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"Hava Coke" weave silk suiting

National Museum of American History
Silk suiting; "Hava Coke" weave. A fabric resembling barathea, having a silk warp with a mixed silk and cotton novelty yarn filling (weft.). Originated by John G. bentley for men's wear. Color: natural (unbleached, undyed)

The finer silk warp yarns are paired, with the weft yarn (silk twisted with cotton) giving a pebbled texture - not quite a pronounced basket weave. The use of cotton in the filling suggests that this fabric was less expensive than the company's other silk suitings. The tradename, "Hava Coke", suggests that it might have been targeted to young men - perhaps high school and college age.

"Havana" dress silk; Mallinson's Playgrounds of the World series

National Museum of American History
A length of H.R. Mallinson's printed novelty dress silk, trade name "Vagabond crepe." This crepe weave fabric was woven with silk warp and doupioni in the weft or filling (rough, irregular silk yarn reeled from double cocoons). The printed design is a "Jazz Age" angular or rayed allover pattern illustrating the people, places, and activities in Havana, Cuba: sailboats, horse-racing, palm trees, nightclubs, etc.. It is one of Mallinson "Playgrounds of the World" series from 1928. The print colors are red, black, brown, and gold on a white ground. Selvage inscription.reads Mallinson Silks Deluxe Playgrounds of the World Havana. Company numbers: 523/2632. Colorway # 16.

"Havana" dress silk; Mallinson's Playgrounds of the World series

National Museum of American History
A sample length of H.R. Mallinson & Co.'s trade name Indestructible Chiffon Voile fabric--printed with an allover design of palm trees,and scnese of horse racing, beach-going, sailing, etc. Company pattern/quality numbers: 1800/2632. Colorway # 14. One of the "Playgrounds of the World" series titled "Havana" in a cool-toned colorway of blues, with accents of tile red, gold, black and white. The company also donated a length of the same design on Vagabond Crepe in a warm-toned colorway on a white ground (T05741)

"Have You The Best?"

National Museum of American History

"Hawaiian Costume" n.d. Lithograph

National Anthropological Archives
Ink and on paper lithograph

Illustration for Lahaina Luna Depicting Woman and Man in Costume, Back View

"Hawaiian Luau" Pineapple Cutter

National Museum of American History

"Hawaiian Luau" Pineapple Cutter Box

National Museum of American History

"Hawina-Witl" 1895 Drawing

National Anthropological Archives
Published: Boaz, Franz; "The Social Organization & Secret Societies Of The Kwakiutl Indians; USNM-AR 1895, Wash, 1897; Pl 40

Colored pencil on paper drawing on paper mount

Scene from Side of Bedroom Wall

"Hayne Hudjihini or The Eagle of Delight"

National Anthropological Archives
For photographer and date of copying, cf. old file print in NAA files.

Copied from Thomas L. McKenney & James Hall, The Indian Tribes of North America, 1836-44 and subsequent editions.

Black and white copy negative

Published lithograph executed after oil painting painted fron life by Charles Bird King, 1821 (see Negative Number 3844-B).

"Haz el amor con un Condon" button

National Museum of American History
Round red button with "Haz el amor on un Condon" in white writing.

From the first LGBT pride march in Austin, Texas, in June 1995. The Spanish phrase “Haz el amor con un Condon” translates to “make love with a condom.” Buttons like this one were used to raise awareness and reduce the spread of sexually-transmitted illnesses like HIV.

"He Came from Milwaukee"

National Portrait Gallery

"He Got What He Wanted" mutoscope movie poster

National Museum of American History
Green posterboard with painted advertisement for mutoscope motion picture "He Got What He Wanted." The poster includes two attached photographs depicting action from the movie - a man stealing a kiss from a woman who rejects his advances. Mutoscope posters commonly offered glimpses of the romantic climax of the films they advertised.

The Mutoscope Collection in the National Museum of American History’s Photographic History Collection is among the most significant of its kind in any museum. Composed of 3 cameras, 13 viewers, 59 movie reels and 53 movie posters, the collection documents the early years of the most successful and influential motion picture company of the industry’s formative period. It also showcases a unique style of movie exhibition that outlasted its early competitors, existing well into the 20th century.

The American Mutoscope Company was founded in 1895 by a group of four men, Elias Koopman, Herman Casler, Henry Marvin and William Kennedy Laurie Dickson, to manufacture a motion picture viewer called the mutoscope and to produce films for exhibition. Dickson had recently left the employ of Thomas Edison, for whom he had solved the problem of “doing for the eye what the phonograph does for the ear” by inventing the modern motion picture. Casler and Dickson worked together to perfect the mutoscope, which exhibited films transferred to a series of cards mounted in the style of a flip book on a metal core, and avoided Edison’s patents with this slightly different style of exhibition. The company’s headquarters in New York City featured a rooftop studio on a turntable to ensure favorable illumination, and the short subjects made here found such success that by 1897, the Edison company’s dominance of the industry was in danger. American Mutoscope became American Mutoscope & Biograph in 1899, when the namesake projector, invented by Casler, became the most used in the industry.

Mutoscope viewers were found in many amusement areas and arcades until at least the 1960s. Their inexpensiveness and short, often comical or sensational subjects allowed the machines a far longer life than the competing Edison Kinetoscope. The company also found success in its production and projection of motion pictures, though its activity was mired by patent litigation involving Thomas Edison through the 1910s. The notable director D. W. Griffith was first hired as an actor, working with pioneering cinematographer G. W. “Billy” Bitzer, before moving behind the camera at Biograph and making 450 films for the company.

Griffith and Bitzer invented cinematographic techniques like the fade-out and iris shot, made the first film in Hollywood and launched the careers of early stars Mary Pickford and Lillian Gish. The company, simply renamed the Biograph Company in 1909, went out of business in 1928 after losing Griffith and facing a changing movie industry.

The Museum’s collection was acquired in the years between 1926 and the mid-1970s. The original mutograph camera and two later models of the camera were given to the Smithsonian in 1926 by the International Mutoscope Reel Company, which inherited Biograph’s mutoscope works and continued making the viewers and reels through the 1940s. The viewers, reels and posters in the collection were acquired for exhibition in the National Museum of American History, and were later accessioned as objects in the Photographic History Collection. Many of the mutoscope reels in the collection date to the period from 1896-1905, and show early motion picture subjects, some of which were thought to be lost films before their examination in 2008.

"He is the image of you"

Cooper Hewitt, Smithsonian Design Museum
A young man and woman are seated on the floor of an attic. The man looks over her shoulder at a book in her lap.

"He's the Guy from Sigma-Chi"

National Museum of American History
This sheet music is for the song “He’s the Guy from Sigma-Chi,” by William A. Dillon, S. Hubbard Ayer and Henry Tobias. It was published by Tobey Music Corporation in New York, New York in 1955.

"Head Dress" Copyright 19 NOV 1908

National Anthropological Archives
Portrait of man, possibly Atsina or Sihasapa Indian.

"Head carved from florespar"

National Anthropological Archives
The artifact was found in a mound near Commerce (?), Missouri. It was from the archaeological collection of George Mepham of St. Louis.

"Healing" (?) Water-Bottle

NMNH - Anthropology Dept.

"Healing" Water Bottle Pottery

NMNH - Anthropology Dept.
LEDGER SAYS SENT TO UNIVERSITY OF PUERTO RICO, RIO PIEDRAS, 1928.
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