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Title: Bulletin - United States National Museum Identifier: bulletinunitedst2501969unit Year: 1877 (1870s) Authors: United States National Museum; Smithsonian Institution; United States. Dept. of the Interior Subjects: Science Publisher: Washington : Smithsonian Institution Press, [etc. ]; for sale by the Supt. of Docs. , U. S. Govt Print. Off. Contributing Library: Smithsonian Libraries Digitizing Sponsor: Smithsonian Libraries View Book Page: Book Viewer About This Book: Catalog Entry View All Images: All Images From Book Click here to view book online to see this illustration in context in a browseable online version of this book. Text Appearing Before Image: "^---^-â- -"iflit.. 'J--- M â |. o*#»t«a6JB»Baa**&^ -'^ Text Appearing After Image: iigure 5.â"Scenes and Incidents on Coney Island," Harper's Weekly Newspaper, August 18 78. (Smithsonian photo 59666.) and food; and guide ropes in tlie water for timid bathers. In the 1890s foreign visitors were impressed by American concern witli finding opportunities to play; early in the century they had remarked on the appar- ent lack of interest in amusements. The term, "sum- mer resorts," no longer referred to a relatively small number of fashionable watering places. The J^ew York Tribune was running eight columns of summer hotel advertisements aimed directly at the middle class. The popular Summer Tourist and Excursion Guide listed moderate-priced hotels and railroad excursions; it was a far departure from the fashionable tour ol ihc 1840s. Thus, as economic and technological factors changed, bathing was transformed from a medicinal treatment for the leisure class to a recreation enjoyed by a large portion of the population. SWIMMING As has been stated earlier, swimming was being practiced by men in Europe when the early colonists were leaving their old homes. Ne\-ertlieless, the task of establishing new homes left them little time to practice the "art of swimming" or to teach it to fellow colonists. Benjamin Franklin is no doubt the most famous early proponent of swimming in the colonies. In his autobiography written in the form of a letter to his son in 1771, Franklin revealed his early interest in swimming. I had from a child been delighted with this c.\crcise, had studied and piacticcd Thcvenot's motions and position, and added some of my own, aiming at the graceful and easy, as well as the u.scful.-'' -sJareu .Sparks, T/ie Works of Benjamin Franklii' (Boston: Tappan and Whittcniorc, 1844), vol. I. pp. 63-64. PAPER 64: women's B.ATHING AND SWIM.MING COSTUME IN THE UNITED ST.VTES I! Note About Images Please note that these images are extracted from scanned page images that may have been digitally enhanced for readability - coloration and appearance of these illustrations may not perfectly resemble the original work.
Nature by Design presents distinct stories drawn from Cooper Hewitt’s collection of over 215,000 design objects. Throughout history, designers have observed nature, investigated its materials, and imitated and abstracted its patterns and shapes. Textiles, jewelry, furniture, cutlery, and more show how designers have interpreted nature’s rich beauty and astonishing complexity. Across scales from microscopic to monumental, and in forms familiar and unusual, we invite visitors to discover how nature and design have intersected in the past and continue to converge in our world.
