The Charleston Museum

These photos from our Archives are (with a few exceptions) of...

Fri, 17 May 2013 08:44:05 -0400

These photos from our Archives are (with a few exceptions) of unidentified women, sometimes with very general dates as we had little provenance. If you can provide any assistance in identification, we would be happy to add that information to our cataloguing!

Possibly Barbara Muller Lindstedt, daughter of John D. Muller and Margueretha Agnes Wieters, circa 1925; photography by Melchers Studio.
Unidentified woman wearing a dark dress, or possibly matching coat and dress, with fur trim at the collar and sleeves. Handwritten in lower, right corner: Sincerely, H.B.P.L. Photographer and exact date unknown.
Possibly Barbara Muller Lindstedt, daughter of John D. Muller and Margueretha Agnes Wieters, circa 1920; photography by Marions Studio.
Unidentified woman standing in shade near a brick wall, wearing a cloche hat. Photographer and location unknown. (Appears to be same woman as in MK 13505 - same hat).
Unidentified woman, wearing a coat and cloche hat. She appears to be standing in front of the bridge at Magnolia Gardens. Handwritten on the reverse: 1920. Photographer is unknown. (Appears to be same woman as MK 9987).
Unidentified woman sitting in a vintage automobile at Magnolia Gardens. Photographer and exact date unknown.
Unidentified woman on Charlotte Street - possibly in the vicinity of 40 Charlotte. Handwritten on reverse: by 2nd Presbyterian Ch., house on Charlotte in background, c.1920s. Photographer unknown but note his shadow in the photograph.

US Navy gas mask, Mark IIUnited States1919-1920With the advent...

Wed, 15 May 2013 08:39:36 -0400

US Navy gas mask, Mark II
United States
1919-1920
With the advent of chemical warfare during World War I, the United States military scrambled to develop protective and reliable defenses from poisonous gases. The US Navy’s Mark II Head Canister Gas Mask certainly stood alone for its abnormal design. Completely different than other gas masks of the period, the Mark II’s canister housing the all important air filter was fixed on the top of a heavy steel headband. When not in use, the rubber mask could be tucked inside the “helmet” which made for a smaller, more portable apparatus unlike the Army’s larger version which needed its own carrying case (and likely would have stuck out over the tops of trenches anyway). In an attack, air could be inhaled through canister’s rear section, drawn through the filter, through the front two rubber tubes and into the mask’s intake valves above the lenses. Spent air was directed out through a flapper type exhale valve centered at the mask’s forehead.

Weaponry Wednesday: Each Wednesday we post an object (or group of objects) from the Charleston Museum’s diverse weapons collection. Many Weaponry Wednesday items may be on permanent exhibit in our armory or elsewhere in the museum, but some pieces rarely see exhibition, temporary or permanent, but are well worth sharing. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on WEAPONRY WEDNESDAY! Also, we always want to learn more about our collection - if you have some insights on a piece, please feel free to share! #WeaponryWednes

The most iconic silhouette for the 1920s is the slender, tubular...

Tue, 14 May 2013 08:45:04 -0400

The most iconic silhouette for the 1920s is the slender, tubular shift, sometimes with some definition well below the natural waist. For evening wear and parties, these gowns were often of silk or rayon, crepe, chiffon or georgette covered with dazzling beadwork. Perfect for lively dancing, the garments are now usually in self-destruct mode – the heavy beads pulling on the thin fabric and perspiration eating away the underarms.

But, beautiful they remain, including this Nile green example with bronze and rose beadwork and delicate gold metallic embroidery. The skirt flares slightly and the front and back bodice extends into side flaps on the left side. There is a slit in the skirt panel on the left, revealing the matching chiffon underdress. Both the beading and the extra panels add a stylish note of asymmetry to the dress. It was worn by Helen Eulalie Northrop Wall of Marion, South Carolina. Born in Boise, Idaho in 1891, Eulalie married John Furman Wall in 1912. He was a colonel in the U.S. Army – their daughter Bettie was born in California and their second daughter Helen was born in the Philippines – but they settled in Marion.

