History Detectives

This is Not a Humbug–Reading into History is Back!

giant cover

Even though school has started and homework assignments are already piling up, it’s important to remember to read for fun! We’ve got that covered here at the Reading into History Family Book Club. This Sunday, kids ages 9-12 and their adults will gather to discuss Jim Murphy’s incredible book The Giant and How He Humbugged America and see precious artifacts related to it from our Patricia D. Klingenstein Library. What giant, you ask? Are there really giants, you also ask?

: The Cardiff Giant being removed from his “grave” on A.C. Newell’s Farm in 1869. Image courtesy of Wikipedia Commons.

The Cardiff Giant being removed from his “grave” on A.C. Newell’s Farm in 1869. Image courtesy of Wikipedia Commons.

We’ll answer your second question first: no, as far we know there are no real giants. The giant Mr. Murphy writes about was a ten-and-a-half foot tall stone statue of a man buried on a farm in Cardiff, New York in 1868 and then dug up by the owner of the farm, A.C. Newell, and some hired hands a year later. Most who first saw the giant thought it was a “petrified man,” or a man whose corpse had turned to stone after being buried for thousands of years . Others thought it was an ancient and significant statue. It took a long time to uncover the truth about the statue and its unsavory origins.

One man who became entangled with the giant’s rise to fame and remained powerful through its downfall was Phineas Taylor Barnum, the famous American showmen and co-founder of the Barnum & Bailey Circus. As the Cardiff Giant become popular—and lucrative— Barnum tried to buy a stake in it, but he was rejected. So what’s a famous humbug artist to do? He built a copy! But was it really a copy or was it the original? That’s what Barnum asked audiences to decide when they came to see it in his American Museum, which you can see in this image below.

P.T. Barnum’s American Museum at the corner of Broadway and Ann St., 1853. Collection of the New-York Historical Society.

P.T. Barnum’s American Museum at the corner of Broadway and Ann St., 1853. Collection of the New-York Historical Society.

The question “Is it real or fake?” is one that Barnum wanted people to ask themselves when they went to see his museum. That is-it-or-isn’t-it quality is what separates a humbug from a pure deception.  Barnum and those who exhibited the original Cardiff Giant swore up and down to the authenticity of their curiosities, but invited the public to debate that authenticity amongst themselves. This strategy gave ordinary people the power to become authorities on what they saw equal to scientists, archaeologists, or other so-called learned men. It also drove in crowds by the thousands. Here’s how one advertisement described what was on display for people to see in Barnum’s Museum, which included historical objects, animals, and people from places most Americans would never go:

This text comes from a poster advertisement for Barnum’s American Museum from the 1800s. Collection of the New-York Historical Society.

This text comes from a poster advertisement for Barnum’s American Museum from the 1800s. Collection of the New-York Historical Society.

We’d like to try humbug you right now into joining us this Sunday from 3-5 pm for the book wrap! There’s no pre-registration, no extra fee besides museum admission—just step right up, folks! You’ll decide if the Cardiff Giant’s creators were geniuses or charlatans; you’ll decide if the nineteenth century scientists who believed the giant was an ancient relic were as right as they could have been given the evidence, or if they were no-nothing amateurs duped by antiquated ideas; Finally, you’ll decide if people today are more or less susceptible to humbuggery than people were 146 years ago. We can’t wait to hear your thoughts!

Camp History: It’s a Wrap!



This summer, Camp History at the New-York Historical Society was all about the Civil War. Twenty-one precocious campers had the unforgettable experience of going behind-the-scenes at the Museum and Library to speak with museum and Civil War experts; styling and posing in their very own tintype photographs; and putting together and starring in their very own museum exhibition.  Check out some photos from Camp History below!

During Camp History, we explored in the galleries…




met with a conservator…


(and performed some conservation work!)


met with an exhibition designer…


(and made our own mounts!)


created our own quilt squares…


looked at artifacts up close…


learned all about Civil War era medicine…


(and performed surgery on our very own wounded soldiers!)



put up an exhibition in the Museum…


(which was written about in the  New York Daily News!)

and just had a lot of fun!



Please stay tuned to learn more about our upcoming February sessions of Camp History!

