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The Lefferts family goes digital

In 2010, the Lefferts historic house donated a rich collection of Lefferts family papers to Brooklyn Historical Society. Included were genealogies, bibles, recipe books, financial papers, personal recollections, and many other documents that offer an intimate glimpse into the lives and labors of one Brooklyn family over four centuries. Thanks to a generous grant from the Leon Levy Foundation, BHS spent much of 2010 and 2011 conserving, organizing, and processing these materials. The goal: to make these unique artifacts available to researchers, students, and museumgoers, and to preserve their historical lessons for generations to come.

Gold framed rose-tinted photograph of back of Lefferts homestead in snow; Lefferts family papers, ARC.145, box 5, folder 9; Brooklyn Historical Society.

When I began my work as BHS’s public historian in early 2011, I could not wait to dive into the institution’s rich archival materials. Very quickly, the Lefferts family papers became one of my favorite collections. Because it spans almost four centuries – from the arrival of the first Leffertses in 1660 through the present – the Lefferts family papers illustrate some of the most important themes of Brooklyn’s history: slavery and freedom, the development of Flatbush from farmland to suburb, the experiences of women in colonial Brooklyn, and many more.  We at BHS wanted to make these evocative materials available to as many eyes as possible.

That’s why BHS is proud to launch “An American Family Grows in Brooklyn: The Lefferts Family Papers at Brooklyn Historical Society.” This new digital exhibit examines Brooklyn’s complex history through the eyes of one family.  The site also includes an image gallery showcasing high-resolution reproductions of seventy-seven items from the Lefferts family papers.

Mrs. Lefferts' recipe book, circa 1800s; Lefferts family papers, ARC.145, box 6, folder 6; Brooklyn Historical Society.

An American Family Grows in Brooklyn” chronicles the family’s arrival in frontier Flatbush, their role in building Kings County’s booming agricultural economy, their use of enslaved laborers up until New York’s Emancipation Day in 1827, and their relationships with other Dutch families in the region.  Items like a nineteenth century cookbook or a list of expenses from a 1791 funeral reveal the material conditions that shaped the everyday lives of members of the Lefferts clan.  Other documents, like the dozens of slave indentures held in the collection, offer glimpses into the experiences of a less-chronicled but equally important group of Brooklynites: enslaved African Americans.

We hope that researchers, history buffs, students, and other Brooklyn enthusiasts around the globe take advantage of the rich resources available in “An American Family Grows in Brooklyn.

Cropsey’s Cap: Discovering Brooklyn’s Civil War History

Each semester, the BHS Education Department asks our interns to research at least one object on display and present their findings.  I’m very pleased to introduce the following post by guest blogger, Chelsea Trembly, and her excellent research on “Cropsey’s Cap,” now on display in Inventing Brooklyn

Thanks, Chelsea!

Cropsey’s Cap: Discovering Brooklyn’s Civil War History

Col. William J. Cropsey's cap on display in Inventing Brooklyn. Photo by Chelsea Trembly, 2011.

Sometimes a hat is just a hat – this is not the case, however, for the Union Army Civil War forage cap that is on display in our newest exhibition Inventing Brooklyn.  As part of my ongoing Intern Research Project, I delved into the archives to discover more about this particular chapeau.  Tucked in a shadowed corner of a display box, this felt and leather hat (ca. 1860 – 1869), belonged to a reluctant Union Army soldier who began his military career as a private in the Federal army in 1851 and eventually rose through the ranks in the military to the position of Colonel during the Civil War. 

This soldier was New Utrecht native Colonel William J. Cropsey.  In a re-telling of his military career in 1912 he presents himself as a haphazard, ambivalent soldier.  According to the elderly Colonel Cropsey (who, incidentally, told his story while seated next to another well known Brooklynite, Peter Wyckoff), Cropsey only joined the military to escape the inevitable doom of jury duty.  This headstrong 25 year-old was so desperate to escape a potential “six weeks” of sitting in court that he traded his life of fishing at the Narrows every day for a daily life filled with discipline and military order.