Not as embellished, but just as swingy, is this aqua silk shift with a black ribbon lattice panel down the center back, around the lower skirt and in triangular pleats on the sides. The armholes have matching aqua chiffon binding. The front neckline has a delicate line of black beading. A pair of black ribbons ending in fringed tassels extends from the shoulder seam to the front and are slipped through front slits, creating a built-in necklace or sautoir. This dress could have been worn with a matching slip – or perhaps peach or cream for an even more tantalizing appeal.

TEXTILE TUESDAYS: Each Tuesday we post a piece from our textile collection. Some items have been on exhibit, some will eventually be shown in our Historic Textiles Gallery and some may be just too fragile to display. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on TEXTILE TUESDAY! #TextileTuesday

Lt. Bill Williams was the son of Agnes E Jones and Lewis E....

Fri, 10 May 2013 08:53:00 -0400

Lt. Bill Williams was the son of Agnes E Jones and Lewis E. Williams, born circa 1916, likely in Orangeburg, South Carolina. He attended the Citadel, graduating in 1937. His Senior yearbook photo showed he concentrated his studies in Artillery and Business Administration. In the 1940 census, he is listed as an officer in the U.S. Army, stationed at Fort Adams in Newport, Rhode Island. In 1941, he was back at the Citadel, this time as an instructor. At some point, probably in 1942, he would be assigned to the 99th Coast Artillery as the return address on the envelope shows. In 1943 (the time he was writing), the unit would have been in Trinidad (then part of the British West Indies), before being reassigned stateside in December of that same year. Unfortunately, that is all that on-going research has been able to discern of Lt. Williams. It is unknown if he ever got serious about “Margot” or any girl or if he made the Army his career as would seem was his original intent. His mother, lived her entire life in Orangeburg, raising her family and receiving letters from her son, Bill, during the war and one would assume after if he were not at home, as she was his “best girl.” She died in 1957 and is buried in Memorial Park Cemetery.

The Coastal Artillery was a branch of the Army (in the United States military) and after 1907 was actually a separate branch from Artillery. Their primary concern was operating fixed gun batteries or anti-ship batteries in coastal fortifications. In such a capacity, they would not deploy to the European or Pacific theaters. After World War II, with the advances in both aircraft and guided missiles, fixed batteries were deemed too vulnerable. Coastal artillery units were either disbanded altogether or became the current Air Defense Artillery units.

TRANSCRIPTION:

                                March 23, 1943.
Dearest Mom: —
        Have been receiving your frequent letters and clippings and appreciate them more than I can say. Glad you received my cablegram O.K. Y’know, Gen. Summerall’s birthday is one day after yours, so I sent him one too at the same time. A few days later, I got a personal letter of gratitude from the old boy. He seemed to be deeply grateful. Guess little courtesies like that don’t do a bit of harm.
        A short time ago, I received a phone call from the transient officers’ quarters of the nearby army air field. A southern drawl informed that Louis Williams had asked him to call me when he passed thru here. The caller was a flight surgeon who used to room with Louie before Dot & Jean went to Texas. Of course, I got in my jeep and went right over. While I was talking to the doc, a Major Alexander walked up and was introduced to me. “Williams,” he said, “Not Louie’s brother!” I said yes, and he said, “Well, come on over to the quarters and see Col. Ferguson.” And there he was. Tommy and I had a very long and enjoyable chat about Louie, the war, the States, and everything else you can mention. He asked me whether I wanted to send anything back by him, but I told him “only greetings.” Tommy was piloting a big bomber and there were scads of other planes in the same mission to “somewhere” and back. Really was nice to see somebody from home.
        Mom, after a long period of being stymied by fate in a regiment which was already preformed when I entered it, your baby boy has finally taken command of a battery of over 130 men. I have four junior officers under me all of whom were just commissioned from officers’ candidate school a month or so ago. Of course, they’re green but willing and accommodating. They’re from Missouri, Iowa, Minnesota, and Kentucky respectively. This battery was considered to be on the down grade when I took over, and I’m supposed to be a “reform man” and perk it up. So far we’re doing just that. It looks much better already if I do say so myself. I’m getting a lot of satisfaction and feeling of pride in achievement out of sitting in the skipper’s seat. I’ll certainly never regret choosing the army as a career. It’s my meat.
        Any news of Bill Atkinson lately? Please give my regards to his family for me. How is your health? Please see Dr. Culler often, will you? Love to Lynda, Nellie Lena Effie Sallie Mr. Orrin, and the Salleys. Of course, I still like it here very much, but I’d like very much to come home for a thirty-day furlough and see especially my Mom and incidentally all my other friends. It’s been almost a year now, and that’s a long time these days. I have so much to be thankful for and so little to complain about that I shouldn’t complain about not seeing my mother. We’ll make up for lost time when I return. You and I are going to Washington and a lot of other places. Are you willing? O.K., then keep the chin up and take care of your health at any cost – conserve energy for our trip.
        Did you read Life’s account of Eddie Rickenbacker’s 21 days adrift in the Pacific. Read it. You’ll notice that his navigator on the ill-fated flight was a Citadel graduate named De Angelis, a short dark skinned son of Italian parents. I know him well. Guess I should, ‘cause he slept thru most of my lectures for a whole year when I was instructor.
        Margot De Gannes and I are still seeing each other as often as my many duties permit. Sometimes we go out to one of the nearby islands and spend the day with some of my Citadel friends stationed there. As I told you, Connor goes with Toni, her sister. We sometimes double-date. Don’t worry; it’s nothing serious; merely platonic. She’s a swell little girl who is just as Southern in nature as if she’d been born and raised in South Carolina. Takes a dislike to any American who is from north of the Mason and Dixon. Keeps asking what you’re like, do I look like you, and will I take her to see you when she visits South Carolina after the war. She swears she’s coming, says S.C. is the only state she cares to see. You’d like her plenty.
        Guess I’ll wind up this rambling letter and get back to my work. I’m now Duty Officer at Regimental Headquarters and took time off from my command Post duties to write my best girl. Take care of yourself
                            ‘cause
                                I love you,
                                        Bill
P.S. New Address:
    Btry. C, rest the same.

