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Train

Artist:
Edward Mitchell Bannister, born St. Andrews, New Brunswick, Canada 1828-died Providence, RI 1901
Medium:
oil on canvas
Dimensions:
6 x 8 1/4 in. (15.3 x 21.0 cm.)
Type:
Painting
Date:
ca. 1875-1880
Topic:
Architecture\bridge
Landscape\river
Architecture\vehicle\train
Credit Line:
Smithsonian American Art Museum, Gift of Frederick and Joan Slatsky
Object number:
1983.95.107
Description:
Edward Bannister’s painting shows a train cutting through a rural landscape, where a railroad trestle interrupts the flow of the stream below. These familiar signs of progress in the nineteenth-century landscape highlight a concern shared by many of Bannister’s fellow painters, who worried that industrialization would soon destroy their nation’s natural beauty.
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Smithsonian American Art Museum Collection
Data Source:
Smithsonian American Art Museum
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Train

Artist:
Utagawa Yoshitora 歌川芳虎 (active ca. 1850-1880)
Medium:
Woodblock print; ink and color on paper
Dimensions:
H x W (image): 35.8 × 73 cm (14 1/8 × 28 3/4 in)
Type:
Print
Origin:
Japan
Date:
1870
Topic:
train
Japan
Japanese Art
Robert O. Muller collection
triptych
Credit Line:
Robert O. Muller Collection
Accession Number:
S2003.8.3665
Rights:
Copyright with museum
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
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Trains

Designer:
Saul Steinberg, American, b. Romania, 1914–1999
Medium:
Pen and black ink, graphite on heavy wove paper
Culture:
American
Type:
textile designs
Drawing
Object Name:
Drawing
Made in:
France
Date:
before 1956
Credit Line:
Gift of Harvey Smith
Accession Number:
1956-126-2
Catalogue Status:
Research in Progress
Description:
Four horizontal ranges show imaginary railroad trains, some peopled, going in various directions. Parts are overlaid with alternate suggestions.
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Drawings, Prints, and Graphic Design Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
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Trains

Designer:
Saul Steinberg, American, b. Romania, 1914–1999
Medium:
printed
Type:
printed, dyed & painted textiles
Textile
Object Name:
Textile
Place:
USA
Accession Number:
1956-176-2
Catalogue Status:
Research in Progress
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Textiles Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
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Trains

Designer:
Saul Steinberg, American, b. Romania, 1914–1999
Manufacturer:
Piazza Prints Inc., New York, NY, founded 1946
Medium:
Medium: silk Technique: screen printed on plain weave using eight screens
Type:
printed, dyed & painted textiles
Scarf
Object Name:
Scarf
Made in:
New York, USA
Date:
1951
Credit Line:
Gift of Harvey Smith
Accession Number:
1968-135-90
Catalogue Status:
Research in Progress
Description:
Divided into four sections with black and white scene of train station. Top left has a train/trolley in color and the bottom right corner show colored motifs. Thin linework used to create perspective with bold outlines for emphasis of architecture.
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Cooper Hewitt, Smithsonian Design Museum Collection
Textiles Department
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Cooper Hewitt, Smithsonian Design Museum
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Trains

Designer:
Saul Steinberg, American, b. Romania, 1914–1999
Manufacturer:
Patterson Fabrics
Medium:
Medium: Technique: screen printed on plain weave
Type:
printed, dyed & painted textiles
Textile
Object Name:
Textile
Made in:
USA
Date:
1951
Accession Number:
1958-153-1
Catalogue Status:
Research in Progress
See more items in:
Cooper Hewitt, Smithsonian Design Museum Collection
Textiles Department
Data Source:
Cooper Hewitt, Smithsonian Design Museum
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Trains

Designer:
Saul Steinberg, American, b. Romania, 1914–1999
Manufacturer:
Piazza Prints Inc., New York, NY, founded 1946
Medium:
Screen printed on paper
Type:
Wallcoverings
Sidewall
Object Name:
Sidewall
Made in:
New York, USA
Date:
1950–51
Credit Line:
Gift of Harvey Smith
Accession Number:
1950-126-3-a/c
Description:
A humorous fantasy on railroad stations and trains. Arranged at random are European glass-roofed railroad stations. A small engine at left draws a car, obviously English, which bears the legend "Second Class." Printed in colors with black outline on white ground.
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Cooper Hewitt, Smithsonian Design Museum Collection
Wallcoverings Department
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Cooper Hewitt, Smithsonian Design Museum
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Trains