Cropsey’s New York Times obituary states that he served in the 71st Regiment of New York, which was combined with the 2nd Regiment of General Sickle’s Brigade.   His hat imparts a great deal of information about his status.  For example, we know that the number “2” on it represents his Regiment number.  From looking at various illustrated Civil War uniform guides, we also know that the insignia on the front (two swords with blades faced upwards) identify this hat as a Colonel’s cap in the Calvary.  Cropsey’s Regiment was mustered in between June 20 and July 18, 1861 and mustered out on July 30, 1864.  They fought in battles such as Bull Run and Gettysburg.  In fact, given when Cropsey was commissioned Colonel (February 1863), he may have worn this hat during the Battle of Gettysburg (July 1-3, 1863).

We can also learn a great deal from the physical dimensions of the hat – it’s 6 ½ inches tall in the back, and 4 ½ inches tall in the front.  These proportions indicate the hat was of the unique “McClellan” style, named after General George B. McClellan who was a West Point graduate, veteran of the Mexican-American War and mythologized Civil War general who led troops into famous battles in the peninsula of Virginia, as well as Gettysburg and Bull Run.  McClellan was probably first issued this particular style of hat while at West Point, where it was distributed in the 1830s.   This style was not distributed among soldiers in the Federal Army until 1851, the first year of Cropsey’s enlistment. (Remember: Cropsey would not have received this hat until 1863 because that’s when he became Colonel, and the hat’s insignia indicates that it was a Colonel’s cap).

Also, this hat can teach us about patterns of American consumption and taste during the American Civil War. For example, we can tell from the style of this hat that it was modeled after the French forage cap or “kepi.”  In fact, French military dress inspired a number of uniform styles we see in the American military, especially in the early years of the Civil War. 

This Civil War envelope shows an example of a "Zouave" uniform, ca. 1861-1865, Library of Congress, Prints and Photographs, Call Number LOT 14043-6, no. 20.

Perhaps the most striking example was the 5th New York Volunteer Infantry, which wore Zouave-style French uniforms, originally modeled after North African dress (read:  red, M.C. Hammer-style, parachute pants).  In the early years of the war the Union Army ordered 10,000 uniforms from France and also imported uniforms from other places in Europe, a decision that cost a cool $800,000.  

The Union Army accumulated quite a few uniforms throughout the early years of the war.  By 1862 it is documented that the Union Army had over 500,000 pairs of shoes and 600,000 overcoats to its name.   When I stumbled upon this statistic, I immediately thought that it was wrong.   My limited understanding of military dress during the Civil War (prior to this research project) was that soldiers were often inappropriately dressed or shoe-less.  Why, I thought, is there a myth that Civil War soldiers were poorly dressed if there was so much clothing?  After some research, I discovered that these uniforms were not distributed because the Union Army was so disorganized.  Once the Union Army did figure out how to distribute the clothing, the soldiers found that the materials were so “shoddy” that they often fell apart after weeks.  To add insult to injury, the uniforms’ materials were so difficult to clean that often vermin and insects would embed themselves in the fabric, and infest the soldier’s clothing.   To remedy this enormous problem, soldiers often burned their uniforms after being issued a new set of fatigues (an occasion that only occurred once a year; new hats were only issued once every five years).  Luckily for the soldiers, mid-way through the war the Union began manufacturing their uniforms domestically, and apparently the quality of the uniforms improved.

Wondering what happened to Colonel Cropsey?  He retired from the Army during the 1870s and went on to serve in local government in Brooklyn and New Utrecht.

“We Live in Brooklyn, Baby”

Several weeks ago I attended the Roy Ayers concert at SummerStage (here’s the live performance) in Central Park. It was a gorgeous evening, with a crowd that probably represented six of the seven continents. When Ayers played Harry Whitaker‘s song, We Live in Brooklyn, Baby (originally recorded on Ayers’ 1971 album, He’s Coming), everyone knew it. The entire audience sang in unison “We live in Brooklyn, baby. We’re trying to make it, baby. We wanna make it, baby. We’re gonna make it, baby.” (link to the 1971 version)

It was an amazing feeling when we–people from Brooklyn, Manhattan, the Bronx, Queens, Staten Island…people from what looked to be everywhere and beyond–shared with each other our vision of Brooklyn. You could feel it too. Everyone who sang that song knew Brooklyn–had a connection to it in their own way. It started me thinking about the idea of Brooklyn. How has people’s ideas of what Brooklyn is and what it represents changed over the years? Who influenced/is influencing the idea of what Brooklyn is? Who is defining it?