Horseman’s SaberJames PotterNew York1775-1782Made from a...

Wed, 08 May 2013 08:44:53 -0400

Horseman’s Saber
James Potter
New York
1775-1782
Made from a whip-saw blade, New York cutler James Potter became such a master at reproducing British horseman’s sabers that his particular works became well-known throughout the colonies. Known as “Potter swords” or sometimes “Potters,” these large, heavy weapons measuring just under 3 ½ feet in length soon became the standard for Patriot forces during the American Revolution. This piece, on exhibition in the Revolutionary war section of the Charleston Museum’s second hall, is one of only three known Potter swords to retain its original leather-sewn scabbard, and was carried by Sergeant Ezekial Crawford of General Francis Marion’s Brigade while fighting in the Pee Dee region of the South Carolina Lowcountry.

Weaponry Wednesday: Each Wednesday we post an object (or group of objects) from the Charleston Museum’s diverse weapons collection. Many Weaponry Wednesday items may be on permanent exhibit in our armory or elsewhere in the museum, but some pieces rarely see exhibition, temporary or permanent, but are well worth sharing. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on WEAPONRY WEDNESDAY! Also, we always want to learn more about our collection - if you have some insights on a piece, please feel free to share! #WeaponryWednes

In honor of mothers everywhere, our textile this Tuesday is a...

Tue, 07 May 2013 08:53:52 -0400

In honor of mothers everywhere, our textile this Tuesday is a beautiful infant’s christening gown, c. 1860. It is a fine cotton lawn fabric with elaborate cotton embroidery on the bodice and front panel. Family history stated that it was made by Eliza Florence Trenholm MacBeth for her sister Helen’s daughter. While it is possible that she did all this incredible embroidery, it is more likely that the embroidered panels were imported from Scotland and the dress assembled by her.

This embroidery appears to be Ayrshire work, the product of a huge cottage industry in Scotland throughout the first half of the 19th century. All of the work was done by hand and it’s a pretty amazing story. At the height of the Ayrshire embroidery industry, tens of thousands of Scottish and Irish women worked long hours in their homes stitching these amazing designs. Known as embroiderers or flowerers, they were poorly paid and endangering their eyesight. They received the marked fabric, needles and thread and performed their needle magic. Even their children could earn pennies threading needles to speed their task.

The most popular garment for this elaborate embroidery was the baby gown. The stitches used were mainly satin, padded satin, eyelets, buttonhole, stem, back, feather and French knots. The fine muslin was cut away in some motifs for needlepoint fillings. At first the design was drawn on paper and traced onto the muslin. Then, designs were printed with blocks or rollers using water-soluble ink. Later still, designs were lithographed directly onto the fabric.

