-HEL30QZK9UFLHR28BZMB/P1020705.jpg Transistor - Magnavox AM-22 Transistor Radio, c. 1960 The Regency TR-1, the first commercially produced transistor radio, went on sale in time for Christmas 1954. Japanese companies, rebuilding industry after WWII, soon jumped on the opportunity to use the new technology to make small pocket radios. One now-familiar name to rise to the top was Sony. Another Japanese company, Magnavox, made this fun red model. The portable nature of the radios meant that people could catch world news on the go, and that teens could develop their own tastes in music away from parental supervision in their living room – perfect for cranking up some rock’n’roll! Collection of Jonathan Allen. https://sale.morven.org/online/ma-bell/gallery5/project-echo daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686164628693-G5PG5GA5YKX3NMGJD0JJ/%5B1960%5D+Project+Echo+Horn+Antenna%2C+Holmdel%2C+NJ.jpg Project Echo - Project Echo, Horn Antenna, 1960 The Horn was built so that it could swivel towards the orbiting satellite. It contained a ruby crystal maser, an innovation that went through early testing and improvement in Murray Hill. As John Pierce wrote, “When a maser amplifies a signal, it adds practically no noise to it.” Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686164628693-G5PG5GA5YKX3NMGJD0JJ/%5B1960%5D+Project+Echo+Horn+Antenna%2C+Holmdel%2C+NJ.jpg Project Echo - Project Echo, Horn Antenna, 1960 The Horn was built so that it could swivel towards the orbiting satellite. It contained a ruby crystal maser, an innovation that went through early testing and improvement in Murray Hill. As John Pierce wrote, “When a maser amplifies a signal, it adds practically no noise to it.” Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686164662585-DD7FDK01HSUC4XPYWZIX/%5B1960%5D+Satellite+Dish+%26+Horn+Antenna+at+Holmdel%2C+NJ+%5Ba%5D.jpg Project Echo - Horn Antenna and Satellite Dish, Holmdel, 1960 In anticipation of Project Echo, construction of a satellite dish and horn antenna began in 1959 on Crawford Hill, near the Holmdel lab. The dish was a transmitter while the horn antenna was a receiver. While other horn antennas were already in existence, Harald Friis, head of the Holmdel lab, designed this particular variety, more precisely called a horn-reflector antenna. Holmdel, NJ had been ideal for people like Karl Jansky to work on antennas because it was open and rural. Yet, six years after this photo, the Holmdel campus would be transformed from modest structures surrounded by large machines to an immense modern building that dwarfed these transmitters and receivers. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686164700826-RLMDX2S8I63STYUWKHWA/%5B1960%5D+Project+Echo+--+Balloon+Satellite+%28H+5-7%29.JPG Project Echo - Echo Satellite, 1960 The passive Echo satellite took the form of a large silver balloon. It was compressed into a 26 inch wide tube for its journey into outer space then expanded after leaving the rocket. Inflated, it was ten stories tall and visible from Earth with the naked eye. People could find viewing schedules in newspapers or could phone into a tracking service (set up by the Bell System of course!). The balloon continued to float around until May 1968. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686164953713-NNLKARPCJP2PWNZBANNB/%5B1960%5D+Project+Echo+--Holmdel+NJ.++WIlliam+Jakes%2C+Rudolf+Kompfner+and+E.+L.+Franstvog+talk+over+Echo+%2886-302584%29.jpg Project Echo - William Jakes, Rudi Kompfner, and E.L. Frantsvog talk over Echo in Holmdel, 1960 The logistics of Project Echo were managed by William Jakes, electrical engineer. Rudi Kompfer, Pierce’s friend and colleague, had helped get the project off the ground. The initial transmission from Echo was only the beginning — within two weeks, Jakes achieved the first two-way conversations and fax transmissions over satellite. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686164985787-B4SGR41DAK6CYR7OH2RX/%5B1962%2C+Jan+07%5D+Echo+viewing%2C+Evening+Star%2C+Washington+DC.jpg Project Echo - Echo viewing schedule published by the Evening Star, Washington DC, January 7, 1962 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686165007145-R94W7QP02Z1GRVPXDJLK/%5Bn.d.%5D+Project+Echo+Stamps.jpg Project Echo - Sheet of Project Echo stamps, 1960 At a time when Cold War tensions were mounting, President Eisenhower’s address for the Echo transmission stated “The program is being carried forward vigorously by the United States for peaceful purposes for the benefit of all mankind. The satellite balloon...may be used freely by any nation for similar experiments in its own interests....” Collection of Jill M. Barry. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686164896385-ZC94XTASJ9LSSGITTW65/1949+Pierce+John+R.+--+Tests+a+Model+of+a+Traveling+Wave+Tube+%2886-301716%29.JPG Project Echo - John Robinson Pierce testing a traveling wave tube, 1949 Pierce’s article in 1952, “Don’t Write: Telegraph” calculated sending messages using the moon as a naturally occurring satellite. In preparation for Echo’s launch, the lab in Holmdel and the Jet Propulsion Lab in California needed a third test point in space to create a triangular connection for communication. A point on the moon worked as a stand-in for the balloon satellite, in what was known as a “moonbounce.” Pierce wrote science fiction under the pseudonym J.J. Coupling. His colleagues knew of his way with words and had gone to him for help when naming the transistor. He was eccentric and was known to get up and wander off in the middle of conversations. Image Courtesy of AT&T Archives and History Center. https://sale.morven.org/online/ma-bell/gallery5/telstar-i daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686165487456-1KN3GBKSFEN5MKLHX5MI/%5B1961%5D+Bell+Laboratories+Record%2C+Telstar+Cover.jpg Telstar I - Developmental Models of Active Satellites, Front cover of Bell System Technical Journal, 1961 Telstar was a far more complicated satellite than Echo had been. Echo had a staff of about three dozen, while Telstar had more than 500 people working on it. Built with the same mindset towards longevity that engineers used for building undersea cable, it was hoped that the Telstar would survive up to ten years in space. Bell Laboratories’ President J.B. Fisk said of this, “The result will be a shipshape, spaceworthy communications relay station.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686165487456-1KN3GBKSFEN5MKLHX5MI/%5B1961%5D+Bell+Laboratories+Record%2C+Telstar+Cover.jpg Telstar I - Developmental Models of Active Satellites, Front cover of Bell System Technical Journal, 1961 Telstar was a far more complicated satellite than Echo had been. Echo had a staff of about three dozen, while Telstar had more than 500 people working on it. Built with the same mindset towards longevity that engineers used for building undersea cable, it was hoped that the Telstar would survive up to ten years in space. Bell Laboratories’ President J.B. Fisk said of this, “The result will be a shipshape, spaceworthy communications relay station.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686165553250-06W2QFHPKNSK811IPDQF/John+P.+Telestar+Model+1.jpg Telstar I - Diagrams of four layers of the Telstar I, Layer 1 John Petracca worked in the art department in the Labs, after starting as a draftsman at Western Electric in Jersey City. He was tasked with drawing various machines, including the Telstar, to use for marketing and illustrative purposes. Petracca recalls that every time engineers would make a change, they would let him know so he could update the drawing. Here, he has drawn the satellite dissected layer by layer, revealing the interior components. Drawn by John Petracca Courtesy of the artist https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686165593517-02T7ZK2024B58QJGAH02/John+P.+Telestar+Model+2.jpg Telstar I - Diagrams of four layers of the Telstar I, Layer 2 John Petracca worked in the art department in the Labs, after starting as a draftsman at Western Electric in Jersey City. He was tasked with drawing various machines, including the Telstar, to use for marketing and illustrative purposes. Petracca recalls that every time engineers would make a change, they would let him know so he could update the drawing. Here, he has drawn the satellite dissected layer by layer, revealing the interior components. Drawn by John Petracca Courtesy of the artist https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686165633046-MHPU8L4Q2438BKLELU4K/telstar+3.jpg Telstar I - Diagrams of four layers of the Telstar I, Layer 3 John Petracca worked in the art department in the Labs, after starting as a draftsman at Western Electric in Jersey City. He was tasked with drawing various machines, including the Telstar, to use for marketing and illustrative purposes. Petracca recalls that every time engineers would make a change, they would let him know so he could update the drawing. Here, he has drawn the satellite dissected layer by layer, revealing the interior components. Drawn by John Petracca Courtesy of the artist https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686165674180-BAS86DORG313IVSIVDWV/Screenshot+2023-06-07+151442.jpg Telstar I - Diagrams of four layers of the Telstar I, Layer 4 John Petracca worked in the art department in the Labs, after starting as a draftsman at Western Electric in Jersey City. He was tasked with drawing various machines, including the Telstar, to use for marketing and illustrative purposes. Petracca recalls that every time engineers would make a change, they would let him know so he could update the drawing. Here, he has drawn the satellite dissected layer by layer, revealing the interior components. Drawn by John Petracca Courtesy of the artist https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686165715107-2RXGSYEKJD99ORJFQQ12/%5B1962%5D+Telstar+I+-+Testing+Model+at+Whippany%2C+NJ.jpg Telstar I - Testing Model at Whippany, NJ, 1962 As the 1962 issues of the Bell Labs Record explained, “Development of an active satellite communications system spawns many problems which seem as far out of this world as the orbiting satellite on which it will depend.” The need for accuracy was high since no one would be able to reach Telstar to fix any issues. A working model was tested at Whippany, in a chamber simulating the conditions in outer space. Telstar also included devices to perform exploratory tests in space, including testing radiation on the Van Allen belt, part of the Earth’s magnetic field. This information would be crucial in planning for a future satellite communications program. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686165758173-RQ7XMZYFM6MS6YBYYPTL/%5B1962%5D+Telstar+I+--+Testing+%28in+color%29+%2889-11903%29.jpg Telstar I - Testing Telstar, 1962 Project Telstar was an experiment to see if a full-on satellite program would be worth pursuing. Microwaves travel in straight lines and cannot follow the curve of the Earth. This meant that satellites were the only way for microwaves to be used in transoceanic communication. Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686165848228-2BTCE19HVL4E9O0R5JR1/P1020580.JPG Telstar I - Model of Telstar I, 1961 The full-sized Telstar weighs 170 pounds and is about three feet in diameter. A 1963 issue of Bell Labs Record explained that the Telstar was “the fruits of previous research and development in widely scattered fields.” This included the 3,600 solar cells that powered the satellite, transistors, and masers. Additionally, the traveling wave tube, pioneered by Pierce during Project Echo, made it possible to amplify the signal. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694210762598-H2G690GKTVWGTBGTQD0L/IMG_8018.JPG Telstar I - Telstar I, c. 1962. This is one of four Telstar I satellites that were built by Bell Telephone Laboratories. Two were sent to Cape Canaveral for launch day, one of which left Earth to never return. The other two were built as back-up devices. Telstar included devices to perform exploratory tests in space, including testing radiation on the Van Allen belt (part of the Earth’s magnetic field). This information would be crucial in planning for a future satellite communications program. The 3,600 solar cells that powered the Telstar were protected against the harsh conditions of outer space by man-made sapphires. Placed in the Garden Room on the First Floor of Morven while on display, this room would have been where the Governor’s family watched the Telstar broadcast in 1962. Collection of Telesat Canada. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686165897212-7D0QNB3ID3113NYQKG98/Telstar+I+-+VP+Johnson+Takes+1st+Phone+Call+via+Satellite+1962+%28%2362-1059%29.jpg Telstar I - Vice President Lyndon Baines Johnson takes first phone call via satellite, 1962 During the call, Johnson said watching the progress of the satellite launch was “most gratifying to all Americans,” and that this was “another first in our conquest of space.” The previous year President John F. Kennedy had made his famous declaration of a goal to put a man on the moon; it was Johnson’s presidency that carried out this goal in 1969. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686165944160-P8372UF0R9PQGVXGGNEH/Telstar_Tornadoes.jpg Telstar I - The Tornados Telstar album cover, 1962 The Tornados released their hit instrumental song, “Telstar” in December 1962 and, with teenagers tuning in on their transistor radios, it became a top single. The Tornados became the first British group to hit #1 on the US charts, just about a year before the Beatles and the “British Invasion.” Click here to access a video playing the “Telstar” song. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686166258602-ITBDX20U6EISMPRZBZTC/P1020652.JPG Telstar I - Drawing of Hillside facility, assembling the Telstar, 1963 Telstar was assembled at the Hillside laboratory in a superclean room, which would prevent unwanted debris from contaminating the satellite. It was tested at Murray Hill and Whippany, then was shipped to Cape Canaveral, FL where it was launched; the same place the Echo satellite had left two summers before. Collection of John Petracca, artist. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686166276001-6WPRRIEYD5SG6HU7ENQ9/P1020498.JPG Telstar I - Telstar Commemorative Envelope, 1962 & Coin, c. 1963 Response to the Telstar included a New York Times write up that compared the project to the first telegraph. Queen Elizabeth II, in her Christmas speech of 1962, said “Mankind continues to achieve wonders in technical and space research but in the western world perhaps the launching of Telstar has captured the imagination most vividly.” Produced the Franklin Mint Collection of Liza and Schuyler Morehouse https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686166320628-YEDDXM2OVXD0TE9VZ4AB/P1020505.JPG Telstar I - Scale replica of a Telstar Solar Cell, c. 1962 Telstar I used man-made sapphires to protect the solar cells against the harsh conditions of outer space. The sapphire sheathing could protect against radiation while still allowing light to pass through to be converted to energy. Collection of AT&T Archives and History Center. https://sale.morven.org/online/ma-bell/gallery5/holmdel daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690491062978-08A7CQP7SHJOIC9AOQDF/19660709_001.jpg Holmdel - Water tower by Eero Saarinen, July 1966 Renowned landscape architect, Hideo Sasaki (1919–2000) led the firm of Sasaki, Walker and Associates in designing the landscape around the Holmdel labs, which sits on 134 acres of land A water tower, designed by Saarinen, meant to invoke the shape of a transistor has become a local point of interest. Image Courtesy of Egils Zarins https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690491062978-08A7CQP7SHJOIC9AOQDF/19660709_001.jpg Holmdel - Water tower by Eero Saarinen, July 1966 Renowned landscape architect, Hideo Sasaki (1919–2000) led the firm of Sasaki, Walker and Associates in designing the landscape around the Holmdel labs, which sits on 134 acres of land A water tower, designed by Saarinen, meant to invoke the shape of a transistor has become a local point of interest. Image Courtesy of Egils Zarins https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692405329544-JDZAL4CD46CXYAB38ENP/%255B1958%255D%2BEero%2BSaarinen.jpg Holmdel - Eero Saarinen in one of his tulip chairs, c. 1958. Eero Saarinen (1910–1961) was born in Finland, son of an architect, and grew up in Michigan. Considered one of the top modernist architects of the twentieth century, he designed the Gateway National Arch in St. Louis and Dulles International Airport. His sudden death in 1961 meant that he did not see the completion of several projects, including Bell Labs of Holmdel. Image Courtesy of Aline Saarinen Collection, Archives of American Art, Smithsonian Institution, Washington, D.C. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690491029401-C44R67ZYF7IEDIAX6NQE/19690820_003+%281%29.jpg Holmdel - Bell Laboratories in Holmdel, NJ, August 20, 1969. Some called the building the “Black Box.” And while it may have looked that way from the outside the interior was sun filled. Saarinen described “Emerging from concentration in a laboratory or office, the individual will come upon the sweeping, uninterrupted views of gently rolling hills and formal planting and of the winter-garden interior court.” The building was expanded again in 1982 and then sold in 2013. Today it is Bell Works, a metroburb with offices, a public library, dining, and retail. Image Courtesy of Egils Zarins https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690491040690-AYB2EIQXGDW69S1WVF2O/tumblr_oxgjc6xK9G1sijdqzo1_1280.jpeg Holmdel - Reception area in the sunken atrium at Bell Laboratories in Holmdel, NJ. The Holmdel location eventually had 6,000 users on their PBX (private branch exchange). Peter Warwick who came to Holmdel from Manhattan in 1965 worked on creating a digital switching network to connect terminals to computers. He designed the electronic interface for the relay control which allowed any data and voice user to call any other user in the data network. https://sale.morven.org/online/ma-bell/gallery5/big-bang daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690491807919-GWEV0YXT9JB948VQOMJI/%5B1959%5D+ECHO+Horn+Antenna.jpg Big Bang - Arno Penzias and Robert Wilson on the Horn Antenna, c. 1962. Well-known cosmologist, Michael Turner, stated that, "The discovery of the cosmic microwave background by Penzias and Wilson transformed cosmology from being the realm of a handful of astronomers to a 'respectable' branch of physics almost overnight." Image Courtesy of NASA. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690491807919-GWEV0YXT9JB948VQOMJI/%5B1959%5D+ECHO+Horn+Antenna.jpg Big Bang - Arno Penzias and Robert Wilson on the Horn Antenna, c. 1962. Well-known cosmologist, Michael Turner, stated that, "The discovery of the cosmic microwave background by Penzias and Wilson transformed cosmology from being the realm of a handful of astronomers to a 'respectable' branch of physics almost overnight." Image Courtesy of NASA. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690491801892-4H4K2QGS0TFOQ2X6R5UQ/%5B1965+Nov%5D+Robert+Wilson+and+Arno+Penzias+and+horn+antenna+Holmdel+NJ+%2888-201833%29.jpg Big Bang - Wilson and Penzias and Horn Antenna, November 1965. Arno Penzias (b. 1933) was born in Munich, Germany, and his family moved to the United States to escape Nazi rule because of their Jewish heritage. He studied masers and their use in radio astronomy, a field of study started three decades before in Holmdel. He started working for Bell Labs in 1958, with the goal of wrapping up his thesis work on radio astronomy but stayed on once Rudi Kompfner hired him to work on Project Echo. Robert Wilson (b. 1936) started at Bell Labs in 1962. He also had a background of studying masers and radio astronomy. Wilson said he wanted to work at Bell Labs because of the “atmosphere.” Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690492037596-BJ4JG0PEVX5BW3VR4TDE/Screenshot+2023-07-27+140645.png Big Bang - Detail of Penzias’ chart “Birth Certificate of the Universe.” CMBR is the sound of the birth of our universe. The Big Bang was a rapid expansion of matter and energy creating an extremely hot universe. In the cooling process (which took 380,000 years) protons, neutrons, and electrons were able to form atoms. Then the elements of hydrogen, helium, and some lithium were brought together by gravity to shape the galaxies. Penzias and Wilson’s discovery on May 20, 1964 would alter human knowledge of our own existence. The duo won the 1978 Nobel Prize, shared with Russian physicist Peter Kapitza. Image Courtesy of Library of Congress, Arno A. Penzias papers. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690492097261-R8HQHTQGI6228KG8E84G/Screenshot+2023-07-27+140803.png Big Bang - Map of background radiation left over from the Big Bang or Cosmic Microwave Background taken by the European Space Agency’s Planck spacecraft, 2013. Image Courtesy of ESA and Planck Collaboration. https://sale.morven.org/online/ma-bell/gallery5/fiber-optics daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690493650076-RRH68NB4GNBY0APU5LWP/P1020588.JPG Fiber Optics - Picturephone, 1964. The Picturephone was first demonstrated at the AT&T Pavilion at the 1964 World’s Fair in New York, opening with an inaugural call from Lady Bird Johnson. The Picturephone was envisioned as a futuristic moneymaker, but in reality it was not popular with customers when it became commercially available in 1970. It was expensive and in order to work, both parties would need to have one. The bandwidth needed to carry video calls was also a challenge. Lastly, callers felt that being “camera ready” for conversations was invasive (a problem surely felt by many people today!) Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690493650076-RRH68NB4GNBY0APU5LWP/P1020588.JPG Fiber Optics - Picturephone, 1964. The Picturephone was first demonstrated at the AT&T Pavilion at the 1964 World’s Fair in New York, opening with an inaugural call from Lady Bird Johnson. The Picturephone was envisioned as a futuristic moneymaker, but in reality it was not popular with customers when it became commercially available in 1970. It was expensive and in order to work, both parties would need to have one. The bandwidth needed to carry video calls was also a challenge. Lastly, callers felt that being “camera ready” for conversations was invasive (a problem surely felt by many people today!) Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690494028549-Z55GNOR4JDO9DGDVQCRM/P1020515.jpg Fiber Optics - Local Telephone Cable, 1960s-1970s. Compare this traditional copper wire cable to the sleek fiber optic cable here. Copper wires were no match for the ever expanding telephone and new computer usage. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690493763860-8Q4LP94ILFE3TXD63PZT/P1020508.JPG Fiber Optics - Inner Section of SL Fiber Optic Undersea Cable. The white plastic casing is not original to the cable. Collection of AT&T Archives and History Center. https://sale.morven.org/online/ma-bell/gallery5/representation daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692405717664-1KDVUKHD5Z8S1T8FU4ZX/Screenshot+2023-08-18+174140.jpg Representation - Quote from Dr. William Massey, Engineer “Bell Labs of the 1970s, ‘80s, and ‘90s was to Black scientists what Harlem of the 1920s was to Black writers, artists, and musicians. It was a true renaissance.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692405717664-1KDVUKHD5Z8S1T8FU4ZX/Screenshot+2023-08-18+174140.jpg Representation - Quote from Dr. William Massey, Engineer “Bell Labs of the 1970s, ‘80s, and ‘90s was to Black scientists what Harlem of the 1920s was to Black writers, artists, and musicians. It was a true renaissance.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690494696120-X0IZ7DMEU880EH4M6CCS/%5B1976%5D+James+West+and+Gerhard+Sessler+with+Foil+Electret+Microphone+%28in+color%29+%2886-300093%29.jpg Representation - Gerhard Sessler and Jim West in their lab holding Teflon foil with a production Western Electric EL2 electret microphone in the foreground, c. 1977. Sessler and West found a way to utilize Teflon as a dielectric material. They completed the designs for the foil electret microphone in 1962. An electret microphone uses an electrostatic capacitor, which eliminates the need for a separate power source by using a permanently charged material. It was smaller with better quality than the traditional condenser microphones that predated it, not to mention easier to produce. Today it continues to impact a majority of technology with audio components. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690494652929-RQ1TBHY3M2183K5QDXWJ/%5B1970%5D+Gerdine%2C+Milton+at+Bell+Labs%2C+Holmdel%2C+NJ+%2890-10561%29.jpg Representation - Milton Gerdine at Bell Labs, Holmdel, NJ, c. 1965. Milton Gerdine began his career at Bell Labs in 1965 after receiving his PhD in Electrical Engineering from University of Colorado. He would spend 35 years working between the Holmdel and Murray Hill locations, studying microwave radio and millimeter waveguide transmission systems. Gerdine became one of the Lab’s first black directors. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690494611107-GG0NWE3RK0CFOYILYVVJ/%5B1960%5D+Hawkins+and+Mary+Worthington+lab+%2886-302104%29.jpg Representation - Walter Lincoln “Linke” Hawkins and Mary Worthington, 1960. Walter Lincoln Hawkins (1911–1992) became the first African-American to join the technical staff of Bell Labs in 1942. Hawkins developed a way to make lightweight plastic durable enough to sheath telephone wires, replacing the heavy lead that had covered lines for decades. Hawkins stayed with the labs for 34 years, becoming the assistant director of the chemical research lab in 1974. He spent his career finding ways to make plastics last longer and longer, as well as finding ways to recycle them. He is seen here with Mary Worthington, a senior technical aid in the chemistry department. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692405923096-U0AAKZI4Q77U2PFI5APD/Copy%252Bof%252BCooperative%252BResearch%252BFellowship%252BProgram%252B20th%252BReunion%252B1992.jpg Representation - Cooperative Research Fellowship Program 20th Reunion, 1992. As one of the first Jewish employees in leadership at Bell Labs, Millman recognized the need for combatting discrimination in the workplace. Millman coordinated the launch of the CRFP. Image Courtesy of the Family of Dr. Sidney Millman. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690494641348-AA6ZXZT7BHZMABTTV6KO/Croak_Marian_34_pp.jpg Representation - Marian Croak, 2014. Marian Croak began her career at Bell Labs in 1982 in the Human Factors research division. She became interested in converting voice data into digital signals, which would allow people to speak via the internet instead of telephone lines. This Voice over Internet Protocol (VoIP) technology allows the videoconferencing that has become commonplace. Today she is a Vice President of Engineering at Google. She holds over 200 patents. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690494982026-BKM5Q98NUC93V373CN9M/%5B1960s+ca.%5D+James+West+Noise+Test+in+Anechoic+Chamber+at+Murray+Hill%2C+NJ+%2886-300069%29.jpg Representation - James West performs Noise Test in Anechoic Chamber, Murray Hill, c. 1960s. The Anechoic Chamber was built in 1947 at the Murray Hill facility and, at the time of construction, was the world’s quietest room. The word “anechoic” means “without echo.” Three foot thick exterior walls are made of cement and brick, and the room itself is insulated with fiberglass wedges. Two wire grids suspended above the fiberglass floor are shock absorbing as well. The room is about 28 x 32 feet, and 30 feet tall. All of this creates an environment that absorbs 99.995% of sound. Beyond the foil electret microphone tests, this room has been used for many different acoustic experiments. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690494623784-STW9FUS7U8HI6AEU0RXQ/James+W.+Mitchell.jpg Representation - Milton Gerdine at Bell Labs, Holmdel, NJ, c. 1965. Milton Gerdine began his career at Bell Labs in 1965 after receiving his PhD in Electrical Engineering from University of Colorado. He would spend 35 years working between the Holmdel and Murray Hill locations, studying microwave radio and millimeter waveguide transmission systems. Gerdine became one of the Lab’s first black directors. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690495196186-2KTK35MZAW3G95HM7AB5/%5B1969%5D+James+West+and+Gerhard+Sessler+in+Anechoic+Chamber+at+Murray+Hill%2C+NJ+%2886-300055%29.jpg Representation - Gerhard Sessler and James West in Anechoic Chamber, 1969. James E. West (b. 1931) grew up in rural Virginia, a grandchild of enslaved ancestors. He became interested in technology working with his cousin installing electrical wiring at the age of 12. After serving in the Korean War, West enrolled in Temple University to study physics. He started working at Bell Labs in 1957 as a Ph.D student. In 1999, West was inducted into the National Inventors Hall of Fame and holds 47 US patents, and 200 foreign patents. Gerhard M. Sessler (b. 1931) a German native, came to the US to work for Bell Telephone Laboratories in 1959. He also holds a number of patents, and received a gold medal from the German Acoustical Society. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690495213395-6KNVU606TGN8OVEGOQQ0/US_Patent_3118022_-_Gerhard_M._Sessler_James_E._West_-_Bell_labs_-_electroacustic_transducer_-_foil_electret_condenser_microphone_1962_1964_-_pages_1-3.png Representation - Patent for the Electroacoustic Transducer, 1964. The transducer is the piece that converts pressure into an electrical signal. A vital part of Sessler and West’s microphone as it eliminated the need for a battery. https://sale.morven.org/online/ma-bell/gallery5/cellular daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690497017728-N6U4ESXE44PAR1ADUBO4/%5B1947%5D+Ring+Drawing+BA-333138.jpg Cellular - Figure 3 from Doug Ring’s Network plans, 1947. From the Holmdel lab, Doug Ring, assisted by Rae Young, drew up “Mobile Telephony: Wide Area Coverage.” In the abstract, Ring says, “It is postulated that an adequate mobile radio system should provide service to any equipped vehicle at any point in the whole country.” When a person traveled between each zone, the signal to their phone would switch over to the appropriate frequency. Even Ring knew he was looking far into the future, when he wrote, “The final objective cannot be realized for a long time to come…” Early mobile phone networks were so small that cities had waiting lists of residents wanting to be able to install and use car phones. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690497017728-N6U4ESXE44PAR1ADUBO4/%5B1947%5D+Ring+Drawing+BA-333138.jpg Cellular - Figure 3 from Doug Ring’s Network plans, 1947. From the Holmdel lab, Doug Ring, assisted by Rae Young, drew up “Mobile Telephony: Wide Area Coverage.” In the abstract, Ring says, “It is postulated that an adequate mobile radio system should provide service to any equipped vehicle at any point in the whole country.” When a person traveled between each zone, the signal to their phone would switch over to the appropriate frequency. Even Ring knew he was looking far into the future, when he wrote, “The final objective cannot be realized for a long time to come…” Early mobile phone networks were so small that cities had waiting lists of residents wanting to be able to install and use car phones. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690497027896-BT1HP4N9O01BLHHIYTSB/%5B1947%5D+Ring+Drawing+%28BA-333140%29.jpg Cellular - Figure 5 from Doug Ring Network plans, 1947. Stations were arranged hexagonally, with one at each vertex and one in the center to ensure minimal interference and optimization of frequencies. The shape of the network took on a honeycomb shape or “cells.” The term “cellular” network came from this pattern, although Young and Ring never used this word in their paper. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690497087292-KPLME239SUHIFB7ZDT9F/image003.jpg Cellular - Mobile Communications Lab, Whippany, NJ. The research teams went mobile: Bill Jakes, a leader of Project Echo, traveled all over New York and New Jersey in a company van studying the possibilities of mobile communication over microwaves and Gerry DiPiazza, from the Whippany lab, drove around the Philadelphia area in a trailer home with experimental cellular equipment to answer practical questions about the antenna. Image Courtesy of Richard Frenkiel and AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690497122060-D9FDT8PJHM1NWIZKG3EJ/image007.jpg Cellular - Colleagues at Bell Labs at a department picnic. Left to right: Sam Halpern, Jim O’Brien, Bob Schoenwiesner, Dick Frenkiel and Phil DiPiazza. Gerry (brother to Phil, pictured here) DiPiazza’s team made the decision that unlike landlines, cell phones should not have dial tones, rather that people should enter a number and then press a button to send the call. This meant the phone would spend less time using the network’s resources. Image Courtesy of Richard Frenkiel. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690497165368-ARLMD2XTTZB2PC2N44L4/%5B1969%5D+Metroliner+Mobile+Phone+Service+%2889-12998%29.JPG Cellular - Metroliner Mobile Phone Service, 1969. When FCC progress stalled in the 1960s, Frenkiel and Porter turned their attention to the Metroliner project, which would provide phone service on trains running between Washington D.C. and Manhattan. This payphone service launched in 1969. In order to have phone service on board trains for commuters, the calls had to be handed off to new cells as the train moved, making it the first cellular network. Image Courtesy of AT&T Archives and History Center. https://sale.morven.org/online/ma-bell/gallery5/digital-age daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690497566583-HK5K9PR1KSQGLFDMO54R/73-Hunt%2C-James-Wayne.jpg Digital Age - James Wayne Hunt, Princeton Senior Yearbook, 1973. Nassau Herald Hunt was born in Trenton in 1952. He studied electrical engineering at Princeton University where he helped start a chapter of the Society of Black Scientists and Engineers, and then earned his masters and Ph.D from Stanford University. At Bell Labs he worked on the UNIX program, contributing to computer programming Hunt-Szymanski and Hunt-McIlroy algorithms, with colleagues Thomas Szymanski and Douglas McIlroy. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690497566583-HK5K9PR1KSQGLFDMO54R/73-Hunt%2C-James-Wayne.jpg Digital Age - James Wayne Hunt, Princeton Senior Yearbook, 1973. Nassau Herald Hunt was born in Trenton in 1952. He studied electrical engineering at Princeton University where he helped start a chapter of the Society of Black Scientists and Engineers, and then earned his masters and Ph.D from Stanford University. At Bell Labs he worked on the UNIX program, contributing to computer programming Hunt-Szymanski and Hunt-McIlroy algorithms, with colleagues Thomas Szymanski and Douglas McIlroy. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692406916859-3D8H3M6MQCTEA8Z0VRKV/Computer%2BNude%2B%2528Studies%2Bin%2BPerception%2BI%2529%252C%2B1967.jpg Digital Age - Computer Nude (Studies in Perception I), 1967. Public Relations at Bell Labs felt this image was scandalous at first, but New York Times publicity gave it clout as legitimate artwork. The following year, it was shown in a technology-themed exhibition, The Machine as Seen at the End of the Mechanical Age, at The Museum of Modern Art, further elevating Harmon and Knowlton’s composition. The work is a representation of dancer Deborah Hay. Knowlton also developed BeFlix (short for Bell Flicks), an animation system. Leon Harmon and Kenneth Knowlton Image Courtesy of the Albright-Knox Art Gallery, Buffalo, New York https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690497804000-WJT2KZ8ORGBPSLSQKM74/Scanned+Image+1.jpeg Digital Age - Gaussian-Quadratic, 1963. After a colleague accidentally created an interesting array on a computer screen, Noll made his own compositions using the computer. Using the program FORTRAN, he experimented with this medium. Noll’s work is collected by major museums. Noll also advised on the film 2001: A Space Odyssey, where he and John Pierce designed a picturephone for set decoration. A.Michael Noll Image Courtesy of the artist https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690498141885-VZ70OBLPI9R1O3Q0A104/image001.jpg Digital Age - Vertical-Horizontal, No. 3, 1962. A. Michael Noll Image Courtesy of the artist https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690498109579-E57OD9TEUQ7X1FBOP1YH/1961_Zajac_StillfromaSimulationofaTwo-Gyro.jpeg Digital Age - Still from Simulation of a Two-Gyro Gravity-Gradient Attitude Control System, 1963. Ed Zajac Zajac programmed a computer to create an animation of a satellite orbiting Earth, using the ORBIT program created by Frank Sinden. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690497871774-RFYVDT2WS3SD4RA1X57Y/%5B1939%5D+NY+Worlds+Fair+Demonstration%2C+New+York+World%27s+Fair+1939-1940+records%2C+NYPL+Digital+Collections.jpg Digital Age - Voder (Voice Operation DEmonstratoR) being demonstrated at the 1939 World’s Fair. Featured in the Popular Science, March 1939 The Voder and Vocoder were both created by Homer Dudley of Bell Labs in the 1930s, as a way to reduce bandwidth for radiotelephone communications. The Voder reproduced human speech by pressing keys similar to a piano. Its mate, the Vocoder (Voice Operated reCordER), turned the human voice into data. The Vocoder led to the SIGSALY encryption machine, used during WWII. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690497942672-O4ZHINKYON9UKMS6WL1K/%5B1971%5D+Dennis+Ritchie+and+Ken+Thompson%2C+Creators+of+UNIX%2C+Murray+Hill%2C+NJ.JPG Digital Age - Dennis Ritchie and Ken Thompson, Creators of UNIX at Murray Hill, 1971. Seeking to improve existing sluggish computer systems, engineers Ritchie and Thompson had designed their own program by 1969. Ritchie and Thompson sought to make operating systems less complex. UNIX made it easier for engineers to create their own programs because they could combine existing ones. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692407076324-83P0W9IXRJ0FKIO18DOI/Music_from_Mathematics.jpg Digital Age - Album cover for Music from Mathematics, 1961. Pierce partnered with Max Mathews, from the Visual and Acoustics Research department, on this album. It is self-described as “Selections of Music Composed and Played by Mathematicians — Both Human and Electronic.” Several songs were composed by “throwing specially designed dice” corresponding to random numbers that showed what chords to use. Some of the songs were composed through computer programming, using a punch card. The compositions were then performed by an IBM 7090 computer and “Digital to Sound” Transducer. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690498015934-7MU28DP01AZCUYVL9JTI/alles_synthesiser_1977.png Digital Age - Bell Labs Digital Synthesizer, 1976. Published in Computer Music Journal This machine, known as the Hal Alles Synthesizer after its inventor, was created to model digital telephone transmission and switching, and anticipate auditory issues. The synthesizer could replicate up to 30 different musical instruments at a time. In 1977, the Motion Picture Academy celebrated the 50th anniversary of talking movies with a demonstration of the synthesizer by rock musician Roger Powell. Powell later went on to become part of Apple’s Audio Lab. The Hal Alles synthesizer led the way for digital music as well as digital keyboards. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690498054531-SYUUULRN74JTZ1TZD2Y5/b3bda56ea031971c0e765a8e309b9190.jpeg Digital Age - Laurie Spiegel in front of GROOVE machine at Murray Hill, 1970s Photo by Emmanuel Ghent Spiegel started at Murray Hill as a “resident” but was then hired by the Labs to contribute to Hal Alles’ synthesizer. Spiegel was one of the first musicians to use computers to compose songs. She also experimented with digital and video art during her time at the Labs. After Bell Labs, Spiegel worked on the Music Mouse program for Apple. https://sale.morven.org/online/ma-bell/gallery5/end daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690499089072-QIQ9R9R6ET33L3FXOOO4/P1020762.jpg End of System - AT&T Men’s Tie Tack, made by Balfour, 1979–1981. The objects in this case belonged to David Smith who worked as an electrical engineer in the Bell System at the Whippany, Basking Ridge, and Holmdel locations from 1970 until 1983. Collection of Marna Golub-Smith. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690499089072-QIQ9R9R6ET33L3FXOOO4/P1020762.jpg End of System - AT&T Men’s Tie Tack, made by Balfour, 1979–1981. The objects in this case belonged to David Smith who worked as an electrical engineer in the Bell System at the Whippany, Basking Ridge, and Holmdel locations from 1970 until 1983. Collection of Marna Golub-Smith. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690498887028-1WN8QIJAIH6LJTA49EQL/P1020756.jpg End of System - Control-BLT-Holmdel Dialing Information Card for Word Processing, c. 1975. The back says: General Services Word Processing Center Telephone Dictation Instructions 1. Identify Yourself by Name, Department and Location. 2. Specify Type of Letter of Memorandum and the Number of Copies Desired. 3. Pronounce Words Clearly, Spelling Out Proper Names and Unusual Words. 4. Dictate Punctuation, Paragraphs, Beginning and End of Parenthesis and Quotations, etc. 5. Specify Complimentary Closing, Signature and Title. Collection of Marna Golub-Smith. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690498823798-2Y7U6FCH74RMWSTP5QB9/P1020753.jpg End of System - “One Bell System. It works” Puzzle, c. 1980. This corporate puzzle was given to the Bell System employees as a way to demonstrate how well the Bell System worked together. Collection of Marna Golub-Smith. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690499045008-BGCTUNLJICMN4DP9YE8O/Screen+Shot+2016-10-24+at+2.21.23+PM.png End of System - After the divestiture, 2015. Wall Street Journal The various Baby Bells continued to split and combine after the divestiture. This infographic gives an idea of the complexity of the telecommunications industry after the divestiture. This chart was created ahead of the merger of AT&T and TimeWarner. In October 2021 it was revealed that AT&T had a role in creating and funding One America News (OAN), a network known for far-right conspiracy theories. Court records revealed that 90% of OAN’s revenue comes from DirecTV (purchased by AT&T in 2015) and other AT&T-owned platforms. AT&T denies funding or owning any part of OAN. https://sale.morven.org/online/ma-bell/orientation/inventing daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692043069490-MBCI61S43S6IRVDOW4LV/%5B1876%5D+Alexander+Graham+Bell+%2888-200582%29.jpg Inventing Telephone - Alexander Graham Bell, 1876 Alexander Graham Bell was born in Edinburgh, Scotland in 1847. Voice and sound were major elements of his early life. His mother, a pianist, was deaf, and his father and grandfather both worked with the deaf, studying phonetics, speech, and elocution. Bell later moved to Boston and married Mabel Hubbard, the daughter of one of his financial backers. Mabel had been deaf since childhood. Image courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692043069490-MBCI61S43S6IRVDOW4LV/%5B1876%5D+Alexander+Graham+Bell+%2888-200582%29.jpg Inventing Telephone - Alexander Graham Bell, 1876 Alexander Graham Bell was born in Edinburgh, Scotland in 1847. Voice and sound were major elements of his early life. His mother, a pianist, was deaf, and his father and grandfather both worked with the deaf, studying phonetics, speech, and elocution. Bell later moved to Boston and married Mabel Hubbard, the daughter of one of his financial backers. Mabel had been deaf since childhood. Image courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692043153370-XGHZ5NPOA3DKV2ANY8Q7/Thomas_A._Watson_cph.3b07402.jpg Inventing Telephone - Thomas A. Watson holding a prototype of the first telephone, c. 1931. Thomas Augustus Watson was born in Salem, MA, and attended school until the age of 14. He worked at the Boston shop of Charles Williams, Jr., telegraph manufacturer, who supplied equipment for Bell’s early experiments. Watson worked closely with Bell to develop the prototypes and the two formed a partnership. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692043311249-3NU7P6LHWIO1QUYYB9UB/%5B1876+March+10%5D+Bell+and+Watson-First+Sentence+transmitted+by+Telephone+painting+%28H-1x17%29.jpg Inventing Telephone - Alexander Graham Bell, Thomas Watson, and the invention of the telephone. Part of Series “Three Great Events in Telephone History,” 1944. On that day in March, Watson was elated to hear the sound of Bell’s voice coming through the machine for the first time. Bell said, “Mr. Watson, come here. I want you.” Watson, who had no voice transmitter on his end, ran to where Bell was. According to Watson’s account, when he entered the room he saw that Bell had accidentally knocked over the phone, and the acidic liquid it contained, in the excitement. George Rapp, painter commissioned by Western Electric. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692043480401-91COO9HCT7V6IYYL2UPS/Screenshot+2023-08-14+130425.jpg Inventing Telephone - Alexander Graham Bell Experimental Telephone, 1876. Working as a professor of Vocal Physiology at Boston University, Bell was interested in aiding speech for deaf students using machines activated by human voice. His first telephone prototypes were inspired by human anatomy, so that Bell went so far as to obtain a severed human ear from Harvard Medical School to study. Image Courtesy of the Division of Work and Industry. National Museum of American History, Smithsonian Institution. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692396726422-YSR17YIN7UH8OFCDKW61/master-mss-magbell-273-27300105-0001.jpg Inventing Telephone - Drawing of the first telephone call, 1876. Alexander Graham Bell. These sketches by Bell serve, in his words, as “the first drawings made of my telephone.” Watson had come on as an assistant through a telegraph shop that supplied equipment for Bell’s early experiments. Image Courtesy of the Library of Congress Collection, Alexander Graham Bell Family Papers. https://sale.morven.org/online/ma-bell/orientation/automation daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692044210449-X8PQ56CT5PU06ZDBHW0V/%5B1965%5D+%231+ESS+%281st+Local+Switch+in+US%29+--+Frames%2C+Succasunna%2C+NJ+%28color%29+%2886-302879%29.jpg Automation - No. 1 Electronic Switching Station, Succasunna, NJ, 1965. The first Electronic Switching Station (ESS) was on Route 10 in Succasunna, NJ and was inaugurated by a ceremonial call from Governor Richard Hughes who was living at Morven. The ESS went into public service two days later on May 30, 1965 According to the June 1965 Bell Labs Record, this marked “the culmination of the largest single development project ever undertaken by Bell Laboratories for the Bell System.” This was the first of many commercial ESS stations to be deployed throughout the country. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692044210449-X8PQ56CT5PU06ZDBHW0V/%5B1965%5D+%231+ESS+%281st+Local+Switch+in+US%29+--+Frames%2C+Succasunna%2C+NJ+%28color%29+%2886-302879%29.jpg Automation - No. 1 Electronic Switching Station, Succasunna, NJ, 1965. The first Electronic Switching Station (ESS) was on Route 10 in Succasunna, NJ and was inaugurated by a ceremonial call from Governor Richard Hughes who was living at Morven. The ESS went into public service two days later on May 30, 1965 According to the June 1965 Bell Labs Record, this marked “the culmination of the largest single development project ever undertaken by Bell Laboratories for the Bell System.” This was the first of many commercial ESS stations to be deployed throughout the country. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692044118799-BKNLUT7D5OAY1N37GN8T/%5B1941+May%5D+Western+Electric+Kearny+Works-+No.+4+Toll+%2896-1132%29.jpg Automation - No. 4 Toll Crossbar at Western Electric, Kearny, NJ, 1941. Crossbars of the 1930s made local connections, but the No. 4A was the first designed for long distance. It allowed operators to dial long-distance directly which made for faster switching, and “boosted” the sound quality. Connections were made with contact springs, arranged in horizontal and vertical bars, thus giving the name “crossbar.” The machine searched for an electrical pathway through which to route the call. The 4A Toll Crossbar went into service in 1943. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692044286561-SAY585X5HEVGJS9YVAOX/%5B1951%5D+1st+Direct+Distance+Dialing%2C+Engelwood%2C+NJ.jpg Automation - Mayor Frank Osborn of Alameda, CA (pictured) receives the first direct-dial long distance call from Englewood, NJ Mayor M. Leslie Denning, 1951. The first direct dial long-distance call came from Englewood, NJ in 1951. It also marked the beginning of automated billing. Dialing a 10-digit phone number would connect Englewood subscribers to one of 11 million possible recipients. Image Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692393438706-2RVHZ6DMNYL6YAO6ZG1M/P1020593.jpg Automation - Flying Spot Store Program Plate belonging to Charles Wilson Hoover, Jr., c. 1958. A note on the back of this plate reads, “The stored program on this plate was used to establish the first telephone call through the Pre-Morris ESS on March 19, 1958.” Prototypes for the Electronic Switching System (ESS) station were built in Whippany in 1954, prior to field trials in Morris, Illinois. Charles Hoover designed the flying spot store (FSS), a type of memory storage. Learn more about Erna Schneider Hoover in Gallery 4. Collection of Erna Schneider Hoover. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692393659341-TD015766UVW9M4PPHF3Y/P1020591.JPG Automation - No. 1 ESS Memory Plane. Memory planes like this one housed the software program that made the entire switching system run faster and more cost-efficiently. The software, among the first ever patented, was created by Erna Schneider Hoover and Barry Eckhart. The electronic system was flexible. Changes could be made by switching out a memory plane instead of rewiring a new configuration. Visit Gallery 4 to learn more about Erna Hoover. Learn more about Erna Schneider Hoover in Gallery 4. 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archive this https://sale.morven.org/online/ma-bell/first-floor daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694209426612-YC6Y8VM1P42EKXGVN6XP/P1020599.JPG First Floor - Wooden wall set fiddle back, 1898. This fiddle back telephone represents what would have been the first telephone to be installed at Morven. An 1897 Delaware & Atlantic Telegraph and Telephone Company directory shows that Bayard Stockton could be reached here at the number “8.” He was one of five subscribers listed in Princeton at the time. Local operators Mabel Stillwell and Rose Warren would have helped the Stocktons connect to other telephone subscribers around the turn of the century. Note the crank on the side. At this time, in Princeton, it was still necessary to handcrank the phone in one’s home to generate enough power for a call. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694209426612-YC6Y8VM1P42EKXGVN6XP/P1020599.JPG First Floor - Wooden wall set fiddle back, 1898. This fiddle back telephone represents what would have been the first telephone to be installed at Morven. An 1897 Delaware & Atlantic Telegraph and Telephone Company directory shows that Bayard Stockton could be reached here at the number “8.” He was one of five subscribers listed in Princeton at the time. Local operators Mabel Stillwell and Rose Warren would have helped the Stocktons connect to other telephone subscribers around the turn of the century. Note the crank on the side. At this time, in Princeton, it was still necessary to handcrank the phone in one’s home to generate enough power for a call. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694209462981-YEW7Z92V6GMJYWLC5B15/P1020602.JPG First Floor - Model 302 Phone. 1940s. This is the type of phone that the Johnson’s may have had during their tenure at Morven. Johnson’s legacy had its own impact on telephone communication development. In 1972, the Robert Wood Johnson Foundation gave a $15 million dollar grant to help make 911 connections available in rural areas. The 911 line was established in 1968 by AT&T but it was not until 1973 that there was a national policy in the US. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694209480894-R2IKXXZC91ACTNZRDMGB/P1020608.JPG First Floor - Model 500 Phone. 1955-1970s. It is possible that this is the type of telephone that Governor Edge would have used at Morven. It was a standard desk set, designed by Robert Hose and noted industrial designer Henry Dreyfuss for Western Electric. During the Hughes administration, a team of 555 AT&T employees came to the rescue to provide ramped up communications for press and government officials for the Glassboro Summit of 1967. Read more about the Summit when you visit Morven. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694209504379-XBVYGYJODFEEOEVYGF6O/P1020617.JPG First Floor - Pink Princess Phone, 1960s. Governors’ children may have used phones like this when talking on the phone at Morven. The Princess phone came in an array of colors and was designed by Henry Dreyfuss. Lift up the receiver to see the dial, which would have lit up when the phone was on. 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https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1705467017669-J0TSQ4136JQ5EVFMPDZE/2.jpg Ma Bell Memories Page Two https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1705467030919-AQ1GQM5HS5IG8RRLVYLN/3.jpg Ma Bell Memories Page Two https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1705466753215-0LDKXW91LV3JOFIJXOL2/Screenshot+2024-01-16+234412.png Ma Bell Memories Page Two https://sale.morven.org/dreaming-of-utopia-roosevelt-new-jersey daily 0.75 2021-02-22 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1572359866284-NO39M8PGH6YHEQV2PMIX/Photo%2Bby%2B%C2%A9%2BRicardoBarros.com%2B2019.png DREAMING OF UTOPIA: ROOSEVELT, NEW JERSEY Jersey Homesteads Mural, Ben Shahn (1898–1969), with Bernarda Bryson Shahn (1903–2004), 1936–7; located in the Roosevelt Public School. Photo by © RicardoBarros.com 2019 https://sale.morven.org/newark-and-the-culture-of-art-19001960 daily 0.75 2019-07-15 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1542308822380-JM5Q73RA3OO2TL83QB8N/Windy++Night%2C++Newark%2C++1917.++Stuart++Davis++%281892++-++1964%29.++Private++Collection.++%C2%A9++Christie%E2%80%99s_80%252.jpg Newark and the Culture of Art: 1900–1960 Image Credit: Windy Night, Newark, 1917. Stuart Davis (1892 - 1964). Private Collection. © Christie’s https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1544808580236-1NI3RJ0GY9VZGM2HL40I/unnamed-2.jpg Newark and the Culture of Art: 1900–1960 Newark and the Culture of Art: 1900-1960 Fully illustrated exhibition catalogue (63 pages) of Morven’s exhibition Newark and the Culture of Art: 1900-1960 which explores the unique combination of art and industry that made Newark, New Jersey a magnet for modern artists in the early twentieth century. https://sale.morven.org/bruce-springsteen-a-photographic-journey daily 0.75 2018-12-14 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1542310799981-EMCV9XKIDUEH1WD1ZDCK/Bruce+on+Highway+Must+include+Photo+Credit+Pamela+Springsteen_80%252.jpg Bruce Springsteen: A Photographic Journey https://sale.morven.org/charles-and-anne-morrow-lindbergh-couple-of-an-age daily 0.75 2023-10-19 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1542310953996-8GPCFJ70PTIJPZQ6NKJG/Charles-and-Anne-Morrow-Lindbergh-leaving-Roosevelt-Field-Long-Island-1929.jpg Charles and Anne Morrow Lindbergh: Couple of an Age Image Credit: Charles and Anne Morrow Lindbergh leaving Roosevelt Field on Long Island, 1929. (Keystone-FranceContributor). https://sale.morven.org/hail-specimen-of-female-art-new-jersey-schoolgirl-needlework-17261860 daily 0.75 2018-12-14 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1542311451374-FH4GFSZG49SSJZFO06E3/Needlework+by+Maria+Blackwell%2C+Hopewell+Township%2C+New+Jersey%2C+1828.+Deborah+%28Shellenberger%29+Niederer+_+Randy+Niederer._80%251.jpg Hail Specimen of Female Art! New Jersey Schoolgirl Needlework, 1726-1860 Image Credit: Needlework by Maria Blackwell, Hopewell Township, New Jersey, 1828. Deborah (Shellenberger) Niederer & Randy Niederer. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1544712051832-2NRH0VZPCEAZIY6D04W4/Screen%2BShot%2B2018-10-29%2Bat%2B4.38.52%2BPM.png Hail Specimen of Female Art! New Jersey Schoolgirl Needlework, 1726-1860 Hail Specimen of Female Art! New Jersey Schoolgirl Needlework, 1726 – 1860 Fully illustrated exhibition catalogue (187 pages) for Morven’s landmark exhibition Hail Specimen of Female Art! New Jersey Schoolgirl Needlework, 1726 – 1860 https://sale.morven.org/of-the-best-materials-and-good-workmanship-19th-century-new-jersey-chairmaking daily 0.75 2018-12-14 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1542311635296-IH703DF52XEPAV1KGVRG/Original+hand-painted+crest+rail+detail+depicting+a+compote+of+berries+on+a+Windsor+side+chair+made+by+Ebenezer+P.+Rose%2C+Jr.%2C+of+Trenton%2C+NJ%2C+ca.+1815-25_80%251.jpg Of the Best Materials and Good Workmanship: 19th Century New Jersey Chairmaking Image Credit: Original hand-painted crest rail detail depicting a compote of berries on a Windsor side chair made by Ebenezer P. Rose, Jr., of Trenton, NJ, ca. 1815-25 https://sale.morven.org/micah-williams-portrait-artist daily 0.75 2019-09-28 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1542311955892-0ZTSEEGOQXOSL0I9KYK6/Sarah+Hendrickson+Holmes+%281767-1824%29.+Micah+Williams+%281782-1837%29.+Pastel+on+paper.+Monmouth+County+Historical+Association%2C+gift+of+Joseph+H.+Holmes+and+Mrs.+Kathryn+Holmes._80%25387.jpg Micah Williams: Portrait Artist Image Credit: George Clarke (b. 1764). Micah Williams (1782-1837). Pastel on paper. Collection of Edward King, Jr. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1544799691970-95MXD0U8YD70SOTPTA5S/eorge+Clarke+%28b.+1764%29.+Micah+Williams+%281782-1837%29.+Pastel+on+paper.+Collection+of+Edward+King%2C+Jr._80%251.jpg Micah Williams: Portrait Artist Image Credit: Sarah Hendrickson Holmes (1767-1824). Micah Williams (1782-1837). Pastel on paper. Monmouth County Historical Association, gift of Joseph H. Holmes and Mrs. Kathryn Holmes. https://sale.morven.org/the-age-of-sail-a-new-jersey-collection daily 0.75 2021-02-18 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1552055947342-GJ45O2ILTAGUP4UL6F7P/Above%2Bimage%2BWindmill%2BIsland%252C%2BDelaware%2BRiver%252C%2BGeorge%2BEmerick%2BEssig%2B%25281838-1926%2529.%2BWatercolor%2Bon%2Bpaper.%2BCollection%2Bof%2BRichard%2BW.%2BUpdike..jpg The Age of Sail: A New Jersey Collection https://sale.morven.org/coastal-impressions-painters-of-the-jersey-shore-18801940 daily 0.75 2023-10-19 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1542312222918-9PGKZG9PLJM7NEE0ZTBN/On+the+Manasquan+%28hi-res%29_80%251.jpg Coastal Impressions: Painters of the Jersey Shore (1880-1940) Image Credit: On the Manasquan, c. 1910. Edward Boulton (1866 - 1927). Private Collection. Photo credit: Lynnette Mager Wynn. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1544712206418-E680IWS6JMIYSGZRVS6D/Screen%2BShot%2B2018-10-29%2Bat%2B4.39.52%2BPM.png Coastal Impressions: Painters of the Jersey Shore (1880-1940) Jersey Shore Impressionists: The Fascination of Sun and Sea 1880-1940 by Roy Pedersen, Forward by Richard Boyle The book, by Lambertville art dealer and historian Roy Pedersen, breaks new ground in the history of American art by recognizing the distinct influence of New Jersey and its beloved Shore on impressionist era American painters . This book establishes – for the first time – a category of impressionist American painters who focused on, or were profoundly influenced by, the landscapes and seascapes of this Shore. https://sale.morven.org/the-pine-barrens-a-legacy-of-preservation-photographs-by-richard-speedy daily 0.75 2019-03-08 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1542312318346-O2BBMQ0UWCGPQ8VZ564O/Water+Clouds++_+Richard+Speedy_80%252.jpg The Pine Barrens: A Legacy of Preservation | Photographs by Richard Speedy https://sale.morven.org/new-page daily 0.75 2018-12-14 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1542312526290-UM4LLLJOJZ49CCQ8YZ8P/Enthusiastic+puzzle+_+Lonni+Sue+Johnson_80%251+copy.jpg Puzzles of the Brain: An Artist’s Journey through Amnesia https://sale.morven.org/portrait-of-place-paintings-drawings-and-prints-of-new-jersey-17611898 daily 0.75 2020-08-05 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1542312361792-R8OFWF9VWRDP8S63FAJX/Oakland%2C+N.J.+Between+1836+and+1848+ARTIST+William+E.+Tucker+%28signed+lower+left%2C+%E2%80%9CDrawn+on+the+spot+by+Wm.+E.+Tucker%2C+Philada.%E2%80%9D%29.+Pen+and+ink%2C+and+watercolor%2C+on+paper.+8+x+13%C2%BD+in._80%252.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761-1898 Oakland, N.J., between 1836 and 1848. William E. Tucker (signed lower left, “Drawn on the spot by Wm. E. Tucker, Philada.”), pen and ink, and watercolor, on paper. 8 x 13½ in. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1544808847471-SEXBTV0DXFX84TK9ZEPX/New-Jersey-Views.jpg Portrait of Place: Paintings, Drawings and Prints of New Jersey, 1761-1898 Portrait of Place: Paintings, Drawings, and Prints of New Jersey, 1761–1898 From the Collection of Joseph J. Felcone https://sale.morven.org/the-garden-at-night-photographs-by-linda-rutenberg daily 0.75 2019-03-08 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1542312408995-QT04BN33KXTOY9SWW40J/13.+Metis+Gdn+805_7799+.jpg The Garden at Night | Photographs by Linda Rutenberg https://sale.morven.org/the-stars-and-stripes-fabric-of-the-american-spirit daily 0.75 2020-06-10 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1542312564091-Z4EQ3WZKGFW9NQQ0LU03/31-079+Great+Star_80%251.jpg The Stars and Stripes: Fabric of the American Spirit™ 31-Star Great Star Flag, c. 1851–58, printed on glazed cotton muslin. The Pierce Collection of American Parade Flags. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1542312606294-PSBNH50970DBTCRZ2NPJ/Book+Cover_80%252.jpg The Stars and Stripes: Fabric of the American Spirit™ https://sale.morven.org/the-ripple-effect daily 0.75 2018-12-14 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1542313225995-IGJ0FWI2SN8QS94XN7GH/the-ripple-effect.jpg The Ripple Effect https://sale.morven.org/ribbon-of-life-the-delaware-and-raritan-canal daily 0.75 2019-03-08 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1542313285153-RETVSXRS3CVGVH6B15WZ/31+New+Brunswick_80%251.jpg Ribbon of Life | The Delaware and Raritan Canal https://sale.morven.org/morven-through-the-centuries daily 0.75 2018-12-14 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1542313349818-LVVROYGHMTDQGRE7UDV0/51261+5.6_80%251+copy.jpg Morven Through the Centuries https://sale.morven.org/the-kennedys-portrait-of-a-family-photographs-by-richard-avedon daily 0.75 2019-03-08 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1542313405970-HF72LGFWD5XE9VB9TMFM/JFK+Jackie+Jpeg+copy.JPG The Kennedys | Portrait of a Family: Photographs by Richard Avedon https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1552056636649-WOCMJC3OMYW8CA0V759X/image-asset.jpeg The Kennedys | Portrait of a Family: Photographs by Richard Avedon https://sale.morven.org/gallery-walk daily 0.75 2019-01-03 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1543843045088-WU5I3RUTTU9OM977KNPB/Untitled1.png Trompe l'oeil One-Day Workshop with Lisa Walsh https://sale.morven.org/commodores-greenhouse daily 0.75 2019-03-08 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1552053689158-NDBYW2ACIPUUB1D87G9U/Detail%2Bof%2BBird%25E2%2580%2599s%2BEye%2BView%2Bof%2BPrinceton%252C%2BN.J.%252C%2B1874%252C%2Bdrawn%2Bby%2BH.H.%2BBailey%252C%2Blithographed%2Bby%2BBreuker%2Band%2BKessler%2Bof%2BPhiladelphia%252C%2Band%2Bpublished%2Bby%2BCharles%2BO.%2BHudnut%2Bof%2BPhiladelphia.%2BCourtesy%2Bof%2Bthe.jpg Commodore's Greenhouse https://sale.morven.org/new-jersey-baseball daily 0.75 2019-10-29 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1548353779806-JZJLYI7PGOIFW7147KFZ/base.jpg New Jersey Baseball Image credit: Playing baseball at Madison, New Jersey, c. 1910. Underwood & Underwood (copyright September 30, 1911). Stereograph. Retrieved from the Library of Congress. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1559232271810-3CZETWRTYCOD1UY5Z41Z/image-asset.jpeg New Jersey Baseball Funding for this publication was provided, in part, by Robert N. Wilson & Michele Plante, The Muhlhauser Gift Fund, Lisa & Michael Ullmann, Carolyn & John Healey, Investors Foundation and a grant by the New Jersey Historical Commission. ISBN 978-0-578-47600-1 © 2019 Morven Museum & Garden https://sale.morven.org/masters-of-illusion-the-legacy-of-john-f-peto daily 0.75 2019-07-17 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1557846557883-LWKHV702Y7F8Y1PKUTW0/2_The_Marked_Passage.jpg MASTERS OF ILLUSION: THE LEGACY OF JOHN F. PETO Image Credit: The Marked Passage. John Frederick Peto (1854–1907). Oil on academy board. Image courtesy of the Princeton University Art Museum. Gift of Mrs. Alfred H. Barr, Jr. (y1985-39) https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1557846695563-HPPFY184F1ZSM68B8SRX/image-asset.jpeg MASTERS OF ILLUSION: THE LEGACY OF JOHN F. PETO Image Credit: Master of the Ruptured Word, 2015. Gary Erbe. Oil on canvas. Gerald Peters Gallery, NYC. https://sale.morven.org/rocks-and-dinos daily 0.75 2019-07-05 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1562336877147-AKUK85P62U982ELI34P8/Rocks+and+Dinos%21.jpg Rocks and Dinos! Cretaceous Life of New Jersey, 1877, Benjamin Waterhouse Hawkins (1807–1894), Princeton University Art Museum https://sale.morven.org/let-your-motto-be-resistance daily 0.75 2019-07-09 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1562339897445-UY5J1PMY2P3Y07NH7KQZ/Rocks+and+Dinos%21.jpg Let Your Motto Be Resistance Martin Luther King Jr. with Coretta Scott King, Yolanda Denise King, 1956, Dan Weiner (1919–1959), National Portrait Gallery, Smithsonian Institution https://sale.morven.org/the-boudinot-collection daily 0.75 2019-07-08 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1562340483709-F68N67DZR3FDUZ7X8JPF/Dining+Room.jpg The Boudinot Collection Boudinot Collection at Morven. Photograph, 2004. Bruce White. https://sale.morven.org/picturing-princeton-1783-the-nations-capital daily 0.75 2023-09-12 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/cf025537-e594-4142-8052-f46b98992699/_Photograph_%C2%A9_Bruce_M_White_2009-11.jpg Picturing Princeton 1783: The Nation’s Capital Picturing Princeton 1783 exhibition. Photograph, 2009. Bruce M. White. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1562680804108-LB1O9NHXWUKA5ZG9O78G/cover+Princeton1-page-001.jpg Picturing Princeton 1783: The Nation’s Capital Winner of the 2010 New Jersey Studies Academic Alliance Author’s Award and the New Jersey Library Association Available for sale in Morven’s Museum Shop or on Morven’s Amazon. https://sale.morven.org/ben-again daily 0.75 2019-07-09 https://sale.morven.org/the-large-house-in-miniature daily 0.75 2019-07-12 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1562941075915-OWE65BSGWHLL679HHSV3/Dollhouse.jpg The Large House in Miniature https://sale.morven.org/wilson-150 daily 0.75 2019-07-12 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1562941020692-FQVGZSCR9B5U73EQG90K/Wilson+151.jpg Wilson 150 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1562941131846-LGNMDZYHJV5VLJ27ED0P/image-asset.jpeg Wilson 150 https://sale.morven.org/a-place-to-take-root daily 0.75 2019-07-12 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1562941532654-9QW98W51PK4WEYCITH9S/pots.jpg A Place to Take Root: A History of Flowerpots in North America https://sale.morven.org/capturing-the-spirit daily 0.75 2019-07-12 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1562943014421-WEZQ62B4ATI6K2MM00FM/pots.jpg Capturing the Spirit: Virginia Snedeker and the American Scene Snedeker and the mural, Virginia Snedeker (1909–2000), May, 1942. https://sale.morven.org/gifts-to-morven daily 0.75 2019-07-12 https://sale.morven.org/proprietors-and-adventurers daily 0.75 2019-07-12 https://sale.morven.org/rookwood-garden daily 0.75 2019-07-12 https://sale.morven.org/selections-from-the-new-jersey-state-museum daily 0.75 2019-07-12 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1562944206696-4PMBZ1BF0ORTPTRWOMVI/Equestrian+Portrait+NJSM.jpg Selections from the New Jersey State Museum Equestrian Portrait of the Stockton Family, c. 1865, Henry Collins Bishop https://sale.morven.org/dreaming-of-utopia daily 0.75 2020-12-23 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1563989144748-F4TC3EGNKE5N71MR148D/Photo+by+%C2%A9+RicardoBarros.com+2019.png Dreaming of Utopia: Roosevelt, New Jersey Jersey Homesteads Mural, Ben Shahn (1898–1969), with Bernarda Bryson Shahn (1903–2004), 1936–7; located in the Roosevelt Public School. Photo by © RicardoBarros.com 2019 https://sale.morven.org/roosevelt-resources daily 0.75 2020-05-22 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1563989144748-F4TC3EGNKE5N71MR148D/Photo+by+%C2%A9+RicardoBarros.com+2019.png Additional Roosevelt Resources Jersey Homesteads Mural, Ben Shahn (1898–1969), with Bernarda Bryson Shahn (1903–2004), 1936–7; located in the Roosevelt Public School. Photo by © RicardoBarros.com 2019 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1577989479921-P8SZ09WW1KQDM1IJZO8T/8a21085r.jpg Additional Roosevelt Resources Philip Goldstein assistant cutter in the cooperative garment factory at Jersey Homesteads. He is secretary of the Colonists' Association, Inc., Hightstown, New Jersey. Photograph by Russell Lee. Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF33-011015-M3] https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1577989636983-EYWJL0LWTAHW77O3Z97S/8a21150r.jpg Additional Roosevelt Resources Consumer's cooperative. The homesteaders have their own kosher meat shop and grocery, which they expect to enlarge as the colony grows. This picture shows manager, Nathan Dubin, doing a flourishing business in his temporary store. Jersey Homesteads, Hightstown, New Jersey. Photograph by Russell Lee. Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF33-011029-M3] https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1577989799559-E3FW430RRUTFSI0T7UZ5/8a02332r.jpg Additional Roosevelt Resources Family group playing cards in one of the new homes on the Hightstown Project, New Jersey. Photograph by Carl Mydans. Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF33-T01-000735-M4] https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1577990251858-Y1QNIH06MUG249FG0ZGJ/002++Days+Work++1940+++oil+on+canvas+++44x36_jpg.jpg Additional Roosevelt Resources Days Work, 1940. Gregorio Prestopino (1907—1984). Oil on canvas. Estate of Gregorio Prestopino. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1577990028376-BCWP2DZCBXAI93Q8G262/020++Portrait+of+the+Artist+as+a+Landscape+Painter++1958+++oil+on+canvas+++38x32_jpg.jpg Additional Roosevelt Resources Portrait of the Artist as a Landscape Painter, 1958. Gregorio Prestopino (1907—1984). Oil on canvas. Estate of Gregorio Prestopino. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1577990306925-FG949O51VSR2MM22R1QV/03++NUDE+-+FALLEN+LOG++1983+++Ink+%26+WC+++30x40_jpg.jpg Additional Roosevelt Resources Nude - Fallen Log, 1983. Gregorio Prestopino (1907—1984). Ink and watercolor. Estate of Gregorio Prestopino. https://sale.morven.org/ma-bell-mother-of-invention daily 0.75 2023-10-20 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/c61f8924-983a-4a86-9d83-9315b59e7d60/Copy+of+%5B1960s+ca.%5D+James+West+Noise+Test+in+Anechoic+Chamber+at+Murray+Hill%2C+NJ+%2886-300069%29.jpg Ma Bell: The Mother of Invention in New Jersey James West Noise Test in the Anechoic Chamber at Murray Hill, New Jersey, 1960s. Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1629383155727-J7MCHFP1WDWKJDIYPR5V/AT%26T+logo+2021+%281%29.jpg Ma Bell: The Mother of Invention in New Jersey - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/5f419194-3d8b-4ca3-9e2e-8c73b6f40ab3/Church+%26+Dwight.png Ma Bell: The Mother of Invention in New Jersey - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1634822972268-ATQ7OA110BO8TPQ3L45I/Fulton%2BBank.jpeg Ma Bell: The Mother of Invention in New Jersey - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://sale.morven.org/jersey-homesteads daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620673471149-NKRIGDZIRWMFO24ZTXJL/Wester.O--DoorPanelsSide1.jpg Jersey Homesteads - Jersey Homesteads Community Building and School Doors, c. 1938 (1/2) Otto Wester (1902–1988) Hand-hammered embossed aluminum Collection of the Roosevelt Public School Commissioned by the Resettlement Administration’s Special Skills Division for the Jersey Homesteads Community Building and school, these doors depict scenes of the town’s field hands and garment workers. Otto Wester was a metal designer who worked with Norman Bel Geddes (1893–1958) on his best-known piece: the Futurama exhibit at the 1939 World’s Fair, a utopian model predicting what the world would look like 20 years in the future. The school doors were permanently removed from the building’s exterior during a renovation project and are normally displayed in the Roosevelt Public School. For generations the children of Roosevelt have started and ended their school days walking beneath Ben Shahn’s mural, past Lenore Thomas’ The Seamstress, and by Wester’s doors. The fact that these doors are part of everyday school life is evidenced by the graffiti scratched in by students. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620673471030-0PXIXWF7RL4C1IEI6TMM/Wester.O--DoorPanelsSide2.jpg Jersey Homesteads - Jersey Homesteads Community Building and School Doors, c. 1938 (2/2) Otto Wester (1902–1988) Hand-hammered embossed aluminum Collection of the Roosevelt Public School Commissioned by the Resettlement Administration’s Special Skills Division for the Jersey Homesteads Community Building and school, these doors depict scenes of the town’s field hands and garment workers. Otto Wester was a metal designer who worked with Norman Bel Geddes (1893–1958) on his best-known piece: the Futurama exhibit at the 1939 World’s Fair, a utopian model predicting what the world would look like 20 years in the future. The school doors were permanently removed from the building’s exterior during a renovation project and are normally displayed in the Roosevelt Public School. For generations the children of Roosevelt have started and ended their school days walking beneath Ben Shahn’s mural, past Lenore Thomas’ The Seamstress, and by Wester’s doors. The fact that these doors are part of everyday school life is evidenced by the graffiti scratched in by students. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620673582184-1WCA0W3GUZPKFE1J29UL/118_Wester%2Bworking%2Bon%2Bdoors.jpg Jersey Homesteads - Otto Wester working on repoussé aluminum doors, 1937 Ben Shahn papers, 1879–1990, Archives of American Art, Smithsonian Institution https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621006686355-OHD0KIZHZIDED7GJ6YTF/SKM_C22719100211120.jpg Jersey Homesteads - The doors in their original location seen here as the backdrop to the Roosevelt Public School graduating class of 1953 Estate of Sol Libsohn. From left to right: Elaine Cohen, Bruce Levin, Harriet Frank, Bob Baker, Vera Baker, Arthur Shapiro, Judy Libove, Principal Mills, Myra Fischer, Simon Katzenellenbogen, Marcia Mondlin, Carl Lowenthal, Willa Noveck, Sara Libsohn. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620665711247-IRJ4B1HHDLATIS4YZ4MD/Bathgate%2BAvenue.jpg Jersey Homesteads - Scene along Bathgate Avenue in the Bronx, a section from which many of the New Jersey homesteaders have come, December 1936 Photograph by Arthur Rothstein (1915–1985), Resettlement Administration. Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF34-005677] https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620666195693-A22ZF6ZA5SLOB4LDLT9A/Mrs.%2BNathan%2BKatz.jpg Jersey Homesteads - Mrs. Nathan Katz, an accepted applicant to Jersey Homesteads, in her apartment, East 168th Street, Bronx, New York, November 1936 Photograph by Russell Lee (1903–1986), Resettlement Administration. Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF33-011044-M2] https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620666352163-E60OXVPR5RI3MCP5Q05B/Interviewing%2BApplicant.jpg Jersey Homesteads - Interviewing a Jersey Homestead applicant, June 1936 Photograph by Dorothea Lange (1895–1965), Resettlement Administration. Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF34-002110-C]. Out of 800 applications, 120 families were selected as homesteaders. All were Jewish and 90% were immigrants—the majority born in Russia, Poland, Bulgaria, and Romania. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620833786339-7M5V7KXIZKXYVJ8EHO9K/116_The_Philadelphia_Inquirer_Thu__May_7__1936_%252B%2525282%252529.jpg Jersey Homesteads - “Where New Deal Raises ‘Little Soviet’ – Tugwell Hands out $1,800,00 for N.J. ‘Commune,’” The Philadelphia Inquirer, May 7, 1936. The cooperative structure of Jersey Homesteads was not palatable to all. Largely socialist, immigrant, and Jewish, early homesteaders experienced discrimination. Store owners in nearby towns would not sell to them, and nationally, newspapers questioned the government money spent on their new community. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620837367658-D0C6IKK1UB4YSKGGY597/First%252BSlab.jpg Jersey Homesteads - First concrete slab cast at Jersey Homesteads, November 1935 Photograph by Carl Mydans (1906–2004), Resettlement Administration. Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF34-000-615-D]. Engineers on the Jersey Homesteads project planned to prefabricate homes with a new process of casting the entire side of a house (including window and door frames) in concrete. Roofs, too, were to be one slab. Four factory buildings were erected to mix, pour, and dry the concrete. Projections promised the construction of five houses a day. However, the prefabricated walls proved impossible to secure to one another, and the plan was abandoned. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620671078886-XG0FU1EPMQ9QBBYWOVWT/Construction.jpg Jersey Homesteads - Cinder Block construction of houses, Jersey Homesteads, November 1936 Photograph by Russell Lee (1903–1986), Resettlement Administration. Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF33-011030-M5]. After quietly abandoning the concrete slab walls, engineers switched to concrete cinder block. Kastner was hired after this initial failure to salvage the project. Between 1935 and 1938, WPA workers built 146 houses, a factory, a school, a borough hall (now a residence), water works, and a sewage treatment plant. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620835433656-84YN5O4LD4XOH84H7Q9U/Model%252BHouse.jpg Jersey Homesteads - A model Jersey Homesteads home, nearly completed, June 1936 Photograph by Dorothea Lange (1895–1965). Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF34-009107-C]. By July 1936, eight residential units were completed, with another 96 ready by the end of 1937. Each home was allotted a half acre, with the idea that families would plant vegetable gardens of their own, although few homesteaders showed any interest in doing so. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620671135372-89R6YGBPIM2ZJC29X38M/Fresco%2BPreperation.jpg Jersey Homesteads - Preparation of mortar for fresco painting in the Jersey Homesteads school, 1937 Photograph by Ben Shahn (1898–1969). Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF33-006529-M2]. Alfred Kastner was a close friend of Ben and Bernarda Shahn and it was Kastner who suggested the idea of a mural for the Jersey Homestead school. With Bernarda as his assistant, Ben began work on the mural in November 1937, and finished it in May 1938. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620671207448-L9YUFRZSS5LFUIICT458/Library.jpg Jersey Homesteads - Library in the community building, May 1938 Photograph by Arthur Rothstein (1915–1985). Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF34-026326-D]. The library in the school and community building was for all homesteaders. Lenore Thomas’ The Seamstress is visible beneath the staircase. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620671244469-MF37GW3RW4JO3QNWFONZ/Mural%2Bin%2BSitu.jpg Jersey Homesteads - Mural painted by Ben Shahn at the community building, May 1938 Photograph by Arthur Rothstein (1915–1985), Resettlement Administration. Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF34-026327-D] https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620672540297-W0JVH6JHLNA6IS8UCNXW/119_Thomas%2Bworking%2Bon%2Bsculpture.jpg Jersey Homesteads - Lenore Thomas working on her sculpture The Seamstress, September 1936 Ben Shahn papers (1879–1990), Archives of American Art, Smithsonian Institution. Lenore Thomas (1909–1988) was only 26 years old when she began working for the Resettlement Administration in 1935, as part of the Special Skills Division. The resettlement town of Greenbelt, MD, also features her work. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620671275381-GSAI2Q210HERSP0P8GBR/Classroom.jpg Jersey Homesteads - Jersey Homesteads classroom, May 1938 Photograph by Arthur Rothstein (1915–1985), Resettlement Administration. Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF34-026335-D]. The Jersey Homesteads school went through eighth grade, at which point children attended Allentown High School and then later Hightstown High School. The school had its first graduation in 1938. Benjamin Brown was part of the ceremony and music was provided by the Mercer County WPA Orchestra. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620671306055-A1OZJAV4XE773XYVJSB9/Gymnasium.jpg Jersey Homesteads - Gymnasium at the Jersey Homesteads School, May 1938 Photograph by Arthur Rothstein (1915–1985), Resettlement Administration. Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF34-026336-D] https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620671369371-WDABKNR8W7EPSIKUWCTQ/Going%2Bto%2BFactory%2BOpening.jpg Jersey Homesteads - Going to the opening of the garment factory, Hightstown, New Jersey, August 1936 Photograph by Carl Mydans (1907–2004), Resettlement Administration. Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF33-000735-M2] https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620671417093-T57649MZ9LKWENLM77AL/Homesteader%2Bin%2BKitchen.jpg Jersey Homesteads - Homesteader in the kitchen of her new home, August 1936 Photograph by Carl Mydans (1907–2004), Resettlement Administration. Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF33-000736-M2]. When interviewed by a newspaper one homesteader exclaimed, “Living in this place will be better even than...going to Coney Island every night!” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620671443431-JRA2DXNKKOLFF54J6ZPT/Visiting%2BRabbi.jpg Jersey Homesteads - Visiting rabbi teaching religion to children at Jersey Homesteads, November 1936 Photograph by Russell Lee (1903–1986), Resettlement Administration. Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF33-011049-M4] https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620671468843-BY1NCBXJ172DBEP1H4CH/First%2BBaby.jpg Jersey Homesteads - The first baby born In Jersey Homesteads, the daughter of Mr. and Mrs. Philip Goldstein, November 1936 Photograph by Russell Lee (1903–1986), Resettlement Administration. Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF33-011028-M2]. The Goldsteins moved to the colony on July 10, 1936, and welcomed their daughter in October. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620835614697-3C3FEF9YR3EAUPX32VTF/120_Augusta_Chasan_fire_lassie_with_article.jpg Jersey Homesteads - “Woman Seeks Job as Homestead’s Fireman; Volunteers With Men for New Department,” New York Times, 1937 After electing a mayor the homesteaders organized a fire department. When a call for volunteers went out, Augusta Chasan stepped forward. She made national news as the one of the first woman firefighters in America and became known as the “Fire Lassie” of Jersey Homesteads. One oral history recalls that when the local Hightstown Fire Department chose not to respond to a fire in the predominantly Jewish town, Augusta Chasan helped put out the blaze. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620672812544-8WJOAHUBZT5NR1Y1RIJ6/121%2BCoop%2Bstore.jpg Jersey Homesteads - Girls in front of the Jersey Homestead Consumer’s Cooperative and tearoom at 1 Homestead Lane, c. 1937 Greenfield-Chasan Archive https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620671677676-4UI6NBK6OELBMJBHVJ6W/Wives%252Band%252BChildren.jpg Jersey Homesteads - Wives and children of the farming homesteaders, June 1936 Photograph by Dorothea Lange (1895–1965), Resettlement Administration. Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF34-T01-009122-C] https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620671567799-JJJWPDQMX486813VH54B/William%2BSinger.jpg Jersey Homesteads - William Singer, Jersey homesteader helping to store corn for the dairy herd which is soon to be acquired by the colony, November 1936 Photograph by Russell Lee (1903–1986), Resettlement Administration. Library of Congress, Prints & Photographs, FSA/OWI Collection, [LC-USF33-011037-M3] https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620671604007-T52A3KFGNSQ82VOBH9A6/Orchards.jpg Jersey Homesteads - Spraying apple orchards at Jersey Homesteads, 1936 Unknown photographer. Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF34-002094-C] https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620837456575-R8ZSSNZ6S6BSK6ORIO2A/Potato%2525252BField.jpg Jersey Homesteads - Jersey homesteaders working a potato field, June 1936 Photograph by Dorothea Lange (1895–1965), Resettlement Administration. Library of Congress, Prints & Photographs, FSA/OWI Collection, [LC-USF34-009108-C]. In the 1936 season the cooperative made $17,000 profit in tomatoes and potatoes. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620671840327-BYM3FYPZQL8AAPC3RW7T/Factory.jpg Jersey Homesteads - The garment factory at Jersey Homesteads, November 1936 Photograph by Russell Lee (1903–1986), Resettlement Administration. Library of Congress, FSA/OWI Collection, [LC-USF33-011003-M5]. Described as “sleek as an airplane,” the factory was 100 feet wide and 220 feet long. It could accommodate 300 workers and had an air-conditioning system. At the time of its construction the building was credited as “being the most modern factory for needlework on the Atlantic Seaboard.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620671885273-HXXXJKLDMBWSUROFK6SO/Style%2BShow.jpg Jersey Homesteads - Style show at the opening of garment factory, August 1936 Photograph by Carl Mydans (1907–2004), Resettlement Administration. Library of Congress, FSA/OWI Collection, [LC-USF33-000732-M1]. The factory building was dedicated on August 2, 1936 with a large celebration. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620671907833-952FU3A6HWNOMB3H17BE/Factory%2BInterior.jpg Jersey Homesteads - Interior of cooperative garment factory at Jersey Homesteads, showing some of eighty homesteaders at their work and some of the ladies’ coats made by them, November 1936 Photograph by Russell Lee (1903–1986), Resettlement Administration. Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF33-011010-M5] https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620671938612-Q03CB4C3LPXGF85JQOIY/Tailor%2BClose%2BUp.jpg Jersey Homesteads - Closeup of tailor in garment factory, Jersey Homesteads, November 1936 Photograph by Russell Lee (1903–1986), Resettlement Administration. Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF33-011048-M1]. The pose of this tailor appears to have served as inspiration for the garment worker ironing a coat in the foreground of the Shahn mural. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620671969472-BFR7VGRNEG9W9IKWZSS8/Homesteader%2BDaughters.jpg Jersey Homesteads - Homesteaders’ daughters are employed in the millinery department of the cooperative garment factory at Jersey Homesteads, November 1936 Photograph by Russell Lee (1903–1986), Resettlement Administration. Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF33-011020-M5] https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620671992577-14FSUS4U1KC02Z15GKWY/Factory%2BTruck.jpg Jersey Homesteads - The factory has its own truck, which makes deliveries to its two rooms in New York, Jersey Homesteads, November 1936 Photograph by Russell Lee (1903–1986), Resettlement Administration. Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF33-011024-M5] https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620837402373-IFCN9GS7VNKEODQ73WCN/80_rutgers-lib-1844_JPEG-1.jpg Jersey Homesteads - Advertisement for coats made by Tripod Coat and Suit Inc., 1937 Rutgers University Libraries. Special Collections and University Archives. This pamphlet was included in the Pennsylvania Co-op Review. It advertised the work of Jersey Homesteads garment workers. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620672027874-7L629GZVB3IH06QTAZ68/Model%2Bwith%2BCoat.jpg Jersey Homesteads - Woman modeling coat, made at the Jersey Homesteads garment factory, at the showroom in New York City, November 1936 Photograph by Russell Lee (1903–1986), Resettlement Administration. Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF33-011034-M3] https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620671781054-GW2GZU9PXGG6EI64SA56/Aerial%2BView.jpg Jersey Homesteads - Air view of Jersey Homesteads, 1936–38 Photographed for the Resettlement Administration. Library of Congress, Prints & Photographs Division, FSA/OWI Collection, [LC-USF345-003894-ZA]. In this aerial view the factory is at the center right, with the streets of newly-built houses behind it. https://sale.morven.org/philadelphia-inquirer-5-7-1936 daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620833433803-6FFPEP29E1K4VQ6Q5K9M/116_The_Philadelphia_Inquirer_Thu__May_7__1936_+%282%29.jpg Philadelphia Inquirer, May 7, 1936. - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://sale.morven.org/new-york-times-1937 daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1620835923238-AAE3OF62FNQ8TIUB1UXE/120_Augusta_Chasan_fire_lassie_with_article.JPG New York Times, 1937 - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://sale.morven.org/new-page-1 daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621015353408-K8FRH5W6T9QTO1WPXPJ5/Shahn.J--FDR-bust.jpg Landing Page - Make it stand out Franklin Delano Roosevelt, 1961 Jonathan Shahn (1938–2020) Bronze Collection of Jonathan Shahn Sculpture Jonathan Shahn’s five-foot-tall bronze bust of Franklin D. Roosevelt, located in the amphitheater near Roosevelt Public School, was a project 16 years in the making. Ben Shahn conceived the idea for the bust in 1946. His son Jonathan, was later selected by committee for the project. The younger Shahn was a 23-year-old art student at the Boston Museum School when he completed the bust in 1961. The park was designed by architect Bertram Ellentuck. Notably, this was the first memorial to be dedicated to Franklin D. Roosevelt in America. A pamphlet put out by the Roosevelt Memorial Association explained, “To us [Roosevelt] is no abstraction, no mere symbol of ideas: to us he is a very human person without whose deep concern for unimportant men and little places our town would never have come into existence. We want his likeness on our public school grounds where our children play and where we pass on our way to the store and the post office.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621014064931-V0Z4Z86KCID13MP1IRHR/Libsohn.S--Jacob-Landau.jpg Landing Page - Jacob Landau Sol Libsohn (1914–2001) Silver gelatin print Estate of Sol Libsohn Jacob Landau (1917–2001), an illustrator as well as a fine artist, had a distinguished career as a professor at Pratt Institute in Brooklyn. Landau lived in Roosevelt from 1954 until his death, becoming a prominent member of its artistic community. He built a geodesic dome for use as an art studio. Landau was among the founders of the Roosevelt Arts Project, a collaborative group that formed in the 1980s. Governor Brendan Byrne (who lived at Morven) appointed Landau to the Board of Trustees of the New Jersey School of the Arts. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621014065025-X6HQGYQ844CZUQXLZC3Y/Libsohn.S--Edwin-Rosskam.jpg Landing Page - Edwin Rosskam Sol Libsohn (1914–2001) Silver gelatin print Estate of Sol Libsohn In addition to being a documentary photographer, Edwin Rosskam (1904–1985) was also an author, penning The Alien (1964), and Roosevelt, New Jersey: Big Dreams in a Small Town and What Time Did to Them (1972). Rosskam was born in Munich, Germany to American parents and came to the United States in 1919. Sol Libsohn photographed Rosskam in his studio; a self-portrait of Rosskam’s daughter, Ani, hangs on the wall behind him. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621015066400-B71H2HAUXJZ6FXDEYA9E/Libsohn.S--Dorothea-Lange-at-Shahn.jpg Landing Page - Dorothea Lange at the Shahn House Roosevelt, June 1964 Sol Libsohn (1914–2001) Silver gelatin print Estate of Sol Libsohn Born in Hoboken, Dorothea Lange (1895–1965) worked for the Resettlement Administration (and later the Farm Security Administration) throughout the Depression, during which time she photographed Migrant Mother, the most iconic image of the era. In this role she was sent to Jersey Homesteads to document the nearly finished cooperative town (see some of these here). Almost 30 years later, Lange (pictured at the far right) returned to Roosevelt to visit with friends from those New Deal days. She is seen here on the Shahns’ patio with Ben and Bernarda (center), Sol Libsohn’s wife Jean (far left), and Edwin Rosskam (in glasses). https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621015094211-OQ56E7M9F4TR9CF60X30/Libsohn.S--David-Stone-Martin.jpg Landing Page - David Stone Martin Sol Libsohn (1914–2001) Silver gelatin print Estate of Sol Libsohn David Stone Martin (1913–1992) first worked as an assistant to Ben Shahn in 1933, designing murals for the World’s Fair, and then later as art director for the Office of War Information. After working for numerous government agencies, Martin became famous for his album cover art (some of which you can see here). It was through his friendship with Shahn that Martin learned about Jersey Homesteads and moved his family there in 1943. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621014066451-9XXX615QTM4CCFGVP79H/Libsohn.S--Creating-Mosaic-in-Pool.jpg Landing Page - Creating a mosaic in the Shally’s Pool  Sol Libsohn (1914–2001) Silver gelatin print Estate of Sol Libsohn Here Libsohn captured a mermaid mosaic being assembled at the bottom of George and Constance Shally’s pool. The mosaic was made from buttons discarded by the Richard Allen Button Company, which had a stint in the former garment factory. As was typical of the community, everyone pitched in. Neighbor Aurelius (Aurie) Battaglia, who worked for Walt Disney Studios on such films as Pinocchio, Dumbo, and Fantasia, is seen standing, with Bert and Shan Ellentuck who place buttons alongside the Shallys. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1621015604923-X0TFEZHRLRI2ZWVSENS2/Rosskam-Ani--RooseveltParty.jpg Landing Page - Make it stand out Roosevelt Party, 1970 Ani Rosskam (b. 1952) Ceramic, acrylic, paint Collection of Ani Rosskam and Bill Leech Ani Rosskam was a teenager when she made Roosevelt Party. Growing up in Roosevelt as the daughter of documentary photographers, Edwin and Louise Rosskam, she experienced life in this artistic community firsthand. Her family often hosted Roosevelt’s artists and she enjoyed their humor, their stories, and their discussions of art. She attended many parties in her hometown where she would sketch her surroundings. She based the figures on real people attending a wild 1960s party. https://sale.morven.org/ma-bell-crowdsourcing daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1623178604652-6S0E0B1U7XV04FVR51WD/Copy+of+%5B1969%5D+1st+TSPS+Operators+in+US%2C+Morristown%2C+NJ+%2899-0555%29.jpg Ma Bell Crowdsourcing - Make it stand out First TSPS Operators in US, Morristown, NJ, 1969. Courtesy of AT&T Archives and History Center. https://sale.morven.org/nj-clocks daily 0.75 2023-01-10 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1628525856350-NPOOY884FPFCL9R22TEU/Aaron+Miller+Lunette+Detail.jpg NJ Clocks - Make it stand out Lunette detail of tall case musical clock by Aaron Miller (c. 1710–1779), Elizabethtown, NJ, c. 1760. Private Collection. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1626708458525-ROJ1YZY1VD0LJWWQYG90/1b.jpg NJ Clocks - Make it stand out Tall case musical clock by Aaron Miller (c. 1710–1779), Elizabethtown, NJ, c. 1760. Private Collection. https://sale.morven.org/slavery-at-morven daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/cee5c686-d63a-4f28-81c8-72e72c0c4a32/Appleton%27s+View+of+Morven+%281%29.png Slavery at Morven - Make it stand out The Stockton Mansion, unknown artist. Appleton’s Journal, December 25, 1875. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1632765624721-I2OVTEGLIC601Z49A20X/service-rbc-rbpe-rbpe09-rbpe099-0990100b-001dr.jpg Slavery at Morven - An act for the gradual abolition of slavery ... Passed at Trenton Feb. 15, 1804. Burlington, S. C. Ustick, printer [1804]. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/eb3bd1c5-06ac-4c58-90e0-9ecc90f32837/Names+%283%29.png Slavery at Morven - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://sale.morven.org/the-stocktons-as-enslavers daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/b784880b-3155-4999-a2c8-23ea9a3bd722/February-1790-Western-Precinct-Somerset-County.jpg The Stocktons as Enslavers - Make it stand out Tax Ratables for the Western Precinct, Somerset County, February 1790. Collection of the New Jersey State Archives, Department of State. Because enslaved people were considered property, they are included on the tax document for Annis Stockton (1736–1801). In 1790, she is recorded as owning one slave https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1632766295242-821S1NRT81XO65JHLNXU/20050401+Richard+Stockton+-+the+signer.jpg The Stocktons as Enslavers - Portrait of Richard Stockton, (1730–1781), late 19th century to early 20th century. Unknown Artist, after John Wollaston (1710–1775). Morven Collection. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/351d84df-5db6-41ea-8e5d-22494b274f9b/463c4532db9abc56a6d0f718a87e405c.jpg The Stocktons as Enslavers - Portrait of Annis Boudinot Stockton (1736–1801). Unidentified American artist. Collection of the Princeton University Art Museum. Gift of Mr. and Mrs. Landon K. Thorne, for the Boudinot Collection. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1632766433189-9FTCJ51ITEX1GU106UH0/20050403.jpg The Stocktons as Enslavers - Portrait of Richard Stockton, the Duke, c. 1800. Christian Gullager (1759–1826). Morven Collection. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1632766450426-VO5GUDA20VH6LO5JB50N/20050404.jpg The Stocktons as Enslavers - Portrait of Mary Field Stockton, c. 1800. Christian Gullager (1759–1826). Morven Collection. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1632850645788-TTJJDZXLMUF7JL8O4QC8/Vigilante+Society.jpg The Stocktons as Enslavers - A Notice from the Princeton Vigilante Society, Trenton Federalist, January 27, 1801. Collection of the New Jersey State Library. A Notice from the Princeton Vigilante Society, Trenton Federalist, January 27, 1801. Collection of the New Jersey State Library. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1632857655477-78WGQ2MVKH2ER1G8NFZ9/14_ROS6846.jpg The Stocktons as Enslavers - Daguerreotype of Commodore Robert F. Stockton, c. 1855. Collection of the Historical Society of Princeton. After his wife’s death in 1862, the Commodore lived at Morven with his daughter Harriet Maria (her mother’s namesake) and his youngest son Robert and his family. The Commodore died suddenly from cholera in 1866. He left behind an outdated will that bequeathed everything to his wife and a considerable amount of debt, including two mortgages on Morven. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1635792865097-G5SPJR0CZBM1X9DZE6KN/Glynn-County-Census+%281%29.png The Stocktons as Enslavers - Make it stand out This 1830 U.S. Federal Census for Glynn County, Georgia, shows Robert F. Stockton enslaving 108 people on his sugarcane plantation. The census further breaks down the numbers by age and sex, revealing 27 boys and 12 girls under the age of 10 held in bondage. https://sale.morven.org/marcus-marsh daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/c78b02b0-a9c1-44fd-ba84-f0c180a343e9/nypl.digitalcollections.510d47d9-7ac3-a3d9-e040-e00a18064a99.001.v.jpg Marcus Marsh - Make it stand out "An east prospect of the city of Philadelphia," 1756. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection, The New York Public Library. The New York Public Library Digital Collections. This view shows the Philadelphia that Marcus made his way in as a freeman and mariner. City directories show him living on Spruce Street and Fifth Street. Click on the image to zoom in on his address on the map. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1ac638e5-f218-4cd0-8916-8f47a46d89dd/Marcus_Marsh.jpg Marcus Marsh - Record of Manumission of Marcus Marsh, 1798. Collection of the National Archives, Proofs of Citizenship Used to Apply for Seamen’s Certificates for the Port of Philadelphia, Pennsylvania. This document was filed by Marcus Marsh when he applied for a Seamen’s Certificate for the Port of Philadelphia. It reads: “This is to certify that Marcus March the bearer of this, was born in Princeton in the State of New Jersey the first day of April 1765 in the family of Richard Stockton Esquire and since the decease of the said Richard Stockton the said Marcus has recieved [sic] his freedom from the widow of Richard Stockton who to this testimony sets her hand. [signed] Annis Stockton Philadelphia March the 2d 1798.” The type of certificate Marsh was applying for had been created by Congress to protect sailors from being impressed by the British Navy. For African Americans, the certificate served as a way to officially document their freedom, and was kept on their person at all times. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1631637763413-HU3IZWVHMNGMEJGFJWUI/portrait+of+dr+benjamin+rush.jpg Marcus Marsh - Portrait of Dr. Benjamin Rush, 1783–1786. Charles Willson Peale (1741–1827). Collection of the Winterthur Museum. Gift of Mrs. Julia B. Henry, 1959.160. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1636485854099-TEJVN3I8AYPE4LRUEQ7N/Julia-Stockton-Rush.jpg Marcus Marsh - Portrait of Julia Stockton Rush (Mrs. Benjamin Rush), 1776. Charles Willson Peale (1741–1827). Collection of the Winterthur Museum. Gift of Mrs. Julia B. Henry, 1960.392. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/489af04a-d33c-4b0a-88da-0e961f99bac0/MarcusMarshDirectory1+%281%29.jpg Marcus Marsh - Make it stand out The Prospect of Philadelphia, and Check on the Next Directory. Part 1. By Edmund Hogan. Philadelphia: Printed by Francis & Robert Baily, at Torick's Head, No. 116, High-street., 1795. This directory shows Marcus Marsh living at 119 Spruce Street. The "Af." before his name denotes him as "African." https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/9535947a-48fa-4e9d-a59e-11b93068f238/MarcusMarshDirectory2+%281%29.jpg Marcus Marsh - Make it stand out Stephen's Philadelphia Directory, For 1796. Philadelphia: Printed for Thomas Stephens, No. 60, South Second Street; by W. Woodward. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/ef3809a2-d63e-49e4-b1aa-490766163d0f/MarcusMarshDirectory3+%281%29.jpg Marcus Marsh - Make it stand out The Philadelphia directory, 1797. Thomas Stephens. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/fda0910f-ca63-4f05-b142-7c5093cd8f48/nypl.digitalcollections.510d47d9-7e2d-a3d9-e040-e00a18064a99.001.w.jpg Marcus Marsh - Make it stand out “View in Third Street, from Spruce Street Philadelphia," 1800. The New York Public Library Digital Collections. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection, The New York Public Library. Benjamin and Julia Rush lived at the other end of this street on Walnut & Third. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/0d962ce0-ab4d-428e-8e3b-378b36c9058e/Phillylocationmap.png Marcus Marsh - Make it stand out "To the mayor recorder aldermen common council and freemen of Philadelphia this plan of the improved part of the city....," 1762. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection, The New York Public Library. "The New York Public Library Digital Collections. 1762-11-11. The circles on the map indicate where Marcus and the Rush’s lived in Philadelphia. They only lived a few blocks apart and were within walking distance from each other. https://sale.morven.org/robert-field-stockton-and-the-american-colonization-society daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1632854088365-M7HG6ILNA2VNULLX1KYZ/Cape+Mesurado.jpeg Robert Field Stockton and the American Colonization Society - Make it stand out View of the Colonial Settlement at Cape Montserado, June 1825. Drawn and engraved by Henry Stone. Collection of the Library of Congress. This view shows Cape Montserado (or Mesurado) four years after Stockton had confronted Zolu Duma. The accompanying legend marks the round tower as “Stockton Castle” named for the Commodore. The American Colonization Society had powerful white supporters including Henry Clay, Francis Scott Key, and James Madison—all of whom enslaved people. Its efforts were supported by President Monroe and, by 1867, 13,000 free Black people had emigrated to Liberia. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1632854261919-O608U3HBCNWPBKZ6JSK6/iiif-service_gmd_gmd8_g8882_g8882c_lm000002-full-pct_25-0-default.jpg Robert Field Stockton and the American Colonization Society - Make it stand out Map of the West Coast of Africa from Sierra Leone to Cape Palmas, including the colony of Liberia, 1830. Surveyed and compiled by J. Ashmun, engraved by J.H. Young, published by A. Finley. Collection of the Library of Congress. Visible is the capital of Liberia, named Monrovia for President Monroe, and Stockton Creek named for the Commodore. One can also make out the land belonging to Zolu Duma, also known as King Peter. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1632854338415-2HGENLB0N5W0WYYJ1H1W/King+Peter+%28cropped+and+adjusted%29+Hi+Res.jpeg Robert Field Stockton and the American Colonization Society - Make it stand out Stockton holding a pistol to King Peter’s head, from Thomas Curtis Clarke’s The mission of America...Compiled from official documents by Thomas C. Clarke. Philadelphia, S.C. Paul & Co., 1852. Collection of Yale University, Beinecke Rare Book and Manuscript Library. This scene was written as a heroic chapter in the first campaign biography of the Commodore, written by his cousin, “Captain Stockton...drawing one of his pistols, pointed at the head of the king, while raising his other hand to heaven, he solemnly appealed to the God in Heaven for protection...King Peter flinched before the calm courage of the white man...” The account is undoubtedly embellished and heavily imbued with the new rhetoric of manifest destiny—the belief that God blessed the growth and expansion of the nation. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/e29af8f1-ac03-46a7-b6d9-64876b75604e/RecordofACSmeeting.jpg Robert Field Stockton and the American Colonization Society - Proceedings of a meeting held at Princeton, New-Jersey, July 14, 1824 “To civilize this degenerate people [of Africa], to change their ignorance into knowledge, their horrible superstition into a right understanding of the Christian Religion, their treachery into good faith, and their slothfulness into industry, are among the results contemplated by the proposed Plan of the American Colonization Society.” —ROBERT FIELD STOCKTON, ADDRESSING THE NEW JERSEY COLONIZATION SOCIETY, JULY 14,1824 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/9cc1f6ac-d9c6-4068-8b23-a1c216fe57af/Commordore-Letter.jpg Robert Field Stockton and the American Colonization Society - Letter of Commodore Stockton on the Slavery Question, 1850. In 1850, in response to a letter from his friend Daniel Webster (1782–1852), Stockton published Letter of Commodore Stockton on the Slavery Question. In it, Stockton grapples with the nation's, and his own, contradictory views on slavery. Ultimately he blames the practice of US slavery on the British and God. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/3e6f2b69-cd38-44c4-aa47-010b2d0a5c11/i182475_002_pm_full.jpg Robert Field Stockton and the American Colonization Society - Cape Mesurado land contract, December 15, 1821. Courtesy of Chicago History Museum. The second page of the document (seen here) includes the signatures of Captain Robert F. Stockton and six leaders of Dei, Bassa, Vai, and Gola people. Click the source button below to see the full document. https://sale.morven.org/kate daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/517e53f9-16bc-49fc-af81-119201a35944/Ebenezer-Stockton-low-res.jpg Kate or Catharine child of Nancy - Make it stand out A page from the medical ledger of Dr. Ebenezer Stockton, 1804. Collection of the Historical Society of Princeton. This page shows that Dr. Ebenezer Stockton visited Morven on September 13th and 14th for the "delivery of Blackwoman." https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/ce323a98-6956-4438-a6cd-981cb2188c56/Copy-of-Catharine_Birth_cropped.jpg Kate or Catharine child of Nancy - Make it stand out Slave Birth Registration for Kate or Catharine child of Nancy, born September 14, 1804, registered March 5, 1805. Collection of the Somerset County Clerk’s Office. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/43ab2310-883c-4edb-b278-0e8b5ebc4df3/Copy-of-Cate_Freedom_cropped.jpg Kate or Catharine child of Nancy - Manumission Record for Cate, signed by Robert Field Stockton, July 21, 1829. Collection of the Somerset County Clerk’s Office. https://sale.morven.org/sampson daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/30030b1b-11ab-4c66-b88c-cc60919aa2d0/RunawaySlaveAd.png Sampson - Fugitive from Slavery Fugitive from Slavery Ad, published in The Federalist, September 29, 1806. Posted by Richard Stockton. Collection of the New Jersey State Library. https://sale.morven.org/betsey daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/ba44884d-3fb6-407b-8910-df9b006887bf/HayRidgeFarm.jpg Betsey Stockton - Make it stand out Hayridge Farm (later known as Constitution Hill), c. 1865. Collection of the Historical Society of Princeton. Betsey Stockton was born into slavery at Hayridge Farm. The farm was the property of Major Robert Stockton (1750–1805) who enslaved Betsey's mother. The identities of Betsey's parents are unknown, although sources indicate that her father was a white man. By 1816 Betsey was using the surname "Stockton." https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/afd5ffc6-9c8b-4432-b2e7-7c3846f40655/Betsey_Stockton.jpg Betsey Stockton - Betsey Stockton, c. 1863. Collection of Mission Houses Museum, Honolulu, Hawaii There has been extensive research about Betsey and her life, some of which can be found through the Princeton & Slavery Project linked below. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/fe8ff955-52ff-4338-988f-3e780c79c619/Elizabeth+Stockton.jpg Betsey Stockton - Elizabeth Stockton Green (Mrs. Ashbel Green), Unknown American artist, Oil on canvas. Princeton University Art Museum. Princeton University, gift (loan?) of Mr. Stockton Green https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/cfbc76b1-b011-4422-b191-ac95c861ce83/AshbelGreenFrame+%281%29.jpg Betsey Stockton - Ashbel Green, Class of 1783 (1762-1848) William Woollett, American, active 1819–1824, Oil on wood. Princeton University Art Museum. Princeton University, bequest of Mrs. Lewis A. Sayre https://sale.morven.org/exhibits/battle-monument daily 0.75 2026-03-04 https://sale.morven.org/online/hardenbergh daily 0.75 2023-06-30 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/25c8bd1b-1f3e-491c-8e79-17d85c8b8535/In-Natures-Realm-Header.jpg In Nature's Realm - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://sale.morven.org/striking-beauty-new-jersey-tall-case-clocks daily 0.75 2024-03-15 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1699998612057-I9W6UDZW4I1EWG5ZPQSG/Striking+Beauty+DSF3567.jpeg Striking Beauty: New Jersey Tall Case Clocks, 1730-1830 (Copy) https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1699998612244-TELCJC2ZTO453YIU0M7X/Striking+Beauty+DSF3768.jpeg Striking Beauty: New Jersey Tall Case Clocks, 1730-1830 (Copy) https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1699998758912-TQH0HIRG7Q462F9ZLMFH/Striking+Beauty+DSF3737.jpeg Striking Beauty: New Jersey Tall Case Clocks, 1730-1830 (Copy) https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/869b16a3-2c4e-4717-a1eb-915ba0e2f74a/Leslie+ad_cropped.jpg Striking Beauty: New Jersey Tall Case Clocks, 1730-1830 (Copy) - Make it stand out Advertisement placed by William J. Leslie (1769–1831), The True American, August 7, 1804. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/67f0dd81-be5c-4dac-88cc-35329c1247b4/_com.apple.Pasteboard.SbynZZ.PNG Striking Beauty: New Jersey Tall Case Clocks, 1730-1830 (Copy) - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1634822972268-ATQ7OA110BO8TPQ3L45I/Fulton%2BBank.jpeg Striking Beauty: New Jersey Tall Case Clocks, 1730-1830 (Copy) - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/31d5e13a-ced3-4ba6-957c-74416b845180/Baxter_crop.jpg Striking Beauty: New Jersey Tall Case Clocks, 1730-1830 (Copy) - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://sale.morven.org/online/ma-bell daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/01ff14c1-15c1-4785-85cc-190bb060c7e9/Ma_Bell_Selects_01_SM.jpg Ma Bell: Mother of Innovation - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/6756d9fd-282d-44cc-832e-dd92b2a6b779/Ma_Bell_DSF4913.jpeg Ma Bell: Mother of Innovation - ORIENTATION Alexander Graham Bell’s Invention and Introduction to the Bell System in New Jersey Click here to see gallery https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/b76f03c5-d16a-4707-aa4d-48abc494a434/Ma_Bell_Selects_06_alt_SM.jpg Ma Bell: Mother of Innovation - GALLERY 1 Early Days of the Telephone & Operators Click here to see gallery https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/4420fa02-6ab8-4de5-8942-573bdf1068db/Ma_Bell_Selects_09_SM.jpg Ma Bell: Mother of Innovation - GALLERY 2 Creating the Infrastructure of the Telephone Network Click here to see gallery https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/e514382c-9edf-4342-a100-548d16c5f5a1/Screenshot+2023-04-25+152559.jpg Ma Bell: Mother of Innovation - GALLERY 3 Wireless Communication Click here to see gallery https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/aee3c6e9-db51-4452-9375-61b295f225ff/Ma_Bell_Selects_19_SM.jpg Ma Bell: Mother of Innovation - GALLERY 4 Innovations at Bell Telephone Laboratories Click here to see gallery https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/a5f95f83-1012-4de6-863b-dd9157bdf06c/Ma_Bell_Selects_22_SM.jpg Ma Bell: Mother of Innovation - GALLERY 5 Entering the Space Age and Pioneering in the Digital Age Click here to see gallery https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/68a86760-5503-4df1-af2a-74f1d44edf64/P1020599.jpg Ma Bell: Mother of Innovation - FIRST FLOOR GALLERIES Click here to see the telephones featured in Morven’s Permanent exhibition https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/006aa1e6-4525-49a3-b451-3f3e640655c0/IMG_8001.jpg Ma Bell: Mother of Innovation - MA BELL MEMORIES Click here to see the memories about Bell Labs shared by guests. https://sale.morven.org/online/ma-bell/gallery1 daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1693268840999-TPPKFC90U4PNCRP6VUDR/Ma_Bell_Selects_05.jpg Gallery 1 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1693268870982-H5S9JGEWRYYA9SCHKQPJ/Ma_Bell_Selects_06_alt_SM.jpg Gallery 1 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1693268837224-RIDSC6Z77KENAVLSKCY7/IMG_6152.JPG Gallery 1 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1693268883644-2SK6S2UXLST13QHN072P/Ma_Bell_Selects_08_SM.jpg Gallery 1 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/6641ba55-cba4-408a-a1e1-76e0e2c4ebe5/Screenshot+2023-08-18+151541.jpg Gallery 1 - Make it stand out Three Branches of the Bell System https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683044572745-Y9K7RIYM6X92XOGF9ECD/%5B1898+Jan%5D+Newark+Telephone+Company+Telephone+Subscribers+General+Instructions+and+telephone+rates%28134-03-03-01%29.jpg Gallery 1 - Make it stand out Interior of Newark Telephone Company Directory, 1898 with dialing instructions and toll rates. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683047307109-HX0BG87DDTT1AGDSYMS9/%5B1930%5D+Switchboard+operators+and+supervisors%2C+Rockaway%2C+NJ+%28W801D%29.jpg Gallery 1 - Make it stand out Switchboard Operators and Supervisors, Rockaway, NJ, 1930s. Collection of AT&T Archives and History Center. https://sale.morven.org/online/ma-bell/gallery2 daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694201663124-K9OGD006HO157C104Q0K/Ma_Bell_Selects_09_SM.jpg Gallery 2 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694201622460-PAVV5E30N4T0A4IA2HFD/Ma_Bell_Selects_12_SM.jpg Gallery 2 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694201606783-IAMOD73EHB7MHKCDS200/Ma_Bell_Selects_13.jpg Gallery 2 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694201642518-KXKEEP7I6ZE640FXQI1R/Ma_Bell_Selects_11_SM.jpg Gallery 2 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694201652219-2AU45SGKYYAO8L03R059/Ma_Bell_Selects_10_SM.jpg Gallery 2 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/5c68b3ee-e109-45db-b6c1-7568bda36258/Screenshot+2023-08-18+153845.jpg Gallery 2 - Make it stand out Quote by Thomas Watson on May 18, 1915. “I have noticed that one’s mental attitude towards a phenomenon changes as the novelty wears off. The new effect does not seem so wonderful after a few repetitions.” https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683049069788-X7P71EME54TDOM5QPDY9/%5B1892+Dec+1%5D+American+Telephone+and+Telegraph+Long+Distance+map.jpg Gallery 2 - Make it stand out Lines and Metallic Circuit Connections. Long Distance Map / Chart, 1892. American Telephone and Telegraph Co. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683052157857-YCEWV6X6GZTEM2LBZAKR/Screenshot+2023-05-02+142449.jpg Gallery 2 - Make it stand out The Lineman Bell Telephone System Advertisement, 1948. Norman Rockwell (1894–1978). https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683053449740-I0NI2086SFWBCTJXPJSH/%5B1931+Mar+2%5D+General+view+of+Chester%2C+NJ+%28CS-547%29.jpg Gallery 2 - Make it stand out View of Chester Telephone Pole Farm taken from a camera mounted on a telephone pole, 1931. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/8279ea7c-f481-41cc-9b86-0f76631c5824/Screenshot+2023-08-18+153956.jpg Gallery 2 - Make it stand out Map of Western Electric Locations. https://sale.morven.org/online/ma-bell/gallery3 daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694202184603-TR950XIH8YPTO8G1H16Q/Ma_Bell_Selects_14_SM.jpg Gallery 3 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694202193818-8G3C6V3Q0FZXV67HS1KY/Ma_Bell_Selects_15_SM.jpg Gallery 3 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694202202132-9TLC5K4E8UZDX1PA5JG7/Ma_Bell_Selects_16_SM.jpg Gallery 3 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694202212352-UYF0AZE4Y7VK2EL9VG4X/Ma_Bell_Selects_17_SM.jpg Gallery 3 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694202263302-07LC739MGB39SLSKB7LP/Ma_Bell_Selects_18_SM.jpg Gallery 3 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683735368573-OQ3APPOTVRUGZBEQX8MZ/%5B1923%5D+Bell+System+Technical+Journal_Radio+Extension+to+Ships+at+Sea.jpg Gallery 3 - Make it stand out Radio Extension to Ships at Sea from Deal, NJ, 1923, Bell System Technical Journal. Collection of Prelinger Library in San Francisco, CA. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683736125253-1KNTITCHKHS04GB7BT0G/%5B1917%5D+Aviation+radio+test+%28W444%29.jpg Gallery 3 - Make it stand out Aviation radio test, probably Hadley Field, South Plainfield, NJ, 1917. Morris Rosenfeld, photographer. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683738202390-61A4Y4026W27HB7EUZE6/%5B1927+Apr+2%5D+Sketch+of+Television+demonstration+%2886-303162%29.jpg Gallery 3 - Make it stand out Sketch of television demonstration, 1927. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683738866628-OFTQN2RSSHLU7RSX5SVR/%5B1930+ca.%5D+Jansky+with+Rotating+Antenna+%2889-13863%29.JPG Gallery 3 - Make it stand out Karl Jansky with Rotating Antenna in Holmdel, 1930. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/cc24c7fe-755f-4df2-ada7-a7805a0027df/%5B1935%5D+Transmission+antennas+at+Lawrenceville+w3036A.jpg Gallery 3 - Make it stand out Photograph of Transmitter Building 1 with Sterba antennas and the first rhombic antenna, 1935. Collection of AT&T Archives and History Center. https://sale.morven.org/online/ma-bell/gallery4 daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694203027906-ION08P6FZ8URSO23SBC1/Ma_Bell_Selects_19_SM.jpg Gallery 4 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694203041564-3I9HJ9V5T63A5K30N1A6/Ma_Bell_Selects_20_SM.jpg Gallery 4 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694203047156-XUW0A88Q2D4GMJU7MTKE/Ma_Bell_Selects_21.jpg Gallery 4 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694203068969-M57X65DKECRVNB0826KP/IMG_7574.JPG Gallery 4 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683742205994-4TPXEM9AAV4FHXAIG1I3/%5B1949%5D+Murray+Hill%2C+NJ+--+Aerial+View+%2888-200474%29.jpg Gallery 4 - Make it stand out Bell Laboratories, Murray Hill, New Jersey, 1949. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683743571053-70ZCDSMH7HPUCKYMRK5Z/belltelephoneaddec1942-e1335390712354.jpg Gallery 4 - Make it stand out “War Needs the Wires This Christmas,” 1942. Bell Telephone System. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1683744485149-IEO9GKMZCPXSO74GTQNF/%5B1944+Aug+2%5D+Women%27s+Softball+at+Whippany+NJ+%28A1632%29.jpg Gallery 4 - Make it stand out Women’s Softball team at Whippany, 1944. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/6d5151ff-45ef-4df8-836c-4915cd17d564/Clyde+Bethea+with+laser.jpg Gallery 4 - Make it stand out Clyde Bethea with his tunable organic dye laser system, 1978. Image Courtesy of the Bethea Family. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/10a92d5e-ab8c-4bf1-a1fe-2db44ea48fb7/%5B1954%5DUsing+Solar+Cells+to+Power+a+radio+tranmitter+%2886-301770%29.jpg Gallery 4 - Make it stand out The first silicon photovoltaic device demonstrated by engineer D.E. Thomas, 1954. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686162391303-OT0SW6QUQ66BFP4EV268/P1020476.jpg Gallery 4 - Make it stand out Replica of the first transistor. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686162084973-8VBN6D5SBMWD9MW5EN5K/%5B1948%5D+Transistor+Inventors+--+Shockley%2C+Bardeen+and+Brattain+%2886-301665%29.jpg Gallery 4 - Make it stand out Transistor Inventors William Shockley, John Bardeen, and Walter Brattain, 1948 . Collection of AT&T Archives & History Center. https://sale.morven.org/online/ma-bell/gallery5 daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694203729967-Y708R2R5K6VVGRLRB84A/Ma_Bell_Selects_22_SM.jpg Gallery 5 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694203677944-DX2AVZLJVH3NLXNATYO7/IMG_7576.jpg Gallery 5 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694203738417-7NK7OT7MTHXPHMQSV4KJ/Ma_Bell_Selects_24_SM.jpg Gallery 5 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694203667272-SXRS57XEUKZPDIS6969W/IMG_6086.JPG Gallery 5 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694203694898-KEKPNOPM1X7PECS753TM/IMG_7636.JPG Gallery 5 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694203790703-1TUKTJU09I5O8QE45T6O/Ma_Bell_Selects_26.jpg Gallery 5 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1694203806232-3IY07B73LT772NQYAJT9/Ma_Bell_Selects_27_SM.jpg Gallery 5 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1686164662585-DD7FDK01HSUC4XPYWZIX/%5B1960%5D+Satellite+Dish+%26+Horn+Antenna+at+Holmdel%2C+NJ+%5Ba%5D.jpg Gallery 5 - Make it stand out Horn Antenna and Satellite Dish, Holmdel, 1960. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690491073332-9B7KIXANE4A01O9ZM697/%5B1958%5D+Eero+Saarinen.jpg Gallery 5 - Make it stand out Eero Saarinen in one of his tulip chairs, c. 1958. Aline Saarinen Collection, Archives of American Art, Smithsonian Institution, Washington, D.C. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690491807919-GWEV0YXT9JB948VQOMJI/%5B1959%5D+ECHO+Horn+Antenna.jpg Gallery 5 - Make it stand out Penzias and Wilson on the Horn Antenna, c. 1962. Image Courtesy of NASA. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690493763860-8Q4LP94ILFE3TXD63PZT/P1020508.JPG Gallery 5 - Make it stand out Inner Section of SL Fiber Optic Undersea Cable. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690494610542-JFO157X5IHT9H3L7AJEF/Copy%2Bof%2BCooperative%2BResearch%2BFellowship%2BProgram%2B20th%2BReunion%2B1992.jpg Gallery 5 - Make it stand out Cooperative Research Fellowship Program 20th Reunion, 1992. Image Courtesy of the Family of Dr. Sidney Millman. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690497165368-ARLMD2XTTZB2PC2N44L4/%5B1969%5D+Metroliner+Mobile+Phone+Service+%2889-12998%29.JPG Gallery 5 - Make it stand out Metroliner Mobile Phone Service, 1969. Collection of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1690499045008-BGCTUNLJICMN4DP9YE8O/Screen+Shot+2016-10-24+at+2.21.23+PM.png Gallery 5 - Make it stand out After the divestiture, 2015. Image Courtesy of Wall Street Journal. https://sale.morven.org/striking-beauty-john-nicholl daily 0.75 2023-09-12 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/682cf105-10e8-423f-ad83-a99a5bcb7796/Nicholl+clock.jpg Individual Clockmaker - Make it stand out John Nicholl (1784-1862), Belvidere. Tall Case Clock, Mahogany, c. 1825. Inscribed on the dial: “Jno Nicholl / Belvedere / W,C,” Dial possibly by William Jones, Pennsylvania. Collection of The Newark Museum of Art, gift of James Carlile Paul, 1965. Executed with high grain crotch Mahogany panels and veneers. The waist door is flanked by spiral turned quarter columns with Tiger Maple capitals. Irish panel below the door. The base with recessed panel continues to a shaped apron with “cupid’s bow” all on straight French feet. Eight day brass striking movement with four hands off the center shaft: sweep seconds, calendar, minute, hour. American painted iron dial with unmarked, thin iron false plate. The dial with gilt decorated calendar track and geometric fan decorated spandrels. 93” tall. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1691765515408-JF8NOAG9GI485NBJYDH4/nicholl+tall+clock.jpg Individual Clockmaker - Tall Case Clock https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1691765459247-0GDGKGEO5EMFXGJQ3CUQ/nicholl+face.jpg Individual Clockmaker - Detail of Dial https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692376845991-RNP8O14J72J64RPUDI2L/nicholl%2Bmoon%2Bdial.jpg Individual Clockmaker https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692378274710-XSTDIB4ABPS6BX3OHFZU/Dial+2.jpeg Individual Clockmaker https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692378418251-SWF3YZBCRJ0C5MEHICXX/Dial+3.jpeg Individual Clockmaker https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1691765460695-VCN2U7GPNG6NID4PX4P3/nicholl+works.jpg Individual Clockmaker - Detail of Works https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1693428919853-XKEGR5TTCU30KWN89H0C/The+Belvidere+Apollo+3.22.1825.jpg Individual Clockmaker - 1825 Advertisement In the Belvidere Apollo on March 17, 1825. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1693427118197-DWY8V6ZDUH7QT69NN94U/Nicholl+Add_June+1825.jpg Individual Clockmaker - 1825 Advertisement In the Belvidere Apollo on June 14, 1825. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1693427434959-V937NUN5NK7W1ND6MXF4/Nicholl+Ad_June+1826.jpg Individual Clockmaker - 1826 Advertisement In the Belvidere Apollo on June 13, 1826. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1693427667243-1NFMBKK19DWWWVFVC1L8/Nicholl+Ad_Nov+1829.jpg Individual Clockmaker - 1829 Advertisement In the Belvidere Apollo and Warren Patriot on November 3, 1829. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692379354758-Y7JVYF8YBQGWI5QRGRHE/John+Nicholl+Ad+.jpg Individual Clockmaker - 1849 Advertisement Just above Nicholl’s advertiserment is another for New Jersey clockmaker A. Miller. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692379145827-7M1UFKV8U4QPB0LJU35C/John+Nicholl+1860+Census.jpeg Individual Clockmaker - 1860 Census for Belvidere, NJ At entry #72, John Nicholas [sic] is listed as a Watchmaker from Ireland, along with his wife Eliza and four of their daughters. https://sale.morven.org/online/ma-bell/orientation daily 0.75 2026-03-04 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/c54423cd-ded7-4b2e-a364-fd478e9480de/Screenshot+2023-08-18+145831.jpg Orientation Gallery - Make it stand out “Although there is a great field for the telephone in the immediate present, I believe there is still greater in the future.” -Alexander Graham Bell, 1878 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/63b18ae1-77fe-42a5-a33e-8223a508a61f/Screenshot+2023-08-18+150157.jpg Orientation Gallery - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1692043311249-3NU7P6LHWIO1QUYYB9UB/%5B1876+March+10%5D+Bell+and+Watson-First+Sentence+transmitted+by+Telephone+painting+%28H-1x17%29.jpg Orientation Gallery - Make it stand out Alexander Graham Bell, Thomas Watson and the invention of the telephone. Part of Series “Three Great Events in Telephone History,” 1944. George Rapp, painter commissioned by Western Electric. Courtesy of AT&T Archives and History Center. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/16a5ee08-d77c-4f51-9397-28bf289be23e/Screenshot+2023-08-14+132332.jpg Orientation Gallery - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://sale.morven.org/morven-revealed daily 0.75 2025-01-15 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/c4e133f0-41ba-459e-b7bd-77a6c1193ff9/morven-revealed-hero.jpg Morven Revealed: Untold Stories from New Jersey’s Most Historic Home - Make it stand out Morven, 1959. Dudley Morris (1912–1966). Oil on canvas. Morven Collection. Gift in memory of Bayard Stockton III by his children and grandchildren. https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1735253023376-9KBIT7RE5IH2CZTS0FRF/Morven+Revealed+DSF3266.jpg Morven Revealed: Untold Stories from New Jersey’s Most Historic Home https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1736964167366-3P8OAMYXEUSFZ2NT37R4/Morven+Revealed+DSF3165.jpg Morven Revealed: Untold Stories from New Jersey’s Most Historic Home https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1735253026942-IMCB87UH2AI7P9PPT63O/Morven+Revealed+DSF3328.jpg Morven Revealed: Untold Stories from New Jersey’s Most Historic Home https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1735253028088-6L57JUUKG4DPA1E5XB8A/Morven+Revealed+DSF3443-Edit.jpg Morven Revealed: Untold Stories from New Jersey’s Most Historic Home https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/1735253033147-2SAXQXBLH7M61CESBM9S/Morven+Revealed+DSF3464.jpg Morven Revealed: Untold Stories from New Jersey’s Most Historic Home https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/25823938-aaa6-4510-8572-7a4d34474d3e/morven-revealed-sponsors.png Morven Revealed: Untold Stories from New Jersey’s Most Historic Home - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://sale.morven.org/plantsale daily 1.0 2026-04-14 https://images.squarespace-cdn.com/content/v1/5a05f50f12abd9831a579618/cb3fb596-e208-4db1-9ed8-454418a53da0/image2.jpg Plant Sale Home - Make it stand out Whatever it is, the way you tell your story online can make all the difference.