Suspended in Silver: Camp History & Photography Then and Now

Guest post by Robert Christian Malmberg

Color photo pf RCM, camera, model with caption: Malmberg with his large format camera on set at Broderson Backdrop Studio, 873 Broadway, New York, NY

Malmberg with his large format camera on set at Broderson Backdrop Studio, 873 Broadway, New York, NY

Starting Monday, August 11, photographer Robert Christian Malmberg will be photographing Camp History campers as people from the Civil War. We’ve asked him to guest-write a blog post for us to get to know him better. Here he is, in his own words:

My fascination with “alternative process” photography began in the back rooms of antique stores, sifting through boxes of old portraits and vintage photographs. I was always amazed by the craftsmanship that went into the earliest forms of the medium. While living in an ever-changing digital world, my desire to create something tangible with my own hands grew deeper. I wanted to get messy, to use photography as an art form. I soon discovered the “tintype” process, which I have been working with for over a decade now!

While the wetplate collodion process has changed quite a bit since the Civil War Era, the basic elements remain unchanged: sheets of glass (or metal, aka tintype) are coated with an emulsion (the collodion), dipped in liquid silver nitrate, loaded into a light-tight “plate holder”, exposed in the camera, and then hand developed as the latent image arrives from the abyss. The magic in the “reveal” of these final steps is a cross between alchemy and a quirky home science project!

There is a resurgence of wetplate work happening in the fine photography world today, which I find to be quite promising. It’s encouraging to see so many young photographers wanting to experiment with dated processes. Most current “wetplaters” stay pretty true to the time period, ie: staging Civil War Battle scenes or reenacting historical people and events. However, I’ve ALWAYS used the technique to photograph contemporary people, fashion, and subject matter.

john and luke

Left: John Ward, Jr., Lieutenant in 18th Regiment, NYSM in May 1861. Collection of the New-York Historical Society PR 012-3-494. Right: Original tintype by Robert. Model:Luke Ditella, styled by Altoriso, Groomed by Walton, Backdrop by Charles Broderson, Fashion by Tommy Hilfiger

In the above comparison, we can see how this process has transformed from the 1850’s to today. On the left, we see a portrait of a soldier from the Civil War. Early tintype plates like this one were almost always presented in an ornately crafted pocket frame. The plates were often cropped to conceal the imperfect edges and chemical errors. You will notice in my portrait of Luke to the right that I welcome sporadic grit and beautiful imperfections.  The hand poured image is like a fingerprint: no two are identical.

Aside from the obvious and drastic differences in fashion and lighting in the above photographs, there are many similarities: both men have stylized beards; both images have painted canvas backdrops; and both men have been posed deliberately by the photographer (notice the hands).

Unidentified Artist, Portrait of Two Girls, Collection of the New-York Historical Society, PR.012.1.326.Box12. Untitled Portrait, RCM

Left: Unidentified Artist, Portrait of Two Girls, Collection of the New-York Historical Society, PR.012.1.326.Box12. Right: Untitled Portrait, RCM

There are many visual differences between the portraits of yesteryear and today, even if the process is basically the same. In the above examples, we see children of the past on the left and a current tintype portrait I made of a child on the right. My specific technique offers a much warmer tone on the plate surface. Usually, time period plates have a much cooler, and sometimes greener, hue due to variables in the chemistry and processing times. Note on the left: it was very common for photographers to paint in a little “blush” on the cheeks of their sitters. This splash of color added warmth to the otherwise monochromatic portrait.

Isaac Rehn, Mrs. Charles S. Lewis (Elizabeth Harley), Matilda Anna Harley, and Hullina Harley, ca. 1860-1880, Collection of the New-York Historical Society, PR.012.1.361.Box14. 8x10” original tintype by Robert. Model: Nikki Alexa Reynen of  Click, styled by Altoriso, Hair and makeup by Jerry Lopez, Backdrop by Charles Broderson, Bridal gown by Elizabeth Fillmore

Left: Isaac Rehn, Mrs. Charles S. Lewis (Elizabeth Harley), Matilda Anna Harley, and Hullina Harley, ca. 1860-1880, Collection of the New-York Historical Society, PR.012.1.361.Box14. Right: 8×10” original tintype by Robert. Model: Nikki Alexa Reynen of Click, styled by Altoriso, Hair and makeup by Jerry Lopez, Backdrop by Charles Broderson, Bridal gown by Elizabeth Fillmore

Lastly, we can see the stark difference between these studio portraits of women. On the left, we see a group of women (probably sisters) posing stiffly with a forlorn countenance. The studio portraits of the era were generally created using window-daylight and very long exposure times. It was average for the sitter to hold completely still for 30 seconds to as long as 10 minutes! This often led to very serious facial expression as it’s easier to hold a straight face than a big cheeky smile.