Eliza Trenholm (1847-1906) was the daughter of George Alfred Trenholm and Anna Helen Holmes of Charleston. Her sister, Anna Helen (1842-1866) married James Morris Morgan in 1865 and had a daughter, Emily. Helen died of yellow fever and complications in childbirth. Eliza married Alexander MacBeth in 1868.

Tradition is that on a christening gown, the pointed bodice is tucked in for a little girl, and out for a little boy. On this gown, the point is out – it is believed that it was worn at least another time by Emily’s son, John Fuller Davis, born in 1892.

For more information on this incredible part of textile history, Victorian Embroidery: An Authoritative Guide, by Barbara J. Morris, pp. 32-39

These horseracing images come from our historical photograph...

Fri, 03 May 2013 08:49:00 -0400

These horseracing images come from our historical photograph collection. They were all taken at Belvidere Race Track in Eutawville, South Carolina, in either 1936 or 1937. Belvidere track was built on the grounds of Belvidere Plantation in Orangeburg County (originally the plantation fell in Berkeley County but when county lines were re-drawn in 1908, it became part of Orangeburg County) with the first race being held in November of 1936. The plantation was owned by the Sinkler family and images of two of their three (married at this time) daughters appear in the images here. Unfortunately, the track was destined to be short-lived.

Belvidere lay in the flood path of the Santee Cooper Hydroelectric and Navigation Project - like so many other plantations in the area. In 1941, the house was emptied and the family left the property for the last time. The track (and the rest of the property) is now underwater. For more on the Sinkler family and Belvidere Plantation, check out An Antebellum Plantation Household by Anne Sinkler Whaley LeClerq (descendent) and Belvidere: A Plantation Memory by Anne Sinkler Fishburne (pictured in some of these images). For more on the “sunken plantations,” read Sunken Plantations: The Santee Cooper Project by Douglas Bostick.

Weighing in the jockeys. Photographer M.B.Paine, 28 December 1936
Kirby Tupper on Sun Sire wins most firsts in St Johns Race Meet. Photograph, M.B. Paine, 03 April 1937
photographer M.B. Paine, 28 December 1936
photographer M.B. Paine, possibly 1937
Mule race, jockeys appear to be African-American. Photographer M.B. Paine, 28 December 1936
3 & 4 in a close finish; photographer M.B. Paine, 03 April 1937
Weighing in at the end of each event; photographer M.B. Paine, 03 April 1937
Mrs. Lockwood, “Carrie Sinkler,” records the exciting events with her pet Bell & Howell Movie camera in Kodacrome; photographer M.B. Paine, 03 April 1937
Caroline Sinkler Fishburne (left) and Anne Sinkler Lockwood (right); photographer M.B. Paine, 03 April 1937

Beaumont-Adams revolverFrederick E.B. Beaumont (1833-1899) &...

Wed, 01 May 2013 08:56:49 -0400

Beaumont-Adams revolver
Frederick E.B. Beaumont (1833-1899) & Robert Adams (1809-1880)
Britain
1862-65

Improving the original Adams Patent revolver of 1854, Lieutenant Frederick Beaumont, a veteran of the Crimean War, patented a mechanism that connected the revolver’s trigger directly to the hammer creating a double action firing system - the first of its kind. Thus, instead of having to manually pull back the hammer, the user needed only squeeze the trigger to advance the cylinder, cock the gun and fire. A standard sidearm in the British Army, both the United States and the Confederacy imported hundreds of Beaumont-Adams pieces during the Civil War to supplement their armories, where firearms stockpiles were approaching dangerously low levels. This .38-caliber revolver somehow fell into the holding of Charleston’s Washington Light Infantry after the Civil War and was donated to the Charleston Museum in 1921.

Weaponry Wednesday: Each Wednesday we post an object (or group of objects) from the Charleston Museum’s diverse weapons collection. Many Weaponry Wednesday items may be on permanent exhibit in our armory or elsewhere in the museum, but some pieces rarely see exhibition, temporary or permanent, but are well worth sharing. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on WEAPONRY WEDNESDAY! Also, we always want to learn more about our collection - if you have some insights on a piece, please feel free to share! #WeaponryWednes

Horseracing in South Carolina has a long and colorful history....

