Collections

Henry Ward Beecher (1813-1887), or “The Great Divine,” was a man of many talents – clergyman, orator, writer, social reformer. Simply put, he was as close to a celebrity as you could find in the nineteenth century. He was an ardent abolitionist and a proponent of both the temperance and women’s suffrage movements. Every week, Plymouth Church in Brooklyn Heights was filled to capacity with people eager to hear his captivating words. Beecher’s sermons were also published weekly under the title “Plymouth Pulpit.” This particular pamphlet, “The Nature of Liberty,” is indicative of Beecher’s religious philosophy emphasizing God’s absolute love. He speaks of a free religious condition as “a transfer from a life compelled by fear, through conscience, to a life that is inspired and made spontaneous by love.”

Vestie Davis (1903-1978) was a folk artist best known for his spirited paintings of New York City. Coney Island Boardwalk (1964), pictured above, is exemplary of Davis’s paintings. Although untrained in the arts, Davis managed to capture the rich and diverse scenery of the city, from one-of-a-kind landmark buildings and city centers to lively parks and beaches. Originally from Baltimore, Davis moved to New York City in 1928 and was immediately fascinated by its distinct architecture and culture. His artistic vision was to preserve the City that he loved in the face of a changing world. His style emphasized harmony and civility within the city’s social hubs while making use of bright colors and simple lines. Vestie Davis had a unique artistic career and did not begin painting regularly until he was in his forties. He was never trained in art, but rather spent his early years working as a circus barker, a newsstand manager, and an undertaker.

William S. Mangels (1866-1958), inventor and entrepreneur, brought life to Brooklyn’s Coney Island with his innovative amusement ride designs. Founder of the W.F. Mangels Company in the 1880s, Mangels designed over thirty nine amusement rides and other devices over the course of his career, some of which are still in use. The postcard pictured above depicts the rotating cars of “The Whip,” a popular Coney Island ride. Mangels is also credited with introducing the now standard up-and-down “galloping” motion of carousel horses and some of the first “kiddie” rides, designed especially for children.

On the evening of December 5, 1876 a fire broke out in the popular Brooklyn Theatre of Downtown Brooklyn (located at today’s Cadman Plaza, north of the New York Supreme Court Building in a tree-covered area). The fire began backstage and spread rapidly. Within half an hour the structure collapsed. At least 278 individuals lost their lives that night. 103 unidentified victims were buried in a common grave at Green-Wood.

George C. Tilyou (1862-1914) founded Coney Island’s Steeplechase Park, a leading attraction of its day and one of the most popular early amusement parks. Known as “The Funny Place,” the park featured its namesake horseracing ride, plus a swimming pool, carousel, Ferris wheel, and large indoor pavilion. The admission tickets shown above lists six rides for 50 cents, and they feature the iconic grinning face associated with Coney Island.

Captain Samuel Harris Sims (1828-1864) is but one of many Civil War military officers to make Green-Wood his final resting place. When Sims departed for war, he left behind his fiancé, Carrie Dayton – but he did not forget her while on the field. Between battles, Sims hand carved peach pits into the two small baskets pictured above. He sent these carvings home to her, along with letters and pressed flowers. These items, plus correspondence, official documents and mementos, are part of a diverse collection of Samuel Harris Sims materials belonging to Green-Wood’s Collection. Sadly, Sims never made it home to his fiancé, having suffered fatal injury at the Battle of the Crater, Petersburg, VA in 1864.

Napoleon Sarony (1821-1896) was a revered and highly successful photographer in the second half of the 19th century. His unique compositions featuring dramatic posing, a variety of backgrounds and props, and unusual lighting and shadows elevated photography to a new level. His portraits became fashionable and his portfolio features photographs of some of the most notable theatrical and public figures of his time from Sarah Bernhardt to Oscar Wilde. The Historical Collection contains Sarony photos of many Green-Wood residents, too, like Henry Ward Beecher and Samuel Morse. The self-portrait cabinet card of the photographer show above illustrates that he was quite an eccentric character.

Florence LaBadie (1888-1917), was one of the first major movie stars, appearing in over 180 silent films during her short career. The actress tragically passed away in 1917, at the height of her career, following a car accident near Ossining, New York. Pictured above is a still from the 1917 film, The Woman in White, the last of LaBadie’s films released before her death. LaBadie played dual roles in the film, a surprisingly modern convention for an early silent film. In April 2014 Green-Wood installed the first monument to stand at the grave site of the silent film starlet who, mysteriously, was interred without a headstone.

The Star Safety Razor was designed and patented by the Kampfe Brothers, Frederick (1851-1915), Richard (1853-1906), and Otto F. (1855-1932). The innovative men’s product, shown above, even came complete with a leather case and informational booklet. First manufactured in 1875, the Kampfe Brothers’ product revolutionized shaving, by making it possible for men to safely shave at home. Before their invention, shaving was something only done by trained barbers.

William Surrey Hart (1865-1946), or “Two-Gun Bill,” was a Silent Film actor often considered as the first great Western Movie Star. Known for his unique screen presence, Hart developed a signature persona: the honest, taciturn Cowboy. He insisted on bringing authenticity to his roles, believing that earlier filmmakers had glamourized the West. This lantern slide advertises the 1920 film The Toll Gate, credited as the first of William S. Hart’s own productions. It depicts Hart in his signature two-gun cowboy role.