Through the use of high voltage flash “pops” in my recent bridal portrait to the right, my exposures are very controlled, allowing for instantaneous capture. This is a major leap in technology from the era: it gives me control over the posing and facial expression. This was not a tool or luxury available to photographers of the 1860s.

We hope you’ve enjoyed the time travel through photography. For more information about camp history, email camphistory@nyhistory.org. Robert is also available for private portrait sessions by appointment only in his downtown NYC studio. For inquiries and to book your session please contact info@robertmalmberg.com or  917.202.0599. You can find him on Instagram at: @rcmgallery and online at www.robertmalmberg.com.

Blast from the Past: Tiny Incubator Babies: The Coney Island Attraction

Like many children growing up in busy families, sometimes I had to go into work with my dad. I loved it! My dad worked in a big city hospital and when we got there, he would guide me through the labyrinth of hallways to the neonatal intensive care unit where he parked me in front of a big window while he went off to do his work.

I pressed my nose to the glass and didn’t take my eyes off the nurses caring for the tiny babies, born too small, inside their incubators. “Tiny” is an understatement…these babies easily fit into the hands of the caregivers as they were gently monitored, cleaned and massaged. I learned from my father that the neonatal intensive care unit at his hospital was one of the very best in the country and that these babies did very well because of the incubator technology that was there.

But incubators are relatively new in the world of medicine. A basic warming incubator was developed in France in the 1880s, but it took a much more entrepreneurial mind to develop the incubator into something that would not only warm the babies but help their premature lungs develop.

This person was Dr. Martin Couney. He worked with doctors in Europe and brought this new technology over to America. But it wasn’t that simple. At the time, most babies were born at home and so hospitals did not want or need the expensive equipment. So, like in Europe, Dr. Couney began to set up incubator “shows” in places like the Pan-American Exposition of 1901 in Buffalo, NY. He was reluctant to charge fees for people to come “watch” the premature babies, but he had no choice.                                                                                                                                  

Eventually Dr. Couney set up permanent incubator exhibits at Coney Island, one at Luna Park from 1903 to 1943 and the other at Dreamland from 1904 until the fire of 1911 (all the babies were rescued). He rationalized the public nature of these exhibits by being able to prove to a dubious public that this new technology actually worked, by being able to continue to afford the staff and machinery through ticket sales, and most importantly, by being able to save the lives of more than 6,500 of the 8,000 babies that stayed there as premature infants. He even cared for his own daughter who had been born weighing only three pounds! (She later worked as one of the baby attendants.) None of the parents of the babies were ever charged for this care — most would not have been able to afford it and so were extremely grateful.


Infant Incubators at Coney Island, New-York Historical Society

In a New York Times article on August 1, 1904, it was reported that a reunion of babies who were “graduates” of Dr. Couney’s incubator exhibits was held at Dreamland, Coney Island. Dr. Couney was very interested to see how the children were doing. The reporter writes, “It would be hard to find a finer set of infants anywhere than those which cooed in their mothers’ arms while their photographs were being taken yesterday afternoon, or a more satisfied set of paters and maters.”


Incubator babies at Coney Island, New-York Historical Society

After 40 years, Dr. Couney finally shut down the incubator exhibits, citing the expense of maintaining the high cost. But he said that his goal had been reached — to convince doctors, hospitals and the public that the use of incubators for premature infants is an invaluable technology. By the time he retired, many hospitals around the country had created neonatal units using his incubator technology.

I was not born prematurely, but one of my daughters was, and she spent some time in one of the modern incubators, thanks to the entrepreneurial spirit of people like Dr. Couney and his caring staff.


Luna Park, 1911, New-York Historical Society




“The Incubator and the Medical Discovery of the Premature Infant,” Jeffrey P. Baker, MD, PhD, Journal of Perinatology 2000; 5:321-328, © Nature America Inc.

“Incubator Graduates Hold a Reunion: Forty Healthy Babies Meet at Coney Island,” The New York Times, August 1, 1904.


Celebrating Independence Day and Madeline at the New-York Historical Society

Earlier this month, on the 4th of July, the New-York Historical Society threw a supersized family day to celebrate both Independence Day and the opening of our special exhibition Madeline in New York: The Art of Ludwig Bemelmans.  And, the photos are finally in – check them out below!

