New York's Capital Region in 50 Objects

New York's Capital Region in 50 Objects

Introduction

Each region of the nation has its own distinctive history and identity. The New York’s Capital Region—consisting of Albany, Rensselaer, Schenectady, and Saratoga Counties—is no different. But what best identifies the region? What events, objects, people, and ideas have contributed to its character and uniqueness?

To learn the answers, we presented these questions to the numerous museums, historical organizations, libraries, and residents of the Capital Region. The fifty objects that were ultimately selected present an exciting history of the Capital Region, including well-known favorites but also unexpected surprises. Some of the fifty objects characterize very broad topics like the textile industry and the Hudson River School of art, while others embody large populations of people who shaped the character of the region, such as the Dutch and the Iroquois. Many objects represent specific people or events, such as writer William Kennedy and the Battle of Saratoga. In some instances, the objects represent themselves, like the GE Monitor Top refrigerator and Albany’s beloved Nipper statue. A complementary image accompanies each of the fifty objects, providing context and additional information.

Overall, the fifty objects clearly demonstrate that this narrowly circumscribed part of New York State has played an astonishing role in shaping the history of the nation and, in several instances, the world beyond the confines of our national borders.

GE Monitor-Top Refrigerator

Mechanical refrigeration units for home use became available to American consumers for the first time in 1910 when General Electric of Schenectady, New York, manufactured a model called the Dumbbell. Its wood case looked like traditional ice boxes, but when it debuted the electric unit sold for the significant amount of $1,000.00, a pricetag beyond the reach of most Americans. GE’s Electric Refrigeration Division soon set to work making improvements.

In 1927, the company marketed a refrigerator with the compressor mounted on top. The unit quickly gained the name “Monitor Top” because the top-mounted refrigeration compressor ressembled the gun turret on the Civil War ironclad ship named the USS Monitor. The refrigerator entered the market with a price tag around $525, but within a few years models were selling as low as $200, making GE’s Monitor Top refrigerators affordable for many Americans.

In addition to being affordable, the Monitor Top’s hermetically sealed steel case, designed by GE’s chief engineer Christian Steenstrup, looked modern (even though it had legs that mimicked colonial period furniture) and appealed to consumers increasingly concerned with food safety and health. The compressor coils were completely covered, which prevented dust from collecting in hard-to-reach places, and the steel case could be easily scrubbed, both inside and out.

During the 1930s competition from other companies led to design changes, most noticeably the concealment of the compressor unit within the refrigerator case, instead of on top of it, and the elimination of feet, resulting in a box-like unit that resembled our modern day refrigerators.

Monitor Top Refrigerator

General Electric, Schenectady, New York | c.1930

Maker: General Electric, Schenectady, New York

Medium: Steel with enamel finish

Dimensions: 64 ¼’ H x 22 ½” W

Credit: Gift of the Estate of Ruth and William Streets

General Electric Refrigerator Advertisement

1928

Photomechanical print on paper

Courtesy of MiSci (Museum of Innovation and Science)

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Freihofer’s

In 1884, Charles Freihofer, the son of German immigrants, opened a bakery in Philadelphia, Pennsylvania. He was determined to provide bread made from the finest ingredients, and subsequently, [nbsp]his business boomed. By 1913, Charles and his brothers built a new commercial baking plant, the Freihofer Bakery, in the Lansingburgh section of Troy, New York. With its innovative seventy-foot-long traveling bread oven, the brothers were able to meet the demands of their customers. Two weeks after the opening, a torrential rainfall struck Troy and the Freihofer Bakery used their newly constructed baking facility to bake and distribute hundreds of loaves of bread to flood victims.

From Lansingburgh, Freihofer’s delivered breads, cakes, and cookies to a growing customer base, first by horse-drawn wagons and then by motorized trucks. In the 1950s and 1960s, the Freddie Freihofer Show aired on WRGB. It offered a birthday treat for many youngsters who were the in-studio audience for the show. A hat, a box of chocolate chip cookies, and a “Squiggle”—souvenirs of the show—can still bring back happy memories that were unique to children in Rensselaer County and the Capital Region.

Four generations of the Freihofer family have maintained Charles Freihofer's dedication to the freshest, purest ingredients in their baked goods. The quest for innovation, linked to their home-style imagery, has been a cornerstone of the company’s success. Today, Freihofer's is part of Bimbo Bakeries USA.

Freihofer’s Window Sign

Unknown maker | 1945-59

Photographer: Unknown maker

Medium: Paper and ink

Credit: Albany Institute of History & Art Purchase

Freddie Freihofer Show

c. 1954

Gelatin silver photographic print

Courtesy of Linda McLean

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Governor Nelson A. Rockefeller Empire State Plaza Art Collection

The Governor Nelson A. Rockefeller Empire State Plaza Art Collection has been heralded as “the greatest collection of modern American art in any single public site that is not a museum.”

Following a procedure that was established during the construction of Rockefeller Center, New York Governor Nelson Rockefeller assembled a commission of art experts to select work for the Plaza and personally signed off on each acquisition. Ninety-two pieces of monumental “New York School” art—paintings, sculptures, and tapestries—were acquired for the collection, sixteen of which were commissioned for specific sites on the complex.

The collection includes noted artists such as Mark Rothko, Robert Motherwell, David Smith, Jackson Pollock, Helen Frankenthaler, Louise Nevelson, Clyfford Still, Isamu Noguchi, Joan Mitchell, and Alexander Calder. Charcoal Black and Tan, painted by Franz Kline in 1959, demonstrates how he deliberated over his pieces and reworked them repeatedly as seen in some areas where the paint is built up and colors are mixed together. Kline, like other Abstract Expressionists, were often called “gesture painters” because they often applied paint in quick, emotionally expressive strokes, usually without direct reference to recognizable imagery. Kline retained his powerful, sweeping style up to his death in 1962.

Charcoal Black and Tan

Franz Kline

1959

Oil on canvas

Courtesy of New York State Office of General Services, Bureau of Curatorial & Tour Services

Empire State Plaza

c. 2015

Digital photograph

Hand-colored engraving and etching on paper

Courtesy of New York State Office of General Services, Bureau of Curatorial & Tour Services

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