Tue, 30 Apr 2013 08:53:28 -0400

Horseracing in South Carolina has a long and colorful history. The first recorded race was run on February 1, 1734 on a green across from what is now the Charleston Museum. Today’s textile is an exciting part of that past. It is a jockey suit, 1830s or 1840s, made by “plantation tailors” (undoubtedly slaves) for Col. William Alston of Clifton and Fairfield Plantations on the Waccamaw River, in his livery colors.

The silk shirt is hand-sewn of red and dark green stripes, the front opening has red silk-covered buttons and the cuffs on the long sleeves have green silk-covered buttons. It has a stand-up collar and a red silk drawstring around the bottom edge. It is lined with white silk. The white buckskin breeches have a front buttoned fly and a short buckskin tie in back. The waistband has pearl buttons around and there are buttons at the knee along with a tie.

William Alston (1756-1839) of Georgetown owned many plantations in the area, and was a state representative and senator. He successfully raised thoroughbred horses and was a founding member of the South Carolina Jockey Club in the 1780s. In 1792, the club purchased land that became the Washington Race Course (now Hampton Park), the site of an annual race week in February for 70 years.

Apparently horses could be jockeyed by their gentlemen owners, young boys and servants, or slaves. It was not until 1845 that the club dictated a regulation on a specific jockey costume, after the English (silk jacket and cap, buckskin breeches and neat boots) and the need to register their colors before a race. Alston may have elected to have his jockey thus attired even before the mandatory regulation.

Alston’s grandson, J. Motte Alston (1821-1909) wrote in his memoirs a description of the Alston livery: house servants wore dark green broadcloth coats trimmed with silver braid and red facings and green plush trousers. He recalled the green and red coach, driven by Thomas Turner, a slave at Fairfield Plantation. “Thomas Turner was a great favorite, and was indulged and respected. He was my grandfather’s most trusted race-rider – when he owned a number of famous horses… horseracing was confined to gentlemen, and not gamblers, and was a pastime and not a profession. There were Gallatin, Shark, Comet, Black Maria, Symmetry and many others.” He told how in the summer the horse racers met in Virginia and in the winter at Charleston, Columbia, Camden, etc. Perhaps Thomas Turner was the jockey who wore this wonderful outfit, racing around the track at Washington Race Course.

TEXTILE TUESDAYS: Each Tuesday we post a piece from our textile collection. Some items have been on exhibit, some will eventually be shown in our Historic Textiles Gallery and some may be just too fragile to display. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on TEXTILE TUESDAY! #TextileTuesday

A hand-drawn copy of the Map of James Island by Alex Sprunt,...

Fri, 26 Apr 2013 09:22:51 -0400

A hand-drawn copy of the Map of James Island by Alex Sprunt, Jr., done in 1927 from the original map by Robert E. Mellichamp in 1888. It covers the areas of James Island, Johns Island, Morris Island, Charleston Harbor and Sullivan’s Island as they were during the years of 1863 and 1864. Illustrations depict the disposition of the Union and Confederate forces both on and off shore as well as individual blockade runners and wrecks.

We are not quite sure why Sprunt copied the Mellichamp map. He was a well-regarded ornithologist and wrote the book on birds in this state, South Carolina Bird Life, in 1949.

EPHEMERA FRIDAY: Each Friday we post a selection or small collection from our Archives. Some items may be on exhibit, some may be too fragile to display and some may be too unusual to fit into our typical Lowcountry exhibit themes. We will occasionally ask for help identifying people or places in photographs that have come to us with little or no information. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on EPHEMERA FRIDAY.

Model 1916 StahlhelmFriedrich Schwerd...

Wed, 24 Apr 2013 08:49:00 -0400

Model 1916 Stahlhelm
Friedrich Schwerd (designer)
Berlin
1916-1918
German for “steel helmet,” Stahlhelms were issued to German forces beginning in 1916 quickly replacing the non-protective leather and wool hats from the 19th-century. Originally painted grey, Stahlhelms were relatively easy to spot in trench warfare environments. Thus, under orders in 1918, soldiers began painting their own camouflage patterns on their helmets. Besides the heavy outer shell, this helmet is equipped with a leather headband and three padded pouches with ties. This piece also bears the terrible scars of trench warfare – the large gash and dent across the crown is the result of exploding artillery and shrapnel.