That day, we made tricorner hats…


performed with the Hudson River Ramblers…


created our own silly Madeline stories…


got Madeline tattoos…


made Madeline, Pepito, and Genevieve finger puppets…


built the Eiffel Tower…


and even met Madeline!


If you missed all the excitement on the 4th of July and love Madeline, no need to worry. Join us on Sundays at 11:30 a.m. for Story Time – we’ll be reading Madeline books all summer long!

Step By Step: Make Your Own Madeline Hat!

Here at Little New-Yorkers, July marks Madeline month. So far we’ve been introduced to the wonderful fearsome character and her nemesis Pepito. We have many exciting craft projects based on the illustrations in the book to create, including the wonderful iconic yellow hat complete with black ribbon. Last week we read Madeline and the Bad Hat, and took our inspiration from the books’ title to create a hat craft project. It was really important that children be able to wear the hat, quite tricky when dealing with paper! However with a little cunning we came up with this template that can be adapted to create any number of hat accessories for the future.

You will need:

  • 2 Sheets yellow construction paper 12”x18”
  • Scissors
  • Stapler
  • Black ribbon
  • Glue stick
  • Pencil

What you'll need



Here’s how to make the hat:

1. Take one sheet of construction paper and cut into long strips. Do this along the longest side of the paper.
2. Take the second sheet and fold it in half lengthways.
3.  Use a pencil to draw the template below along the folded edge.
Image 3
4. You should have one semi-circle along the bottom and two curves along the edges. It should look like the picture above.

Image 5
5. Cut this out so that you end up with an arch shape.

Image 6
6. Then along the inner circle cut slits into the paper.

Image 7
7. Open it up, and gently fold back the slits. This will be the brim of your hat.

Image 8
8. Meanwhile take two strips of cardstock and measure it on your child’s head to create a band. A loser fit is better. Staple it into place.

Image 9
9. Place the band over the hole in the in the brim of the hat. All of the slits should sit nicely within your band.

Image 10
10. Without forcing the shape of the band, fold back the strips and staple them into place. The trick is to keep the circular shape.

Image 11
11. Take the ribbon and tie onto the hat with the bow falling at the back.

Image 12
12. For extra shape cut a strip on either side of your hat.

Image 13
13. Apply a bit of glue to the edge.

Image 14
14. Pull the paper over and place onto the glue. This will cause the hat to tilt up slightly creating more of a bowler hat look.



Example 2

Example 1

Walter Dean Myers’ Legacy

Image courtesy of walterdeanmyers.net

Image courtesy of walterdeanmyers.net

In August, 2012, our Reading into History family book club read Walter Dean Myers’ Harlem Summer. At the time, Mr. Myers was serving as national ambassador for young people’s literature, and he was kind enough to appear here at the DiMenna Children’s History Museum at a meeting to discuss his book. Now, we are deeply saddened by his passing and want to take a moment to reflect on his legacy as an author who not only wrote beautiful, complicated, imaginative books for young people, but also added unmeasurable value to our society by telling stories that rarely get told.

Walter Dean Myers touched our community of family readers briefly, but powerfully.  During his visit, Mr. Myers not only answered questions, but asked participants questions in return. He also talked about his mission to represent the lives of African American youth in literature. In his New York Times Sunday Review essay “Where are the People of Color in Children’s Books?”  that ran this past March, Mr. Myers called attention to the shameful reality that of the 3,200 children’s books published in 2013, only 93 prominently featured a black main or supporting character. That figure is shameful because while African Americans make up roughly 13.1% of the US population (US Census Bureau, 2012), they only make up 2.9% of the featured characters in children’s books. Mr. Myers dedicated his writing career to changing this. Here’s why he did so, in his own words, from his New York Times essay:

TODAY I am a writer, but I also see myself as something of a landscape artist. I paint pictures of scenes for inner-city youth that are familiar, and I people the scenes with brothers and aunts and friends they all have met. Thousands of young people have come to me saying that they love my books for some reason or the other…They have been struck by the recognition of themselves in the story, a validation of their existence as human beings, an acknowledgment of their value by someone who understands who they are.

WDM_IMG_1265-1024x682We honor Walter Dean Myers’ commitment to validating the existences of kids like Mark Purvis, the main character in Harlem Summer, who  in the beginning of the novel ponders his neighbor’s claim that “some folks were upper-crust, and some were plain old crumbs. I was more crumby than crusty.” Mr. Myers’ stories chip away at the “crumby” feeling too many children of color have. Here at the New-York Historical Society and DiMenna Children’s History Museum, we hope to be a part of carrying on his legacy by reading books about, as Mr. Myers put it “the mosaic” of American experiences, offering all children a chance to see their lives validated in literature.