So far, while working on the CLIR project here at BHS, I’ve come across many different ideas of what Brooklyn is and how it should be remembered. Our archival, photography, oral history, and map collections are filled with people’s ideas of Brooklyn. Further, I’m not the only one thinking about what and who makes Brooklyn, Brooklyn. Currently at BHS, we have an excellent exhibit that explores the idea of Brooklyn–Inventing Brooklyn: People, Places, Progress. The March/April 2011 issue of City Limits Magazine also explored the idea of Brooklyn, or rather how we define Brooklyn. And last night, at the Skylight Gallery located within Restoration Plaza, a new exhibit opened, Crown Heights Gold: Examining Race Relations and Healing in Crown Heights, that explores various views of one neighborhood in Brooklyn and one event that took place there, the Crown Height Riots of 1991. (Note: BHS is also hosting an event with the curator of Crown Heights Gold, Dexter Wimberly, and two of the artists from the exhibit on August 11, 2011; for more on Crown Heights, see BHS’s oral history collection: Crown Heights Oral History-Listen To This)

If you too are interested in exploring, examining, and defining the past, present, and future of Brooklyn, you can do your own research at BHS in the Othmer Library (Wed. through Fri. 1-5pm or by appointment). In the meantime, here are some examples of how Brooklyn is represented in our collections.

In the late 1960s/early 1970s Newsweek photojournalist/photographer Bernard Gotfryd shot these photographs of East New York, Crown Heights, and Fort Greene.

Kids in window, East New York. Photograph by Bernard Gotfryd, circa 1965. From the Bernard Gotfryd color slides and photographs, V1987.003 (Object ID # V1987.3.6)

 

Clean laundry, Crown Heights. Photograph by Bernard Gotfryd, circa 1965. From the Bernard Gotfryd color slides and photographs (V1987.003; Object ID #1987.3.17)

 

Street scene, Fort Greene. Photograph by Bernard Gotfryd, circa 1965. From the Bernard Gotfryd color slides and photographs (V1987.003; Object ID #1987.3.14)

Baseball seems to be in the blood of Brooklynites. Our collections definitely support this.

Actor, professional athlete, and Brooklyn son Chuck Connors (1921-1991) played baseball for the Bay Ridge Celtics before he went on to play for the Montreal Royals (the Dodgers minor league affiliate team at the time), the Brooklyn Dodgers, the Los Angeles Angels (then still a farm team), and the Chicago Cubs. (Oh yeah, he also played professional basketball for the Boston Celtics the first year the team was established in 1946…all before he went on to have a 40 year career as an actor).

Chuck Connors in his Bay Ridge Celtics uniform at Ebbets Field, 1938. From the Chuck Connors photographs (V1987.012; Object ID #V1987.12.9)

Ralph Irving Lloyd (1865-1969) was a Brooklyn ophthalmologist (actually, quite renowned in the field) and, lucky for us, a really good amateur photographer who took this early photograph of Brooklyn baseball.

Chicago v. Brooklyn. Albert Peter "Lefty" Leifield pitching, ball in air, circa 1912. From the Ralph Irving Lloyd lantern slides (V1981.015; Object ID #V1981.15.204)

The BHS archival collections contain many great family collections that tell of Brooklyn from each family’s individual and unique perspective. The Mulford family lived in the Prospect-Lefferts Gardens neighborhood at 240 Hawthorne Street (the house is still there). Their family photograph collection dates from circa 1880 to 1930 and, of course, includes a baseball photo or two or three.

Oldest Mulford son (?) in his Kensington AC baseball uniform, circa 1900. From the Mulford family photograph collection (V1974.010; Object ID #V1974.10.68)

You can view these photographs and many others via our image database in the library. Some photographs are available online (with more to come), and there is the rest of our approximately 2000 linear feet of archival collections to research. Come, explore, research, examine, define…”cause we live in Brooklyn, baby.”

