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Ensemble - Kutchi Group, Pashtun Peoples, Afghanistan
Ensemble - Kutchi Dress, Pashtun Peoples, Afghanistan. This assembled ensemble consists of: 1. Dress. Full-length. High neckline, slight V-shape. Front yoke/bib panel of fine needlework geometric shapes and patterns, in orange, purple, green, and blue. Front of bodice with four large embroidered rosettes of silver couching with orange silver/white, and black borders. Over-length, wide sleeves of patchwork of materials, including red, purple, and pink. Cuffs of heavy silver couching with central band of small circular mirrors in needlework frames. High, narrow waistband of silver/gold couching. Front of skirt formed of thin black fabric heavily gathered to form voluminous front panel. Wide band of red fabric lining inside of front panel at hem. Back of bodice formed of red cloth with vertical white stripes. Embroidered panels under arms. Back of skirt formed of upper panel of purple printed with blue and off-white flowers and leaves, heavily gathered into waistband. Lower panel of purple fabric, as full as upper panel. Black hem on back of skirt. 2. Headpiece of silver set with glass and plastic(?) rubies and emeralds, center plaque with glass segments simulating lapis and jade(?). Central circular plaque with central red circular glass "stone" surrounded by 6 alternating triangular green and blue glass plaques forming a star. Star is encircled by ring of glass (plastic?) simulated rubies and emeralds. Outer openwork border. Extending above central plaque and connected by 4 small metal bar-shaped links is a triangular plaque set with same simulated rubies and emeralds. Extending horizontally from central plaque on either side are three rectangular metal plaques set with same simulated rubies and emeralds. All plaques connected by metal bar-shaped links. Hanging below connected plaques is fringe of short metal chain sections terminating in hollow spheres. The plaques are sewn to a narrow black cloth band designed to fit …
Day Dress
Daytime dress of navy blue silk crepe in modified shirtwaist style. Yoked shoulders with collar. Inner neckline has 7 small mother-of-pearl buttons for additional detachable collar to drape over existing collar. Center front opening with 6 large 1-1/4" mother of pearl buttons with vertical buttonholes. Long set-in sleeves with matching button at cuff. Evidence of smocking below waist seam, but threading is missing. Street length. Unlined. Designer's label at right seam near hem: "Traina-Norell / New York" b) Contour belt of navy leather. Wider at ends with rectangular buckle covered in same. Back stamped "14".
The Attack into the Unknown: German Troops Advancing on Stalingrad, from Signal Magazine
Single page from Signal magazine shows a Nazi flag, soldiers and a tank. Text at the bottom of the image has the title "El asalto en lo desconocido" and the text: "El corresponsal de guerra de "Signal" PK. Artur Grimm describe en las páginas siguientes la cooperación alemana entre Infantería, Ingenieros y Caros de Combate."
Interior with Etruscan Vase
Painting depicting interior with Etruscan vase.
Interior with Etruscan Vase
detail with woman
Pouch - Turkish Festival Outfit
Pouch. Orange cotton pouch, rounded at bottom. Suspended by gold metallic cord. Edged with metallic thread lace. The surface of the pouch is embroidered with various colors of metallic embroidery, mostly chain-stitch. Lined in orange cotton.
Usonian Style Pope-Leighey House
The view is of the house in a foliage dense setting.
Usonian Style Pope-Leighey House
The view of the exterior facade in the sunlight shows the pierced overhang view from the northeast.
Usonian Style Pope-Leighey House
The view of the exterior includes a large glassed space so some interior is visible.
Plaid wool coat
Coat of green, tan and yellow plaid wool; 2 front pockets; 3 button enclosure
Evening dress
A) Evening dress of rose/pale pink/pale mauve crepe-back satin charmeuse. Inspired by Chinese Cheongsam-style garments, the dress is full-length, slim fitted, with slight standing collar fastened with hidden hook & loop. Sleeveless, the dress has front opening from throat to slightly below right shoulder, secured with three large rhinestone set circular brass(?) buttons. Very slightly raised waist with triangular "flap", open and hanging down from center front to right hip. From just below hip to center front at hem is secondary opening, with 7 buttons matching bodice. Hem slightly scalloped at front overlap corners, and at right side. Left side underarm zipper. Combined designer's/retailer's label inside bodice: "Neiman-Marcus dallas / Maurice Rentner" B) Tie belt of same fabric, 3/4" wide.