In preparation for his visit with our book club, Mr. Myers answered some interview questions about his life and Harlem Summer. We are reprinting the interview here to pay tribute to a remarkable man and a remarkable life. Our hearts go out to Mr. Myers’ family and friends, and we hope it gives them comfort to know that we are a small part of the mosaic of lives he impacted.

DiMenna Children’s History Museum: What were you like between the ages of 9 and 12?HarlemSummer

Walter Dean Myers: I was a confident, but aggressive, kid, from the age of nine to my twelfth birthday.   My uncle, who had finally been released from jail after being there some seventeen years or so, was murdered on my birthday.   This started a downward spiral for my family which would involve alcoholism and a major depression.

DCHM: What is your favorite time period in American history? Why?

WDM: The period right after the Revolutionary War when the young nation was trying to find its path through the intellectual concepts it wanted to embrace and the pragmatic needs of its diverse citizenry is my favorite time period.  How elevated the tone of those conversations, many mirrored in the Federalist Papers, must have been!

DCHM: What is the coolest thing you’ve ever seen at the New-York Historical Society?

WDM: What always interests me at the N-YHS are the everyday artifacts of ordinary lives.  I’ve always wanted to think of the past as vaguely esoteric, but these people, solders, patriots, house wives, workers, also had to manage the tasks of day to day living.  Tres cool.

DCHM: What is your favorite place in New York City? Why?

WDM: Harlem, of course, was my childhood home.  But it also represents a growing New York as it extended the idea of ‘uptown’ and represented a style, and a cultural concept that promoted growth.

DCHM: What made you want to write Harlem Summer?

WDM: Langston Hughes did readings at my church when I was a child, and promoted my writing when I was a young struggling artist.   I was published early on in The Crisis, the magazine started by DuBois.  My parents went to rent parties at which Fats Waller played. How could I not write Harlem Summer?

DCHM: What 3 words best describe Harlem Summer?

WDM: Truth. Legend. Fun.

Little New-Yorkers Explore Madeline in New York: The Art of Ludwig Bemelmans

Our recent adventures in our Little New-Yorkers program has seen us experimenting with the format quite a bit. We’ve continued our foray into the galleries and have now got into a regular routine, exploring as much as possible.

Feedback from parents suggested that they particularly wanted to explore our new temporary exhibitions. This was a fantastic idea, allowing for our Little New-Yorkers to be introduced to the history of the city through themes set out in the exhibitions. We’ve also been experimenting with themed months. This has allowed our regular visitors to interact with the program on a deeper level while not alienating our newcomers.

In July, we’re bringing these two ideas together and delivering a Madeline-themed month in celebration of our new exhibition Madeline in New York: The Art of Ludwig Bemelmans, which opens on Friday July 4th. With so many wonderful books in this series, we couldn’t possibly chose just one and so decided to take the whole month to fully explore the character.

So who is Madeline? These rhyming books will introduce us to little a girl who goes to a Catholic boarding school in Paris. With each adventure we will find out more about this brave little girl, her many traits and all her friends.

Families will have ample opportunities to fully immerse themselves into Madeline’s world. The exhibition will be full of family-friendly activities including a reading space within the gallery to sit and browse through the iconic books.

For deeper exploration of the exhibition a wonderful family audio guide will be on offer, narrated by Broadway actor Terrence Mann. The audio guide will take children through the exhibits encouraging close observation and aiding in the discovery of other characters such as Madeline’s friend Pepito and Noodle the dog.

And the programs do not stop there. Families will be able to sample European-style dining complete with teas and crumpets with our Madeline Tea Parties.  These events are available on Wednesday afternoons during July, August and September.

In our Little New-Yorkers program each week we will read a different Madeline book and create a Madeline-inspired craft project. There will be an element of surprise in the program, only revealing our craft projects after we’ve finished reading the book. Our participants love trying to guess what they’ll be from the clues in the stories.

While I really don’t want to give away the surprise, I have included a few sneaky pictures for you to enjoy. Can you figure out what we’ll be making?