Who’s a Brooklynite? Oral Histories from Inventing Brooklyn

Inventing Brooklyn Postcard FINAL2Inventing Brooklyn: People, Places, Progress, now open at Brooklyn Historical Society, traces the evolution of Brooklyn into the place we know today. From Native American roots and lasting Dutch colonial influences to icons such as the Brooklyn Bridge and the Dodgers, Inventing Brooklyn looks at how various peoples, places, and historical events have shaped the development of the borough. 

Brooklyn’s diversity has long been a point of local pride and continues to define the borough today.  The oral histories featured in the exhibit speak to the diversity of Brooklyn’s people, neighborhoods, and many immigrant experiences. 

Paul Mak  was born in Hong Kong and immigrated here with his family.  He is the founder of the Brooklyn Chinese-American Association, which serves the Chinese-American population of Brooklyn, and specifically Sunset Park.  In this clip, Paul recalls his experience at James Madison High School where he witnessed the influx of Chinese immigrants as a student in the 1980s.

8th Avenue Sunset Park Oral History Collection (1993-1994)

Interview date: March 26, 1993

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Encarnacion Armas, a well-educated and well-traveled resident of Brooklyn, describes her involvement with the Puerto Rican community in Brooklyn in the 1940s.  In this clip, Armas reminisces about moving to Bay Ridge as a teenager and shares her experiences serving the Puerto Rican community.

Puerto Rican Oral History Project (1973-1976)

Interview Date: October 21, 1974

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Milton Wurtzel  was born in Manhattan and grew up in the Bronx and in Stuyvesant Heights, Brooklyn on Kosciusko Street. Wurtzel worked at Lieberman Shoe Factory as a foreman and at a slipper factory before he began his job as a welder at the Brooklyn Navy Yard. In this clip, Wurtzel discusses the ethnic diversity at the Navy Yard during the 1940s.

Brooklyn Navy Yard Oral History Project (ongoing)

Interview Date: February 12, 2009

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Inventing Brooklyn: People, Places, Progress was created by the high school students in Brooklyn Historical Society’s Exhibition Laboratory program.  From archival research to writing labels to selecting these oral history clips, the 2011 Ex Lab students worked closely with BHS staff, consulting historians, and professional exhibit designers over the course of the spring in order to make Inventing Brooklyn come to life.

Ex Lab Preps Students for College

As the Ex Lab students put the finishing touches on their exhibit, Christina Valdez took a moment to share some of the ways working on Ex Lab has helped her prepare for the challenges of college.

Thanks, Christina!

Open to the Ideas of Others Working on Ex Lab

Guest Ex Lab Blogger: Christina Valdez (Cobble Hill School of American Studies)

Guest Ex Lab Blogger: Christina Valdez (Cobble Hill School of American Studies)

My name is Christina Valdez I am a senior at Cobble Hill School of American Studies. This is my third year in Exhibition Laboratory (“Ex Lab”) and this year’s exhibit, Inventing Brooklyn: People, Places, Progress opens this Thursday, June 2nd.

One of the main skills I learned in Ex Lab was to be more open towards people’s ideas. I wrote a panel for one of the exhibits and I was having trouble formulating the words. When one of my colleagues came over to help and give their opinion on my writing, it felt good to know that someone is there to help you when you need it. Their ideas helped me to check my grammar and spelling so that I have a better understanding of what I want to really convey.

Another example was when we all began choosing the design for the exhibit’s promotional postcard. The majority of my colleagues went with one design while I wanted another but, after they explained why many choose another design, it made me realize that I liked the other design as well.

Being open to other people’s ideas will be helpful to me because when I start college in the fall there will be people that have different opinions about various subjects. It is important for me to know that what brings people together is the fact we are open toward ideas and experiences that we may never have dreamed of otherwise. Ex Lab was an experience that I will never forget.

Ex Lab students working together in the Brooklyn Historical Society library.

Ex Lab students working together in the Brooklyn Historical Society library.

All photos in this post by Keiko Niwa.