Journeying West: Distinctive Firearms from the Smithsonian Institution

By Ashley Lynn Hlebinsky
The Smithsonian’s National Museum of American History recently loaned 64 firearms from the National Firearms Collection to the Buffalo Bill Center of the West, a Smithsonian Affiliate, in Cody Wyoming for a special display. This loan is the culmination of the efforts of many individuals from the east and west. Without the vision of Cody Firearms Museum Curator, Warren Newman, and the dedication of NMAH Associate Curator of firearms, David Miller, and the team at Smithsonian Affiliations, this exhibition might not have occurred.

Miquelet Lock Musket given to President Thomas Jefferson in 1805. Photo Courtesy of the Smithsonian Institution, National Museum of American History, Washington, DC.

Over the past two years, I have worked as the liaison between the two organizations, selecting firearms, writing text panels and labels, and aiding Newman with the design of the overall exhibition. Among these artifacts are numerous patent models documenting innovations in the field, international imagination, and historic distinction.

Included in this exhibition is a seven-foot-long gold Miquelet lock musket that was given to President Thomas Jefferson in 1805 by the Bey of Tunisia after the Tripolitan Wars. Another selected firearm is an embellished Jaeger rifle that belonged to Catherine the Great of Russia (1729 – 1796). A velvet cheek piece added to this firearm ensured her comfort while shooting.  

Jaeger Rifle owned by Empress Catherine the Great of Russia. Photo Courtesy of the Smithsonian Institution, National Museum of American History, Washington, DC

This loan joins the Smithsonian Institution and the Buffalo Bill Center of the West together in an exhibition opening on May 4, 2013 titled Journeying West: Distinctive Firearms from the Smithsonian Institution. It has been an honor to be a part of this project, which brought a part of the Smithsonian Institution to a new audience.


Hlebinsky has been working as a firearms researcher and assistant between the National Museum of American History and the Cody Firearms Museum for the past few years. She is also completing her Masters Degree in American History and Museum Studies at the University of Delaware this May 2013.

For more information on this exhibition please visit the Buffalo Bill Center of the West's webpage.

Vineland's Closet

While driving through the farm fields and small towns along Route 40 in Southern New Jersey last January, my pulse raced with excitement in anticipation of what we might find in the costume collection of the Vineland Historical and Antiquarian Society (VHAS) in Vineland, New Jersey. Charles K. Landis founded Vineland in the early 1860s as a utopian community, and residents established its historical and antiquarian society complete with a purpose-built structure soon thereafter.

Vineland Historical and Antiquarian Society entrance (Photo, UD Museum Studies)

Since the 1860s, VHAS has served as the community’s chief repository for its material and intellectual history including an extensive local glass collection, an unpublished utopian novel, personal items owned by Landis and another early VHAS booster, Frank D. Andrews, and more. Who wouldn’t be excited about working at such an institution for two weeks?

Upon my arrival at VHAS, I sat and listened eagerly to UD Museum Studies director Prof. Katherine Grier and VHAS’s curator Patricia Martinelli as they explained the “SWAT Inventory” project’s plan of attack. Some of my colleagues would be working on inventorying over 4,500 books, and others would be creating a curatorial workroom. Additional projects included inventorying the contents of the Andrews Room, assessing light levels and pest presence, and much more. I had the pleasure of coordinating the costume inventory and cataloguing project. And so while one half of my consciousness listened while Prof. Grier and Ms. Martinelli told us where to find pencils and brass safety pins and how to locate the restroom, the other half speculated about the nature of the treasures that might be waiting for us in the storage rooms.

The VHAS costume collection was not shrouded in total mystery; we had some idea as to what we would inventory and catalogue thanks to a fall scouting trip. At that time, Museum Studies Sustaining Places SWAT Inventory students, faculty, and staff assessed the costume collection casually. We spied eighteenth-century brocaded shoes and nineteenth-century silk bonnets, giving us good reasons to look forward to breathing new life into the collections there. But it wasn’t until the project commenced in earnest that we developed a more comprehensive overview of the contents of Vineland’s “closet.” Within minutes of diving into the striped silks, printed paisley wools, and beaded bodices, we came upon mid nineteenth-century women’s dresses in near pristine condition, early twentieth-century Ku Klux Klan uniforms, a collection of civilian clothing worn by a Civil War veteran, and a treasure trove of nineteenth-century children’s clothing, to list just a few highlights.