Designer:
Saul Steinberg, American, b. Romania, 1914–1999
Printer:
Piazza Prints Inc., New York, NY, founded 1946
Medium:
Medium: silk Technique: screen printed on plain weave
Type:
printed, dyed & painted textiles
Textile
Object Name:
Textile
Date:
1951
Credit Line:
Gift of Robert A. and Lynne C. Adams
Accession Number:
2007-28-3
Catalogue Status:
Research in Progress
Description:
Vistas of railway stations, with emphasis on the metal structure, with engines, coaches, and passengers depicted. Line drawing in black on a white ground, with touches of color in blue, green, orange, and red.
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Cooper Hewitt, Smithsonian Design Museum Collection
Textiles Department
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Cooper Hewitt, Smithsonian Design Museum
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Additional Online Media:

Train

Physical Description:
metal (overall material)
Measurements:
overall: 161 mm x 215 mm; 6 11/32 in x 8 15/32 in
Object Name:
tintype
Place made:
United States: New York
Date made:
after 1861
Subject:
Photography
Tintype Collection
Photo History Collection
ID Number:
PG*67.57
Accession number:
266009
Catalog number:
67.57
Description (Brief):
Vignetted tintype of a freight train (Rome, Watertown, & Ogdensburg Railroad) pulling flatbed cars and a group of people on an adjacent hill; in foreground, telegraph poles and another train track.
Description:
The NMAH Photo History Collection (PHC) has over 3000 tintype photographs dating from the beginnings of the process in 1856 to the present. ‘Tintype’ was coined and became the favored name.
Tintypes in the PHC are found in albums, the Kaynor Union Case collection and as individual photographs. The original tintype process patent was assigned to William and Peter Neff in 1856. William Neff died a short time later, but his son Peter, who named the process Melainotype, continued on with his work. The earliest tintypes in the PHC are a group of more than thirty Peter Neff Melainotypes, some of which date back to 1856 and contain notes written by Peter Neff. Shortly after the Melainotype, Victor Griswold introduced a very similar process on thinner, lighter iron plates and called them Ferrotypes. The PHC has tintypes ranging from rare large images between 5”x7” and 10”x12”down to small images cut to 6mm diameter to fit jewelry. The Melainotypes are between 1/6 plate and 4”x5” in size and many have indistinct images. There are also unexposed Melainotype plates including a pack of 1/6 plates and large whole-plates with four decorated oval borders that were designed to be cut into smaller quarter plates after exposure.
The great majority of tintype photographs are studio portraits, including the very popular ‘Gem’ size (about ¾” x 1”). Almost every gem tintype in the PHC is an individual head and shoulders portraits, the only exceptions seen being a full length portrait and a head and shoulders portrait of a couple. Most of these gem portraits are in small gem albums designed to hold two to six gems per page. However, several gems are mounted on cartes-de-visite (CDV) size cards and set in specifically designed album pages. Some of these CDV mounted gems are in elaborate miniature frames attached to the card. The tintypes larger than gem size show a greater variety of subject matter, but still with a main focus on individual portraits, this is especially true of the smaller 1/16 and 1/9 plate images. Outdoor tintypes are rare. Of the few in the PHC, the most common outdoor subjects noted are people standing in front of their homes and photographs of people proudly standing with, or sitting on, their horse or horses and buggy. One of the largest tintypes is a 9”x 7” outdoor view of a row of townhouses with a couple standing on one of the balconies. There is also an outdoor tintype of men fishing along with another of their days catch.
One common subject in tintype photography, as noted in text books, is the civil war soldier. The durability of the tintype meant that photographs taken in the field could be sent home. However, this category of tintype is not well represented in the PHC, with less than thirty noted due to the fact that the majority of the Smithsonian’s Civil War tintypes are located mainly in the Military History Collection. Most of the PHC examples of Civil War tintypes are in the Kaynor collection of cased images.
A few of the tintypes in the PHC are hand colored. This coloring varies from light tinting of faces and hands to heavy overpainting that obscures the underlying tintype image. A number of the tintypes (about 30) depict people with the apparatus of their occupations. Some are posed studio shots and others appear to be photographs of people at their place of work. Among the occupational views are images of a doctor, grocery deliveryman, weavers, fireman, ice delivery man, craftsman, cobbler, shoe shiners, mail carrier, surveyor, pipe liners and other tintypes of people wearing work clothes and posing with tools. These include a unique full-length gem tintype of a man in work apron with a saw.
Location:
Currently not on view
See more items in:
Culture and the Arts: Photographic History
Photo History Collection
Tintype Collection
Data Source:
National Museum of American History, Kenneth E. Behring Center
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Ethel Train