Maternity ensemble
Maternity ensemble consisting of: A) Jacket-style top of brown wool plaid with cream and light blue. Shawl collar, with squared front neckline. Center front double-breasted opening having two vertical rows of 5 domed self-covered buttons, and 2 hidden snaps at top. Long sleeves. Flaps at hips simulating pockets. Built-in shoulder pads. Unlined. Designer's label at center back neckline: "[logo] Page Boy / Dallas" B) Kangaroo style skirt of brown cotton(?)twill. Mid-calf-length, with slight A-line formed by darts around waistline. Thin waistband with ties at front for large rounded "scoop" opening, which has a single strap that extends up and loops around waist tie. Small slit at center-front hemline. Unlined. No labels in skirt.
Banda
Man's Banda (Sash). Handwoven cotton on a backstrap loom, plain weave, red with jaspe (ikat) striping, loose knotting at the ends.
Sash
Wide sash of red-brown, ivory, and indigo blue cotton. Backstrap loomed cotton warp faced plain weave with warp ikat design with diamonds in the center and linear, repeating pattern on either side. Hand twisted and knotted fringe. Approx 11" wide.
Dress
Dress of black velvet. Knee length; short puffed sleeves. Raised empire waist gathers into bodice at waistband. High bound neckline has a slight V in front and forms ties at back. Center back closure of three self-covered buttons and loops at neckline; left side zipper under arm. Unlined; padded shoulders.
Envelope for DuBarry Pattern #5070
DuBarry pattern 5070 to make a dress with tucked shirtwaist-style bodice, short or long set-in sleeves, front button closure, peter pan or bow collar, and gore skirt, including illustrations of the finished pieces and information about sizing and construction on the back.
Envelope for McCall's Pattern #5099
McCall's pattern 5099 to make a one-piece dress with extended shoulders, surplice bodice, and gathered skirt, including illustrations of the finished pieces and information about sizing and construction on the back.
Beret
Hat of black knit. In the style of a beret, the hat is of black knitted yarn. The crown is circular, somewhat domed when worn. No brim. The whole is covered in long, curving, pointed black sequins. Hat is unlined. Label sewn inside crown: "Hand Made / In Italy". Hat has been photographed with padding to provide shape. When not worn or padded, hat flattens.
Beret
Beret made of light blue knitted chenille yarn. Designer's label: "Frank Olive"
Necktie
Necktie of off-white silk with grey diagonal embroidered stands with vertical off-white ribs in between; four in hand style; 1 1/2" at widest point. Lined in off-white silk with blue D'ore print. Labels: Dreyfuss & Son pure silk; Woven in Switzerland D'ore imported silk
Cloche Hat
Cloche style hat in taupe felt. Slightly flared brim. Trimmed at front with red feather bird. Green and black coque feathers drape from front over back of hat. Beige colored veil on front. Elastic band for securing hat to wearer's head. Designer's label on inside hatband: "Milgrim"
Cloche Hat
Cloche-style hat of pink fur felt. Lattice-work design in strips of same fabric surrounds crown and forms knot at side.
Cloche Hat
Cloche style hat made of light blue knitted chenille yarn. Bow of same on side. Designer's label on inside at back: "Frank Olive"
Pillbox Hat
Hat of black organza. The hat is in the form of a pillbox designed as a turban. A wired framework is overlaid with black organza, pleated to form long folds running front to back. At the front of the hat is a large bow of the same material, the trailing pieces pleated to match the crown and affixed to run in same direction. Lined in black mesh, and with inner hatband of black grosgrain ribbon. Elastic string inside to run around back of wearer's head to secure hat. Two small hatpins with custom covers of same material on heads are stuck in back of hat. Designer's Label: "Lilly / Dache / Paris New York / 78th East 56th Street, N.Y."
Hatlet
Hatlet of black straw, net, and velvet. The hatlet is based on a metal underframe shaped as an open circle, wrapped, on which are set six black straw pompom forms set in a circle about 6" in diameter. At center of circle is a bow of narrow black velvet ribbon with 4 extending trailing ribbons. The whole is set on a circular veil of black mesh net. Designer's label: "Norman-Pualvin / New York".
Halo Hat
Pamela or halo style hat of natural colored straw cloth. Crown ringed with brown silk organza roses. Edge of brim covered with natural colored grosgrain. One hatpin with black, teardrop shaped head. Elastic band for securing hat to wearer's head. Unlined. Retailer's label on inside hatband: "Henrys / Dallas"
Hatlet
Hatlet of navy blue and white.