We worked steadily and seriously, setting up vacuuming, photographic, and other “stations” to help the work progress efficiently.

A view of the textile SWAT operation at VHAS (Photo, UD Museum Studies)

But we also had some fun. What better excuse to indulge in some girlish giggles after alighting upon not one but two 1890s “bust improvers,” or "falsies," (objects with which I was unfamiliar until working at VHAS) with local provenance (history of ownership)? 

Nicole Belolan with an 1890s bust improver with local provenance at VHAS (Photo, Katherine C. Grier)

Historically, women wore far more pieces of under garments than they do today. In the nineteenth century, most women wore corsets--which were sometimes rigid and shaped a woman’s torso into the fashionable silhouette of the moment--underneath dress bodices or shirtwaists. Corsets, unlike the stays that preceded them, also served the purpose of delineating two separate breasts.

Corset, 1830s-1840s, decorated with silk embroidery, history of ownership with  

Kittie Gallup Andrews (1842-1880), wife of Frank D. Andrews (VHAS Collection)

Sometimes women donned corset covers over their corsets to help smooth the rigid corsets or to prevent outer fabrics from revealing too much skin. Some women with smaller busts also wore bust improvers like those found at VHAS outside their corsets and beneath their clothing to enhance natural bust lines and to conform to the late nineteenth-century fashion silhouette that often emphasized the bust (as seen in the fashion plate below).

"Godey's Fashions," Godey's Lady's Book, April 1890 (Accessible Archives)

Whose busts did these intimate objects improve? Women—in this case, two Vineland women—wore these undergarments to help fill out their busts. Both bust improvers were made from plain-woven white cotton fabric and were embellished with decorative white cotton trim. One bust improver marked as having been owned by Emma B. Andrews (probably the older sister of Frank D. Andrews) retains its horsehair stuffing. (Horsehair was also used to stuff everyday objects such furniture upholstery.)

Bust improver with horsehair stuffing, underside, 1890s, inscribed "Emma B. Andrews" (VHAS Collection)

The other bust improver was marked has having been used by Lavinia A. Norton (probably the mother of Frank D. Andrews) in 1891.

Bust improver, upper surface, inscribed "Lavinia A. Norton/Vineland/N.J./1891." on underside (VHAS Collection)

Bust improver, underside detail of bust improver pictured above (VHAS Collection)

The VHAS counts these personal items among the many fascinating costume treasures with local provenance in its collection. Extant objects such as these bust improvers suggest the intimate ways ordinary women engaged with the fashion of their times, personal habits that would be challenging to untangle without material culture evidence.

From bust improvers to mundane cotton day skirts to rare men’s paisley dressing gown, the contents of Vineland’s closet impressed us at every turn. We gave each item the careful attention it deserved, describing it thoroughly, taking its photograph, assessing its condition, and packing it away for when VHAS will call upon it again to help tell Vineland’s stories.

VHAS costume collection carefully packed away, awaiting to be moved to more permanent storage in the new curatorial work room (Photo, UD Museum Studies)

