Browse Items (27 total)

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  Southern Exposition buildings and grounds

  Color lithograph of the Southern Exposition buildings, 1883. An electric rail line, visible in the background, circled the Exposition grounds and delighted visitors by traversing an underground tunnel lit by Edison's incandescent bulbs.
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  Southern Exposition building and grounds

  Illustration from Harper's Weekly of the Southern Exposition building and grounds. This image illustrates the residential development that grew up around the Exposition, a contrast to the open land that surrounded it at its opening in 1883.
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  Central Nave of the Southern Exposition's Main Building

  The central nave of the Southern Exposition's main building, looking to the north.
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  Southern Exposition Main Building

  A lithograph of the Southern Exposition's main building, with a small inset of the art gallery. Residential development resulted in the building's demolition in 1889. Components of the building were used in other construction projects, including the Auditorium-Ampitheater at Fourth and Hill Streets.
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  Central Hall at the Southern Exposition

  Color illustration from a German language newspaper of the central hall of the exposition building.
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  Southern Exposition Building and Grounds

  Black and white image of the Southern Exposition main building and surroundings. The four interior courts and fountains of the main building are clearly visible.
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  Reception of Official Visitors

  Illustration from Harper's Weekly of the front of the Southern Exposition building as official visitors arrive in carriages. One prominent visitor was President Chester Arthur, who was present at the Exposition's opening ceremonies in 1883.
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  Views Around Louisville From Harper's Weekly, ca. 1883

  Color illustrations from Harper's Weekly of views in and around the city during the Southern Exposition including the Courier-Journal building, Main Street, the Blind Asylum, and scenes of the riverfront.
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  Southern Exposition Scenes from Harper's Weekly

  Illustrations from Harper's Weekly of scenes from the Southern Exposition including the art gallery, the model farm, the park, and the electric railway.
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  Swiss Chalet at Southern Exposition

  Woodcut engraving from an 1884 issue of Harper's Weekly shows the Swiss chalet and surroundings at the Southern Exposition.
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  Southern Exposition Building

  View of the Southern Exposition's main building, with insets of the art gallery and the park.
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  Southern Exposition Scenes from Harper's Weekly

  Illustrations from Harper's Weekly of scenes from the Southern Exposition including the interior of the art gallery, the pavilion, the opening ceremonies, and various exhibits.
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  Opening Ceremonies at the Southern Exposition

  Scene of the opening ceremonies of the 1883 Southern Exposition. President Chester Arthur spoke at the event.
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  Sure! We'll Finish the Job

  A non-combatant wearing Liberty Loan buttons. Designed by Gerrit A. Beneker (1882-1934) for the Victory Liberty Loan campaign, which was the fifth and final Liberty Loan drive. The “job” to be finished, was that of fund raising to pay for the war.
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  For Home and Country

  Poster for the Victory Liberty Loan campaign this one depicts a solider home from battle, embracing his family. By artist Alfred Everitt Orr (1886-)
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  And they thought we couldn't fight : Victory Liberty Loan

  Prior to WWI America’s army wasn’t the super power that it is today and was thought by much of the world to be weak. Here an American soldier unsubtly disproves this notion. Artist Vic Forsythe (1885-1962) worked for William Randolph Hearst at the New York Journal.
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  Lest We Perish

  The American Committee for Relief in the Near East (ACRNE), as it was then known, raised funds for Middle Eastern and African countries. In the early 20th century nearly one thousand Americans volunteered to travel overseas and raised more than $100 million for direct relief. This specific poster refers to the Armenian genocide of 1915-1923.
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  That Liberty Shall Not Perish From The Earth: Buy Liberty Bonds

  Steeped in propaganda, Joseph Pennell’s (1872-1926) work for Fourth Liberty Loan depicted terror at America’s shores. Despite the fact that aircraft of the time weren’t making overseas journeys, the poster was effective—two million copies were printed and distributed
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  Keep 'em smiling! Help War Camp Community Service.

  Illustration by M. Leone Bracker (1885-1937) of three smiling servicemen and bearing the inscription “Keep ’em Smiling! Help War Camp Community Service – Morale is Winning the War – American War Work Campaign.”
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  The Spirit of America

  Successor of the “Gibson Girl,” Howard Chandler Christy’s (1873-1952) interpretation put his leading lady into wartime service for the United States Navy, Marines, and Red Cross, as seem here. Christy would become one of the Jazz Age’s most popular portrait painters