Hatlet
Hatlet of black velvet. Formed as Juliet cap, the hatlet has a crown of black velvet formed as a stiff low dome with shaped edge creating triangular points at front, back, and each side. At each side of the crown is an applied matching velvet bow with trailing ends. The hat is overlaid with black netting, with small black plastic circles worked into the veil's mesh. The hat is lined in blue cloth, and has an inner hatband of black grosgrain ribbon around the inside lower edge of the crown. Manufacturer's label sewn to inner hatband: "Frances / Dallas, Texas"
Ensemble - Hat and Purse
A) Hat of black felt; embroidery in green, purple, maroon, yellow, light green thread; beads in purple. B) Handbag of black felt lined with quilted satin; embroidery in green, purple, yellow, light green, maroon thread; beads in purple. Zipper and bow on handle.
Number 24: Child labor and a lack of education was one of the other reasons for people wishing to leave their homes.
No Description Available.
Number 20: In many of the communities the Negro press was read continually because of its attitude and its encouragement of the movement.
No Description Available.
Number 46: Industries attempted to board their labor in quarters that were oftentimes very unhealthy. Labor camps were numerous.
No Description Available.
[Stage Performance]
Photograph of what looks like a man and woman, kissing. It is actually one person. Taken from a performance, the photograph shows the woman side in a short, polka dot dress and the man in a dark suit with a rifle. The face is obscured by hat of man to lend a hint of mystery. To left is a stage-set pine tree. Stamped on reverse: "Phone TEMPLE BAR 6547. / PERFECT PHOTO REPRODUCTION Co. / Coliseum Chambers, 24 CHANDOS STREET, W.C.2 / MANAGER: JOE DAVIS."
Blouse
Blouse of navy blue wool. Wide, boat neckline with inner wide white pique lining which folds over dark plum(?) facing of wool collar, to become shawl collar. Double breasted, with three pair of circular black buttons and single hook-and-eye at waist. Sleeveless, with slight "cap" effect caused by wide shoulders darting, and deep diagonal line of sides. Raised waist and flaring peplum. Unlined. Inner structure augmented with satin ribbons sewn to help hold structure of bodice. Designer's label at inside lower left seam: "Renée Collard / Paris" Retailer's label overlapping lower edge of designer's label: "Janga / 98 Faubg St Honoré Paris"
Jacket
Jacket of black wool and monkey fur. Suit jacket of black wool, long torso, slightly fitted, single-breasted with center front opening of 4 circular self-covered buttons and single hook-and-eye. Long sleeves. Small shoulder pads. From waist to hem coat is trimmed with wide band of long black monkey fur. Retailer's label at inside back collar: "Neiman-Marcus / Dallas" National Recovery Board, Coat and Suit Industry label at inside waist, "001706"
Little Girl's Confirmation Dress
Little girl's Confirmation dress of off-white rayon faille. Mid-length; short puffed sleeves with ruched cuffs bordered in lace. Vertical flat pleats at waist of skirt. Collar has lace trim and double bands of ruching in front with two flowers and green ribbon leaves sewn on lower corners of collar; a silk ribbon bow is sewn on center-front. Ruched insert down center front of bodice. Center back closure of three self-covered buttons with loops. Unlined. With tie belt of matching fabric. Center back is stitched closed and front ends are cut on the bias and open to pointed ends.
Dive Bomber and Tank
No Description Available.
Number 50: Race riots were very numerous all over the North because of the antagonism that was caused between the Negro and white workers.
No Description Available.
Number 44: Living conditions in the North were better.
No Description Available.
Number 36: In Chicago and other cities they labored in the steel mills
No Description Available.
Number 32: The railroad stations in the South were crowded with people leaving for the North.
No Description Available.
Number 30: In every home people who had not gone North met and tried to decide if they should go North or not.
No Description Available.
Number 28: The labor agent who had been sent south by northern industry was a very familiar person in the Negro counties.
No Description Available.
Number 22: Another of the social causes of the migrants' leaving was that at times they did not feel safe, or it was not the best thing to be found on the streets late at night...
No Description Available.
Number 60: The trains were packed continually with migrants.
No Description Available.
Number 16: Although the Negro was used to lynching, he found this an opportune time for him to leave where one had occured.
No Description Available.
Number 04: The Negro was the largest source of labor to be found after all others had been exhausted.
No Description Available.
Number 58: In the North the Negro had better education facilities.
No Description Available.
Number 12: The railroad stations were at times so overpacked with people leaving that special guards had to be called to keep order.
No Description Available.
Number 18: The migration gained in momentum.
No Description Available.
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