What might we learn about bodies and hygiene from a purple silk dress, stained with perspiration? How might we better comprehend some Americans’ late nineteenth- and early twentieth-century reasons for donning Ku Klux Klan uniforms? How might the carefully recorded family provenance and genealogies, spelled out on tags and index cards, inspire current Vineland residents to save special items from their own closets for subsequent generations to learn from? The questions we can bring to the VHAS costume collection are endless, and answers to those questions will change each time we ask them. If Vineland's closet had not been full, we would not have been able to pose any questions in the first place.

~~~

Just a few weeks ago, the Vineland City Council invited us back to thank us for our volunteer effort. When all was said and done, as a group, we contributed over 1,000 volunteer hours. By any measure, we donated a lot of energy and expertise to VHAS and the City's cultural heritage more generally. We earned the accolades we received for helping "sustain" Vineland's cultural heritage as a unique "place." But as a participant in the project, I benefitted too. I learned about Vineland's history and costume types (such as bust improvers) with which I was previously unfamiliar. I also I enjoyed the discussions I had with my colleagues about collecting philosophies and practices. And so I cannot thank VHAS staff and board members enough for welcoming us into their space and for allowing us to take a long, careful look through Vineland’s closet.

I look forward to taking that drive down Route 40 again soon!

Learn more about SWAT 2013 here!

Send In The SWAT: A First Year's Experience

It's hard to believe that it has been well over a month since the Museum Studies program's SWAT team investigated the grounds of the Vineland Historical and Antiquarian Society in Vineland, New Jersey. As a first year graduate student and student the M.A. Historic Preservation program, I was interested in getting my feet wet on such an interesting and intense experience. On January 7th, I joined the first group of students traveling to Vineland.

Books, books, and, oh! More books! Primarily from the 1800s, these tomes were pulled out of the second floor work room.

For the most part, I spent two days of my week there cataloging, moving, and constantly agog at the sheer number of books housed within the society. Climbing up and down staircases and determining what books were a priority over others occupied me for two days and other students for a much longer time (Unbelievable work, everyone!). The above photograph shows a mere portion of the collection that was set aside to be sorted through. The result of moving all these books, however, provided a new-found space for Vineland staff and patrons to work and do research on the second level.

I spent another portion of my week working on Vineland's ever growing clothing collection. I was lucky to work with (and be taught) by Ph.D. student, Nicole Belolan, who had previous experience in cataloging and housing clothing and textiles. We sifted our way through dresses, shoes, and even swimwear. With Professor Grier, we sorted through various boxes in the basement that contained even more clothing including children's Christening gowns and flapper dresses. Unfortunately while some of the clothing was either too brittle or worn to preserve, Vineland still remains in possession of a vibrant and extensive clothing collection. Together, Nicole and I rehoused various garments, making sure to stuff sleeves and chests with acid-free tissue paper so that the garments retained form with less creasing.

Various uniforms await a thorough cleaning from dust and debris.

While the first week may have been the end of my first SWAT adventure, I am definitely planning on participating again next year! The work was fast paced, always moving which held my interest and geared me towards thinking more on the spot. I also enjoyed working with Vineland's fantastic collection and it's interesting objects and finds. Of course, the SWAT team gave me more experience in the realm of collections and collections management. In the meanwhile, until SWAT 2014, you can find me at LancasterHistory.org during this upcoming summer as an interpretive intern. Thanks again for the fantastic experience!

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To learn more about the SWAT experience, please view the report located here.
Article written and contributed by:
Emily Miller
emmiller@udel.edu

A Summer Internship in Seattle

 by Rebecca Migdal, Lois F. McNeil Fellow, Winterthur Program in American Material Culture

During Summer 2012, I interned in collections at the Henry Art Gallery, the contemporary art museum at the University of Washington in Seattle. The Henry has focused on bringing contemporary art, artists, and art historians to Seattle and stimulating the UW’s scholarship and programs since the gallery’s founding in 1927. The Henry shares its diverse collection through permanent and rotating exhibitions, as well as the Reed Collection Study Center.

During my internship I focused on learning proper methods for handling, storage, and management of costume and textiles in the Henry’s collection. Over the course of six weeks, I worked with a team of interns from the UW and Cornish College of the Arts on an inventory and re-housing project of the boxed garments. It was an opportunity to refresh and improve my textile handling skills, including dressing and lighting textiles on mannequins for photographic documentation.

Hands-on access also developed my visual vocabulary for late 19th and early 20th century clothing, the various issues with their conditions, their storage requirements, and other special needs. Throughout the internship, I contributed to other collections management functions, too. I helped research selections from the historic dress collection so we could more precisely date costume pieces. I also learned about the Mimsy XG database and the preparation and organization of digital images for both internal and external use. Learning a little about the Henry’s methods for condition reporting, storing flat textiles, and its accession process was also a focus during the summer.

Under the guidance of Judy Sourakli, Curator of Collections, I was also exposed to the history of collections management and conservation at the Henry. She helped me learn about and understand the various challenges to the collection, including budgeting issues, space, and scheduling. She shared some of the innovative adaptations the Henry has made for storing and displaying three-dimensional collections objects (including trays, hat stands, and shoe forms) and some of the goals for continuing to protect the objects better and make them more accessible.

While it seems unlikely that future University of Delaware students will intern at the Henry, I felt it was an excellent site for getting hands-on museum experience and building on my Winterthur training.

Images: Woman’s Day Dress, c. 1903 - 1904
Gift of Marguerite Putnam Acc. # 77.8-75, t1 & t2
Courtesy of the Henry Art Gallery, University of Washington, Seattle. 
Explore more of the Henry's collections here.