Figure 32. — Singer's new Family Sewing Machine, 

 illustration from a brochure dating about 1858 or 

 1859 which states: "A few months since, we came 

 to the conclusion that the public taste demanded 

 a sewing machine for family purposes more exclu- 

 sively; a machine of smaller size, and of a lighter 

 and more elegant form; a machine decorated in 

 the best style of art. so as to make a beautiful 

 ornament in the parlor or boudoir; a machine 

 very easily operated, and rapid in working .... 

 To supply this public want, we have just produced, 

 and are now prepared to receive orders for, 

 'Singer's new Family Sewing Machine."'' (Smith- 

 sonian photo 48091-H.) 



number of Singer's rivals purchased licenses from 

 Howe and advertised that anyone could sell their 

 machines without fear of a suit. This gave 

 them a great competitive advantage, and Singer and 

 Clark 60 decided it was best to seek a settlement with 

 Howe. On July 1, 1854, they paid him SI 5,000 and 

 took out a license. 

 In spite of this defeat, the Singer company could 



60 Singer purchased Phelps' interest in the company in 1851 

 and sold it to Edward Clark. 



Figure 33. — Singer Family Machine, 1858, head 

 only. (Smithsonian photo 45524— F.) 



claim several important improvements to the sewing 

 machine and the acquisition of the patents rights to 

 the Morey and Johnson machine of 1849, which gave 

 them control of the spring or curved arm to hold the 

 cloth by a yielding pressure. Although this point 

 had not been claimed in the 1849 patent, the established 

 principle of patent law allowed that a novel device 

 introduced and used in a patented machine could be 

 covered by a reissue at any time during the life of the 

 patent. Upon becoming owners of the Morey and 

 Johnson patent, Singer applied for a reissue which 

 covered this type of yielding pressure. It was granted 

 on June 27, 1854. The Singer company's acquisition 

 of the Bachelder patent had given them control of the 

 yielding pressure bar also. 



Singer's aggressive selling had begun to overcome 

 the public's suspicion of sewing machines. He 

 pioneered in the use of lavishly decorated sewing- 

 machine showrooms when the company offices were 

 expanded in the mid- 1850s (fig. 30). These were 

 rich with carved walnut furniture, gilded ornaments, 

 and carpeted floors, places in which Victorian women 

 were not ashamed to be seen. The machines were 

 demonstrated by pretty young women. The total 

 effect was a new concept of selling, and Singer became 

 the drum major of a new and coming industry that 

 had many followers (see fig. 31). 



The first, light, family sewing machine by the Singer 



:h 