John Edward Costigan, N.A. American, 1888-1972 Bathers Oil on canvas Signed ‘J.E. Costigan N.A.’ lower left 20 by 24 in. W/frame 26 by 30 in. John Costigan was born of Irish-American parents in Providence, Rhode Island, February 29, 1888. He was a cousin of the noted American showman, George M. Cohan, whose parents brought the young Costigan to New York City and was instrumental in starting him on a career in the visual arts. They were less successful in encouraging him to pursue formal studies at the Art Students League (where, however, he later taught) than in exposing him to the commercial art world through the job they had gotten him with the New York lithographing firm that made their theatrical posters. At the H. C. Miner Lithographing Company, Costigan worked his way up from his entry job as a pressroom helper, through various apprenticeships, to the position of sketch artist. In the latter capacity he was an uncredited designer of posters for the Ziegfeld Follies and for numerous silent films. Meanwhile, he had supplemented his very meager formal studies in the fine arts with a self-teaching discipline that led to his first professional recognition in 1920 with the receipt of prizes for an oil painting and watercolor in separate New York exhibitions. A year earlier, Costigan had wed professional model Ida Blessin, with whom he established residence and began raising a family in the sleepy little rural New York hamlet of Orangeburg, the setting for the many idyllic farm landscapes and wood interiors with which he was to become identified in a career that would span half a century. John Costigan’s first national recognition came in 1922 with his winning of the coveted Peterson Purchase prize of the Art Institute of Chicago for an oil on canvas, “Sheep at the Brook.” It marked the start of an unbroken winning streak that would gain him at least one important prize per year for the remainder of the decade. The nation’s art journalists and critics began to take notice, making him the recurring subject of newspaper features and magazine articles. The eminent author and critic Edgar Holger Cahill was just a fledgling reporter when he wrote his first feature, “John Costigan Carries the Flame,” for Shadowland Magazine in 1922. Costigan had his first one-man show of paintings at the Rehn Gallery on New York’s 5th Avenue in November, 1924, to be followed less than three years later by another at the Art Institute of Chicago. In addition, Costigan’s work has been—and continues to be included, side-by-side with that of some of America’s most high-profile artists, in museum and gallery exhibitions throughout the country. His renown had peaked in the early 1930s, by which time his work had been honored with nearly every major award then being bestowed in the fine arts and had been acquired for the permanent collections of several prestigious American museums, including New York’s Metropolitan (which only recently, in 1997, deaccessioned his “Wood Interior,” acquired in 1934). Although Costigan’s celebrity had ebbed by the late 1930s, the Smithsonian Institution saw fit in 1937 to host an exhibition exclusively of his etchings. And, in 1941, the Corcoran Gallery (also Washington, D.C.) similarly honored him for his watercolors. (Another Washington institution, the Library of Congress, today includes 22 Costigan etchings and lithographs in its permanent print collection.) During World War II, Costigan returned briefly to illustrating, mainly for Bluebook, a men’s pulp adventure magazine. A gradual revival of interest in his more serious work began at the end of the war, culminating in 1968 with the mounting of a 50-year Costigan retrospective at the Paine Art Center and Arboretum in Oshkosh, Wisconsin. Oils, watercolors and prints were borrowed from museums and private collections throughout the country, and the exhibition was subsequently toured nationally by the Smithsonian Institution. John Costigan died of pneumonia in Nyack, NY, August 5, 1972, just months after receiving his final prestigious award —the Benjamin West Clinedinst Medal of the Artist’s Fellowship, Inc., presented in general recognition of his “...achievement of exceptional artistic merit...” in the various media he had mastered in the course of his career. This painting depicts one of the artist's favorite themes --the farm family bathing in the wooded creek that bordered his property in Orangeburg NY. Most of these were titled simply "Bathers" or "Bathing Group." This painting is truly representative of the artist's work in oils, particularly his later work. Provenance: Private Collection, New York Alexander Avenard Collection Le Trianon Fine Art & Antiques, Sheffield, MA. Art C309
Image size: 10.5 X 14.0 inches. Signed "Theo. Wahl" in pencil, printed on fine-grained, pale cream wove paper watermarked "Warren's", 12.5 X 16.5 inch sheet. Near fine condition, small chips on corners, small stains, verso. Free shipping to US address. (190366 bx-88) Note: Teodore Wahl studied at the University of Kansas with Albert Bloch and Karl Mattern, and at the Kansas City Art Institute with Ross Braught. He moved to New York City in 1933 to study lithography with Bolton Brown. He went on to create and print lithographs at the artist's colony in Woodstock, NY, and was made head of lithographic printing for the New York City WPA. Exhibitions: Midwestern Art Exhibition, 1932-36; Museum of Modern Art, 1940; Delaware Valley Art Assoiation, 1946-52; Cincinnati Lithography Exhibition, 1950-52; Vassar College Art Gallery, 1980. Awards: Midwestern Art Exhibition, 1933. Collections: Brooklyn Public Library; Hunter College; University of Louisiana; University of Wisconsin; New York Public Library; Smithsonian Institution; Newark Museum; Baltimore Museum of Art; Philadelphia Museum of Art; Portland Art Museum; Emprise Bank Collection. (source: Keith Sheridan Fine Art)
The ninth edition of the exhibition project "From La Biennale di Venezia & Open to Rome. International Perspectives" presents Carole