1 2 3

Waffles in the City

I just texted my teenagers to send me their photos of the waffles they’ve eaten — a strange request, but within minutes I got these:


Even today, in the modern world of cooking shows, celebrity chefs, and international foods on every block, the waffle remains such a delight that people feel the need to document them on their phones.

Where did this waffle craze come from?

The early Dutch residents in New York made similar treats using irons like these, called wafer irons. These were thin and crispy and served beautifully rolled up.

Wafer iron, ca. 1720-1820

Wafer iron, ca. 1720-1820, from the Folk Art Collection of Elie Nadelman, New-York Historical Society.

But the waffles we gobble up from the street carts today are deliciously thick, with a slight crunch on the outside, served with all kinds of yummy toppings. When did they become so popular?

The answer is 50 years ago, right here at the 1964 New York World’s Fair in Queens! Part of the World’s Fair was dedicated to showing visitors different cultures. It was in Belgian Village that Maurice and Rose Vermersch and their daughter MariePaule set up one of their waffle stands. They called their product “Brussels waffles” until realizing that people didn’t know Brussels as the capital of Belgium…so they changed the name to “Bel-Gem” waffles, which quickly became “Belgian waffles” to the world.

1964-1965 World’s Fair, New York, N.Y. Belgian Village

1964-1965 World’s Fair, New York, N.Y. Belgian Village, New-York Historical Society

The Vermersch family served more than 2,500 waffles each day, topped with whipped cream, powdered sugar and sliced strawberries. This year marks the 50th Anniversary of the World’s Fair here in New York so there are many people reminiscing about their experience at the fair. Plenty recall eating the amazing waffles!

“There was absolutely no polite way to eat it,” said Richard Post, 54, of Lawrence, L.I., who organizes World’s Fair conventions. “If you bit into it, you’d be wiping cream out of your nose.”

October 1964 photo provided by worldsfairphotos.com, four girls eat Belgian Waffles on the Grounds of the World’s Fair

In this October 1964 photo provided by worldsfairphotos.com, four girls eat Belgian Waffles on the Grounds of the World’s Fair in the Queens Borough of New York. (AP Photo/Bill Cotter)

If you visit us at the New-York Historical Society this summer, stop by the Patricia D. Klingenstein Library on the second floor to see It’s a Small World’ of Tomorrow: Remembering the 1964-1965 World’s Fair. This small case of memorabilia will be on exhibit through the summer from Tuesday through Friday until 3 pm.

Oh! And in case you want to make these at home…here’s the original recipe thanks to some sleuthing by Queens Tribune reporter William Brent.

Belgian waffle recipe

Information gathered from www.bigstory.ap.org and www.worldsfaircommunity.org.

Adults Playing Dress-Up – Bill Cunningham: Facades

So, you think kids are the only ones allowed to play dress-up? Renowned fashion photographer Bill Cunningham would disagree. The exhibition Bill Cunningham: Facades , currently on view at the New-York Historical Society through June 15, showcases a stunning series of photographs taken by Cunningham of models in period costumes all around New York City.

To dress his models, Cunningham shopped flea markets, thrift stores, and auction houses and collected over five hundred different outfits. The dream dress-up wardrobe he curated was then put to good use. Over the course of eight years (1968-1976), he photographed models in a variety of historic fashions in more than two thousand New York City locations.

His favorite model, muse really, was his good friend and fellow photographer Editta Sherman. She’s featured in the photographs below.

Blog photo 1

Grand Central Terminal, New York City by Bill Cunningham, ca. 1968-1976, New-York Historical Society, Gift of Bill Cunningham

(Do you recognize the building in the background?)

Blog Photo 2

Editta Sherman on the Subway by Bill Cunningham, ca. 1968-1976, New-York Historical Society, Gift of Bill Cunningham

(Do you often see ladies dressed like this riding with you on the train?)

Apart from being a diverting project – filled with friends, dress-up, and jaunts throughout the city – Cunningham’s photographic essay (eventually entitled Facades) played an important role in documenting the architecture and fashion history of New York City. During a time of great change in the urban landscape, Cunningham’s photographs captured not only the distant past (which his models’ costumes evoked), but also the historical perspective of the time in which they were taken.

If history told through the art of photography is something you’d like to learn more about (and you are a rising 4th-8th grader), join us for Camp History in August! This year we’ll be exploring the Civil War and campers will get the chance to pose for their very own authentic, tin-type photo!


This is a clubhouse blog for kids who love history! It is created by the staff of the DiMenna Children’s History Museum and New-York Historical Society.
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