Currier & Ives Tempting fruit

TITLE: Tempting fruit CALL NUMBER: PGA - Currier & Ives--Tempting fruit (A size) [P&P] REPRODUCTION NUMBER: LC-USZ62-10388 (b&w film copy neg.) No known restrictions on publication.

Digital ID: cph 3a12810 Source: b&w film copy neg. Reproduction Number: LC-USZ62-10388 (b&w film copy neg.) Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. Retrieve uncompressed archival TIFF version (1,550 kilobytes)

MEDIUM: 1 print : lithograph. CREATED, PUBLISHED: New York : Published by Currier & Ives, c1875. CREATOR: Currier & Ives. NOTES: Currier & Ives : a catalogue raisonné / compiled by Gale Research. Detroit, MI : Gale Research, c1983, no. 6450

FORMAT: Lithographs 1870-1880. REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA DIGITAL ID: (b&w film copy neg.) cph 3a12810 hdl.loc.gov/cph.3a12810, CARD #: 2002695797

Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-USZ62-10388]

MARC Record Line 540 - No known restrictions on publication.

The depiction of inanimate objects is called "still life." Common subjects include flowers and fruit, tableware, books and newspapers, and musical instruments. The function of a still life may be straightforward representation, or the artist may intend to convey a more subtle, moral message.

Traditionally, still lifes and still-life elements of larger compositions have complex iconographical significance. For example, the presence of books, maps, or writing materials in portraiture refers to the sitter's knowledge and education. Cut flowers, a snuffed-out candle, or signs of decay in fruit and other food represent the transience of life and are meant to remind viewers of their own mortality. National Gallery of Art, Themes in American Art: Still Life

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Currier & Ives the Great West

TITLE: The great west. CALL NUMBER: PGA - Currier & Ives--Great west (A size) [P&P] REPRODUCTION NUMBER: LC-USZC2-2538 (color film copy slide) No known restrictions on publication.

Digital ID: cph 3b50412 Source: color film copy slide Reproduction Number: LC-USZC2-2538 (color film copy slide) Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA Retrieve High Resolution Image (50K)

MEDIUM: 1 print : lithograph. CREATED/PUBLISHED: New York : Published by Currier & Ives, c1870. CREATOR: Currier & Ives. NOTES: Currier & Ives : a catalogue raisonné / compiled by Gale Research. Detroit, MI : Gale Research, c1983, no. 2879

FORMAT: Lithographs 1870. REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. DIGITAL ID: (color film copy slide) cph 3b50412 hdl.loc.gov/cph.3b50412 , CARD #: 2002695812

Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-USZC2-2538]

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American Old West From Wikipedia, the free encyclopedia

The American Old West is comprised of the myths, legends, stories, and beliefs that collected around the Western United States from 1865 to 1890. Most often the term refers to the late 19th century, between the American Civil War and the 1890 closing of the frontier. Terms Old West and Wild West refer to life beyond the settled frontier.

While this terminology could logically place the setting as far back as the American colonial period, it is usually meant to signify the area from the "Frontier Strip" (i.e., the six U.S. states from North Dakota south to Texas) west to the Pacific Ocean. Sometimes the tier of states just east of the Frontier strip (Minnesota to Louisiana) are also seen as the "Wild West" because of their stance as gateways.

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article, American Old West

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Currier & Ives Native American Hiawatha's departure

TITLE: Hiawatha's departure, CALL NUMBER: PGA - Currier & Ives--Hiawatha's departure (B size) [P&P] REPRODUCTION NUMBER: LC-USZ62-5300 (b&w film copy neg.) No known restrictions on publication.

Digital ID: cph 3a08611 Source: b&w film copy neg. Reproduction Number: LC-USZ62-5300 (b&w film copy neg.) Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA Retrieve High Resolution Image (77K)

MEDIUM: 1 print : lithograph. CREATED, PUBLISHED: New York : Published by Currier & Ives, c1868. CREATOR: Currier & Ives.

NOTES: Currier & Ives : a catalogue raisonné / compiled by Gale Research. Detroit, MI : Gale Research, c1983, no. 3034

FORMAT: Lithographs 1860-1870. REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. DIGITAL ID: (b&w film copy neg.) cph 3a08611 hdl.loc.gov/cph.3a08611 , CARD #: 2002695863

Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-USZ62-5300]

MARC Record Line 540 - No known restrictions on publication.

Hiawatha From Wikipedia, the free encyclopedia

Hiawatha (also known as Ayenwatha or Ha-yo-went'-ha; Onondaga Hayę́hwàtha)[1] who lived (depending on the version of the story) in the 1100s, 1400s, or 1500s, was variously a leader of the Onondaga and Mohawk nations of Native Americans. Hiawatha was a follower of The Great Peacemaker, a prophet and spirtual leader who was credited as the founder of the Iroquois confederacy, (referred to as Haudenosaunee by the people).