Weaponry Wednesday: Each Wednesday we post an object (or group of objects) from the Charleston Museum’s diverse weapons collection. Many Weaponry Wednesday items may be on permanent exhibit in our armory or elsewhere in the museum, but some pieces rarely see exhibition, temporary or permanent, but are well worth sharing. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on WEAPONRY WEDNESDAY! Also, we always want to learn more about our collection - if you have some insights on a piece, please feel free to share! #WeaponryWednes

Woman’s bodice, short-gown, or bedgown, early 19th century. A...

Tue, 23 Apr 2013 08:49:00 -0400

Woman’s bodice, short-gown, or bedgown, early 19th century. A utilitarian garment, this indigo blue and natural checked cotton fabric has been pieced from fragments, indicating that it was either for every-day utilitarian wear or from working class clothing. To form the pattern, the sleeves are cut in one piece with the body – a T-shaped pattern, a trait typical for this type of bodice. This example has an attached pair of ties that wrap around high on the body, following the high-waisted styling of the early 19th century.

This type of garment may have been worn informally, before getting properly dressed, or when doing housework. Because it is unfitted, it could be worn without a corset, thus perfect for working-class dress or the childbed (or right after childbirth). It would be worn with a petticoat (or skirt), overlapped in front and pinned or tied. This one has a sewn-on tie. Not surprising for an everyday item like this, little information came with it when it was given to the Museum. When Cora Ginsburg, noted textile dealer and consultant, looked at it in 1980, she felt that it could well have been a slave-worn garment.

The fabric is linen or cotton, or perhaps a blend, with a woven check. Given the date and the color, the blue thread was most likely dyed with indigo.

This short gown is on exhibit in “Indigo: Natural Blue Dye in the Lowcountry” from April 27 - September 2, 2013.

TEXTILE TUESDAYS: Each Tuesday we post a piece from our textile collection. Some items have been on exhibit, some will eventually be shown in our Historic Textiles Gallery and some may be just too fragile to display. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on TEXTILE TUESDAY! #TextileTuesday

We are celebrating Spring with music! The sheet music in the...

Fri, 19 Apr 2013 08:57:00 -0400

We are celebrating Spring with music! The sheet music in the Charleston Museum’s archives ranges from handwritten to published, with the bulk being published, and from the 18th to 20th century, with the bulk being early 20th century. Like many of our other components, the music comes from different donors with varying provenances. While they are some of our more “fun” items in the collection, they are also a fascinating glimpse at popular culture during various time periods.

“Spring, Beautiful Spring,” (Frühling, Wie Bist Du So Schön) by Paul Lincke, 1921. Listen. Lincke is perhaps best known for “The Glow-Worm”, from his operetta, Lysistrata, and “Berlin Air” (Berlin Luft), from another of his operettas, Frau Luna
“Spring Charms,” by Milo Stevens, 1942. Stevens also wrote other works for the piano - “On a Bright Blue Sea,” “Nodding Poppies” and “Parade of the Tiddle-Dy-Winks”
“Springtime in Charleston,” by Robert S. Cathcart, Jr. and Fud Livingston, 1947. Cathcart was a well-known songwriter in Charleston during the 1920s-1960s. “Springtime in Charleston” won first place in a contest held in 1947 by the Charleston Challenges during the Azalea Festival.
“In My Garden,” by Idabelle Smith Firestone, 1929. Firestone also wrote “If I Could Tell You” (the theme of “Voice of Firestone” programs), “You Are the Song in My Heart,” “Do You Recall?”, “Melody of Love” and “Bluebirds”. She was married to Harvey Firestone, founder of the Firestone Tire and Rubber Company.
“Oh, Charming May! Ballad,“ by G. Herbert Rodwell, c. 1848-58.
“The Spring Maid” Operetta in Two Acts from the German by Julius Wilhelm and A. M. Willner, 1909. Read a December 27, 1910 New York Times review of the operetta. The insets show images of Christie MacDonald and Mizzi Hajos.
“In an Old Dutch Garden (By an Old Dutch Mill),” by Mack Gordon and Will Grosz, 1939. Inset of Rudy Vallee. Made popular by Eddie Duchin (listen), Glenn Miller (listen), and Hank Snow.