Artist:
L. S. Zumbuhl, 1905 - 1915?
Sitter:
Ethel Train, 1875 - ?
Medium:
Platinum print
Dimensions:
Image/Sheet: 15.4 × 8.2 cm (6 1/16 × 3 1/4")
Mount: 16.2 × 9.9 cm (6 3/8 × 3 7/8")
Type:
Photograph
Date:
1911
Topic:
Interior
Photographic Format\Cabinet card
Portrait
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
S/NPG.78.133
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
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Ethel Train

Artist:
L. S. Zumbuhl, 1905 - 1915?
Sitter:
Ethel Train, 1875 - ?
Medium:
Platinum print on linen finished paper
Dimensions:
Image/Sheet: 14.9 × 10.5 cm (5 7/8 × 4 1/8")
Mount: 15.8 × 11.3 cm (6 1/4 × 4 7/16")
Type:
Photograph
Date:
c. 1910
Topic:
Interior
Clothing & Apparel\Dress Accessory\Headgear\Hat
Photographic Format\Cabinet card
Portrait
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
S/NPG.78.135
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
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Train and Factory

Artist:
Louis Lozowick, born Ludvinovka, Russia 1892-died South Orange, NJ 1973
Medium:
lithograph on paper
Dimensions:
image: 10 5/8 x 7 1/8 in. (26.9 x 18.1 cm)
Type:
Graphic Arts-Print
Date:
1933
Topic:
Architecture\industry\mill
Architecture\vehicle\train
Credit Line:
Smithsonian American Art Museum, Gift of Adele Lozowick
Object number:
1986.81.7
Copyright Credit Line:
© 1933, Lee Lozowick
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Smithsonian American Art Museum Collection
Data Source:
Smithsonian American Art Museum
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Ceremonial train

nyoka
Maker:
Ndebele peoples
Medium:
Glass beads, plant fiber
Dimensions:
H x W: 195.6 x 22.9 cm (77 x 9 in.)
Type:
Costume and Textile
Geography:
South Africa
Date:
Mid-late 20th century
Topic:
Marriage
Adornment
Credit Line:
Gift of Mr. and Mrs. Chaim Gross
Object number:
83-12-12
Label Text:
The word nyoka literally means "snake." It refers to the physical appearance of the long, rectangular beaded panels that are identified with Ndebele brides, but it does not seem to imply anything snakelike about the garments' wearers. Unlike Western bridal veils, these Ndebele creations were worn after the wedding on important occasions. There seems to have been quite a lot of variation on how they were worn: attached to a headpiece, draped from the shoulders as a cape, even worn down the front of the body.
See more items in:
National Museum of African Art Collection
Data Source:
National Museum of African Art
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Ceremonial train

nyoga
Maker:
Ndebele peoples
Medium:
Glass beads, plant fiber
Dimensions:
H x W: 145.1 x 19.1 cm (57 1/8 x 7 1/2 in.)
Type:
Costume and Textile
Geography:
South Africa
Date:
Mid-20th century
Topic:
Marriage
Adornment
Writing
Female use
geometric motif
Credit Line:
Gift of Mr. and Mrs. Chaim Gross
Object number:
83-12-31
Label Text:
The word nyoka literally means "snake." It refers to the physical appearance of the long, rectangular beaded panels that are identified with Ndebele brides, but it does not seem to imply anything snakelike about the garments' wearers. Unlike Western bridal veils, these Ndebele creations were worn after the wedding on important occasions. There seems to have been quite a lot of variation on how they were worn: attached to a headpiece, draped from the shoulders as a cape, even worn down the front of the body. The letters "T" and "P" on this veil are design elements inspired by the license plate for Pretoria.
See more items in:
National Museum of African Art Collection
Data Source:
National Museum of African Art
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Ceremonial train

nyoka
Maker:
Ndebele peoples
Medium:
Glass beads, plant fiber
Dimensions:
H x W: 124.5 x 18.4 cm (49 x 7 1/4 in.)
Type:
Costume and Textile
Geography:
South Africa
Date:
Late 20th century
Topic:
Marriage
Adornment
Female use
geometric motif
Credit Line:
Gift of Mr. and Mrs. Chaim Gross
Object number:
83-12-38
Label Text:
The word nyoka literally means "snake." It refers to the physical appearance of the long, rectangular beaded panels that are identified with Ndebele brides, but it does not seem to imply anything snakelike about the garments' wearers. Unlike western bridal veils, these Ndebele creations were worn after the wedding on important occasions. There seems to have been quite a lot of variation on how they were worn: attached to a headpiece, draped from the shoulders as a cape, even worn down the front of the body.
See more items in:
National Museum of African Art Collection
Data Source:
National Museum of African Art
Visitor Tag(s):