If The Great Peacemaker was the man of ideas, Hiawatha was the politician who actually put the plan into practice. Hiawatha was a skilled and charismatic orator, and was instrumental in persuading the Iroquois peoples, the Senecas, Onondagas, Oneidas, Cayugas, and Mohawks, a group of Native North Americans who shared similar languages, to accept The Great Peacemaker's vision and band together to become the Five Nations of the Iroquois confederacy. (Later, in 1721, the Tuscarora nation joined the Iroquois confederacy, and they became the Six Nations).

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article, Hiawatha

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Currier & Ives Fruit Bowl Still Life

TITLE: An inviting dish CALL NUMBER: PGA - Currier & Ives--Inviting dish (A size) [P&P] REPRODUCTION NUMBER: LC-USZC2-2665 (color film copy slide), No known restrictions on publication.

Digital ID: cph 3b50539 Source: color film copy slide Reproduction Number: LC-USZC2-2665 (color film copy slide) Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA Retrieve High Resolution Image (52k)

MEDIUM: 1 print : lithograph. CREATED, PUBLISHED: New York : Published by Currier & Ives, c1870. CREATOR: Currier & Ives.

NOTES: Currier & Ives : a catalogue raisonné / compiled by Gale Research. Detroit, MI : Gale Research, c1983, no. 3365, FORMAT: Lithographs 1870.

REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. DIGITAL ID: (color film copy slide) cph 3b50539, hdl.loc.gov/cph.3b50539, CARD #: 2002699727

Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-USZC2-2665]

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Still life From Wikipedia, the free encyclopedia

A still life is a work of art depicting inanimate subject matter, typically commonplace objects which may be either natural (food, plants and natural substances like rocks) or man-made (drinking glasses, cigarettes, pipes, hotdogs and so on). Popular in Western art since the 17th century, still life paintings give the artist more leeway in the arrangement of design elements within a composition than do paintings of other types of subjects such as landscape or portraiture.

Still life paintings often adorn the walls of ancient Egyptian tombs. It was believed that the foodstuffs and other items depicted there would, in the afterlife, become real and available for use by the deceased. Similar paintings, more simply decorative in intent, have also been found in the Roman frescoes unearthed at Pompeii and Herculaneum. The popular appreciation of still life painting as a demonstration of the artist's skill is related in the ancient Greek legend of Zeuxis and Parrhasius.

Through the Middle Ages and the Renaissance, still life in Western art was mainly used as an adjunct to Christian religious subjects. This was particularly true in the work of Northern European artists, whose fascination with highly detailed optical realism and disguised symbolism led them to lavish great attention on the meanings of various props and settings within their paintings' overall message. Painters such as Jan van Eyck often used still life elements as part of an iconographic program.

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article, Still life

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Currier & Ives Woodcock

TITLE: Woodcock. CALL NUMBER: PGA - Currier & Ives--Woodcock (A size) [P&P] REPRODUCTION NUMBER: LC-USZ62-33175 (b&w film copy neg.) No known restrictions on publication.

Digital ID: cph 3a33687 Source: b&w film copy neg. Reproduction Number: LC-USZ62-33175 (b&w film copy neg.) Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA Retrieve uncompressed archival TIFF version (1,692 kilobytes)

MEDIUM: 1 print : lithograph. CREATED, PUBLISHED: New York : Published by Currier & Ives, c1871. CREATOR: Currier & Ives.

NOTES: Currier & Ives : a catalogue raisonné / compiled by Gale Research. Detroit, MI : Gale Research, c1983, no. 7318. FORMAT: Lithographs 1870-1880.

REPOSITORY: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA

DIGITAL ID: (b&w film copy neg.) cph 3a33687 hdl.loc.gov/cph.3a33687 CARD #: 2002698857

Credit Line: Library of Congress, Prints & Photographs Division, [reproduction number, LC-USZ62-33175]

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Woodcock From Wikipedia, the free encyclopedia

The woodcocks are a group of seven extant very similar wading bird species in the genus Scolopax, characterised by a long slender bill and cryptic brown and blackish plumage. Only two woodcocks are widespread, the others being localised island species. Their closest relatives are the typical snipes of the genus Gallinago (Thomas et al., 2004).

These are woodland birds which feed at night or in the evenings, searching for invertebrates in soft ground with their long bills. Unlike in most birds the tip of the upper mandible is flexible.[1] This habit and their unobtrusive plumage makes it difficult to see them when they are resting in the day. Woodcocks are seen as a very timid and frail species because they rarely ever make any appearances and they can be frightened easily.

Most have distinctive displays, usually given at dawn or dusk. These are birds with stocky bodies and long bills. They have eyes set on the sides of their heads, which gives them almost 360° vision.

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article, Woodcock

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