EPHEMERA FRIDAY: Each Friday we post a selection or small collection from our Archives. Some items may be on exhibit, some may be too fragile to display and some may be too unusual to fit into our typical Lowcountry exhibit themes. We will occasionally ask for help identifying people or places in photographs that have come to us with little or no information. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on EPHEMERA FRIDAY.

Target PistolJohn Michael HappoldtCharlestonc. 1826Born from...

Wed, 17 Apr 2013 09:11:09 -0400

Target Pistol
John Michael Happoldt
Charleston
c. 1826
Born from several heated courtroom debates, Charleston attorney James L. Petigru accepted a challenge to duel from rival attorney Faneuil Hunt in 1826. In order to properly prepare for this fight, Petigru paid $100 to gunsmith, J.M. Happoldt, for this target pistol with which to hone his marksmanship. The gun matches all the general characteristics of an average dueling pistol except for its rifled barrel. (Proper dueling pieces were expected to be smoothbore.) Sadly, just as the duel’s set date approached, Petigru’s son and mother died within days of each other, and Hunt withdrew his challenge out of sympathy.

Weaponry Wednesday: Each Wednesday we post an object (or group of objects) from the Charleston Museum’s diverse weapons collection. Many Weaponry Wednesday items may be on permanent exhibit in our armory or elsewhere in the museum, but some pieces rarely see exhibition, temporary or permanent, but are well worth sharing. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on WEAPONRY WEDNESDAY! Also, we always want to learn more about our collection - if you have some insights on a piece, please feel free to share! #WeaponryWednes

Beautifully embroidered with spring flowers, this little silk...

Tue, 16 Apr 2013 08:57:51 -0400

Beautifully embroidered with spring flowers, this little silk tobacco pouch probably dates to the early 19th century. Each of the three sides has a different scene: pink and green roses and stems with a caterpillar; red strawberries surrounded by leaves and scroll; and a scroll design with an inscription and the initial “P.” The inscription, “The best wishes of a Friend Attend thee” suggests that it was made as a gift. Fortunately, the recipient never really used it for tobacco or at all since it is in excellent condition.

Each panel measures 5.25” x 9.5”. The stitches are chain, French knot, outline, satin and single done in two-ply silk thread and silk chenille. The top has a drawstring of silk rope with tassels at the ends. There are also tassels attached to the points around the pouch.

This wonderful piece came to the museum from Mr. & Mrs. William Porter Cart in 1955. If you trace back, his maternal great grandfather was William Lamb Porter (1786-1860) who married Ann Saylor (1791-1833) in Charleston on January 17, 1810. It seems possible that the “P” on our bag might be William Lamb Porter, made by and given to him by Ann before they married.

TEXTILE TUESDAYS: Each Tuesday we post a piece from our textile collection. Some items have been on exhibit, some will eventually be shown in our Historic Textiles Gallery and some may be just too fragile to display. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on TEXTILE TUESDAY! #TextileTuesday

Are there wheelchairs available?

Mon, 15 Apr 2013 10:58:38 -0400

Yes, we do have one available to check out. Please ask at the admissions desk and they will arrange it. Thanks for checking!

Enjoy this selection of fishing-related photographs and a...

Fri, 12 Apr 2013 09:04:48 -0400

fishing the bridge, Otranto, SC; photographer M.B. Paine, July 1901

unidentified young boy holding fish; circa 1905, photographer and location unknown

unidentified young boy holding fish; circa 1905, photographer and location unknown

three unidentified men fishing from a boat; photographer and location unknown, no date

Man checking his fishing line on dirt road leading to beach - possibly Folly Beach; photographer M.B. Paine, no date

Postcard, addressed to Mr. Baron Holmes at 18 Church Street in Charleston, postmarked 1911

black grouper caught 26 fathoms off Charleston, length 4'7" and weight 137lbs; July 1933

Handwritten on reverse of photo: “Cooper River near Strawberry”; no date given

Folly Beach, September 1937; photographer M.B. Paine

Enjoy this selection of fishing-related photographs and a postcard from the collection!