Ceremonial train

nyoka
Maker:
Ndebele peoples
Medium:
Glass beads
Dimensions:
H x W x D: 202.6 x 35.4 x 2.6 cm (79 3/4 x 13 15/16 x 1 in.)
Type:
Costume Accessory
Geography:
South Africa
Date:
Early to mid-20th century
Topic:
Marriage
Adornment
Female use
geometric motif
Credit Line:
Bequest of Constance Stuart Larrabee
Object number:
2000-27-34
Rights:
Record photography. Not for publication.
Label Text:
The word nyoka literally means "snake." It refers to the physical appearance of the long, rectangular beaded panels that are identified with Ndebele brides, but it does not seem to imply anything snakelike about the garments' wearers. Unlike Western bridal veils, these Ndebele creations were worn after the wedding on important occasions. There seems to have been quite a lot of variation on how they were worn: attached to a headpiece, draped from the shoulders as a cape, even worn down the front of the body.
See more items in:
National Museum of African Art Collection
Data Source:
National Museum of African Art
Visitor Tag(s):

Ceremonial train

nyoka
Maker:
Ndebele peoples
Medium:
Glass beads
Dimensions:
H x W x D: 158.8 x 20.1 x 1.2 cm (62 1/2 x 7 15/16 x 1/2 in.)
Type:
Costume Accessory
Geography:
South Africa
Date:
Early to mid-20th century
Topic:
Marriage
Adornment
Female use
geometric motif
Credit Line:
Bequest of Constance Stuart Larrabee
Object number:
2000-27-35
Rights:
Record photography. Not for publication.
Label Text:
The word nyoka literally means "snake." It refers to the physical appearance of the long, rectangular beaded panels that are identified with Ndebele brides, but it does not seem to imply anything snakelike about the garments' wearers. Unlike Western bridal veils, these Ndebele creations were worn after the wedding on important occasions. There seems to have been quite a lot of variation on how they were worn: attached to a headpiece, draped from the shoulders as a cape, even worn down the front of the body.
See more items in:
National Museum of African Art Collection
Data Source:
National Museum of African Art
Visitor Tag(s):

Ceremonial train

nyoka
Maker:
Ndebele peoples
Medium:
Glass beads, wood, tacks
Dimensions:
H x W: 63.5 x 16.4 cm (25 x 6 7/16 in.)
Type:
Costume Accessory
Geography:
South Africa
Date:
Early to mid-20th century
Topic:
Marriage
Adornment
Female use
geometric motif
Credit Line:
Bequest of Constance Stuart Larrabee
Object number:
2000-27-36
Label Text:
The word nyoka literally means "snake." It refers to the physical appearance of the long, rectangular beaded panels that are identified with Ndebele brides, but it does not seem to imply anything snakelike about the garments' wearers. Unlike western bridal veils, these Ndebele creations were worn after the wedding on important occasions. There seems to have been quite a lot of variation on how they were worn: attached to a headpiece, draped from the shoulders as a cape, even worn down the front of the body.
See more items in:
National Museum of African Art Collection
Data Source:
National Museum of African Art
Visitor Tag(s):

Ceremonial train

nyoka
Maker:
Ndebele peoples
Medium:
Glass beads, wood, plant fiber
Dimensions:
H x W: 174 x 27.9 cm (68 1/2 x 11 in.)
Type:
Costume and Textile
Geography:
South Africa
Date:
Mid-20th century
Topic:
Marriage
Adornment
Female use
geometric motif
Credit Line:
Gift of Mr. and Mrs. Chaim Gross
Object number:
83-12-63
Label Text:
The word nyoka literally means "snake." It refers to the physical appearance of the long, rectangular beaded panels that are identified with Ndebele brides, but it does not seem to imply anything snakelike about the garments' wearers. Unlike Western bridal veils, these Ndebele creations were worn after the wedding on important occasions. There seems to have been quite a lot of variation on how they were worn: attached to a headpiece, draped from the shoulders as a cape, even worn down the front of the body.
See more items in:
National Museum of African Art Collection
Data Source:
National Museum of African Art
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Train in Coal Town

Artist:
Jack Savitsky, born Silver Creek, PA 1910-died Coaldale, PA 1991
Medium:
oil on fiberboard
Dimensions:
31 1/4 x 47 3/4 in. (79.4 x 121.3 cm.)
Type:
Painting
Folk Art
Date:
1968
Topic:
Architecture\industry\mine
Architecture\vehicle\train
Landscape\town
Landscape\Pennsylvania\Silver Creek
Credit Line:
Smithsonian American Art Museum, Gift of Herbert Waide Hemphill, Jr. and museum purchase made possible by Ralph Cross Johnson
Object number:
1986.65.137
See more items in:
Smithsonian American Art Museum Collection
Data Source:
Smithsonian American Art Museum
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