fishing the bridge, Otranto, SC; photographer M.B. Paine, July 1901
unidentified young boy holding fish; circa 1905, photographer and location unknown
unidentified young boy holding fish; circa 1905, photographer and location unknown
three unidentified men fishing from a boat; photographer and location unknown, no date
Man checking his fishing line on dirt road leading to beach - possibly Folly Beach; photographer M.B. Paine, no date
Postcard, addressed to Mr. Baron Holmes at 18 Church Street in Charleston, postmarked 1911
black grouper caught 26 fathoms off Charleston, length 4’7” and weight 137lbs; July 1933
Handwritten on reverse of photo: “Cooper River near Strawberry”; no date given
Folly Beach, September 1937; photographer M.B. Paine

US Model 1861 Naval CutlassesNathan Peabody Ames...

Wed, 10 Apr 2013 09:01:00 -0400

US Model 1861 Naval Cutlasses
Nathan Peabody Ames (attributed)
Chicopee, MA
1861-65

Still adhering to an age-old form, naval cutlasses of the Civil War period like these closely resemble those from the American Revolution and even the early colonial period. Originally a central European design, the cutlasses – an English corruption of the antiquated French word coutelas and Italian coltellaccio meaning “large blade” – was most effective as a maritime weapon and tool. The heavy yet short blade was handy at cutting thick ropes and rigging but more importantly its compact size yielded more maneuverability when engaged in hand-hand-combat within the close confines of a ship. Moreover, the solid brass knuckle-bow made an excellent bludgeoning device – especially on a crowded deck or galley. Even into the 1940s, both British and American navies continued to issue cutlasses as combat weapons, and it is still issued as a ceremonial piece within the United States Navy.

Weaponry Wednesday: Each Wednesday we post an object (or group of objects) from the Charleston Museum’s diverse weapons collection. Many Weaponry Wednesday items may be on permanent exhibit in our armory or elsewhere in the museum, but some pieces rarely see exhibition, temporary or permanent, but are well worth sharing. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on WEAPONRY WEDNESDAY! Also, we always want to learn more about our collection - if you have some insights on a piece, please feel free to share! #WeaponryWednes

Lowcountry South Carolina chintz appliqué quilts are usually...

Tue, 09 Apr 2013 08:59:26 -0400

Lowcountry South Carolina chintz appliqué quilts are usually full of wonderful floral motifs, celebrating springtime and the beauty of the area’s gardens. This rather unusual quilt is no exception. The central floral wreath medallion is almost completely missing, but the vast array of other applied motifs easily make up for that. The entire central square is printed with tiny little flowers and edged with a beautiful border fabric, printed especially as a border. The maker has created the next border herself by applying an undulating line of a leafy print, setting off alternating floral bouquets. The final border, 16.75” wide, is a repetition of fabulous urns and floral swags. It appears that the maker ran out of fabric and substituted a totally different print on one side, probably where the pillows would cover it. The final product is covered with tiny cross-hatch quilting and the whole piece is edged with woven tape binding.

This quilt probably dates c. 1830 and descended in the Lee family of Charleston. It was in the estate of Miss Eleanor May Lee (1903-1987), the daughter of Jacob Allison Lee and Eleanor Manson Wright, and given to the museum through her niece, Eleanor Cave Hill in 1988.

TEXTILE TUESDAYS: Each Tuesday we post a piece from our textile collection. Some items have been on exhibit, some will eventually be shown in our Historic Textiles Gallery and some may be just too fragile to display. We hope you enjoy our selection each week – do let us know if there’s something in particular you’d like to see on TEXTILE TUESDAY! #TextileTuesday

Hand-tinted map of South Carolina coast and inland area,...

Fri, 05 Apr 2013 09:24:00 -0400

Hand-tinted map of South Carolina coast and inland area, published in 1696 by Nicholas Sanson, a French cartographer. Titled in French, it reads as,

A particular map of Carolina, drawing on the New memories of Mr. S of Amsterdam from the House of Pierre Mortier Bookseller. With privilege our Lords of the States.

The map, based on the c. 1695 Thornton-Morden map, was first published in Sanson’s Atlas Nouveau Contenant Toutes Les Parties du Monde. It depicts the area from the South Edisto River to the Santee River. Relief shown pictorially, depth shown by soundings and bathymetric shading. Landowners, rivers, creeks, Native American settlements, mountains, and trees are represented.