Agriculture

From butter churns to diesel tractors, the Museum's agricultural artifacts trace the story of Americans who work the land. Agricultural tools and machinery in the collections range from a John Deere plow of the 1830s to 20th-century cultivators and harvesters. The Museum's holdings also include overalls, aprons, and sunbonnets; farm photographs; milk cans and food jars; handmade horse collars; and some 200 oral histories of farm men and women in the South. Prints in the collections show hundreds of scenes of rural life. The politics of agriculture are part of the story, too, told in materials related to farm workers' unions and a group of artifacts donated by the family of the labor leader Cesar Chavez.

John Deere Plow
John Deere Plow, 1830s
This jacket was worn by Mary Louise Reynnells as the Pacific High School FFA chapter sweetheart in San Bernadino, California in 1977.
Description
This jacket was worn by Mary Louise Reynnells as the Pacific High School FFA chapter sweetheart in San Bernadino, California in 1977. Prior to 1969, the Future Farmers of America excluded females from membership, and being a chapter sweetheart was the only way for women to be involved. After membership was opened to all, chapter sweetheart was an honorary title elected by the chapter who wore a special white jacket when she served as chapter hostess for visitors or at events. The white jacket has the seal of the FFA on the left breast with a small yellow patch underneath that reads “Chapter Sweetheart.” The right breast is embroidered "Louise Rogers / 1977 / Pacific / San Bernardino" in blue script. In 1978 Reynells was elected chapter president, and received the Bank of America Achievement award in Agriculture.
The FFA was founded in 1928 to engage youngsters with agriculture and prepare young farmers for the future challenges of farming. In 1933 the band from the Fredericktown chapter of the FFA wore the blue corduroy jacket to the sixth annual convention, where the delegates became so enamoured with the jacket that it was adopted by the organization as its official dress.
date made
1977
ID Number
2014.0153.01
catalog number
2014.0153.01
accession number
2014.0153
This 1979 tractor was owned by Gerald McCathern of Hereford, Tex., who used it in his fields for 700 hours before driving it 1,800 miles to Washington, D.C., to participate in the 1979 American Agriculture Movement demonstration.
Description
This 1979 tractor was owned by Gerald McCathern of Hereford, Tex., who used it in his fields for 700 hours before driving it 1,800 miles to Washington, D.C., to participate in the 1979 American Agriculture Movement demonstration. As wagon master, McCathern coordinated tractorcades that, while bringing the desperate situation facing American farmers to the attention of Congress, also substantially slowed rush-hour traffic. In the midst of the protest, a large snowstorm nearly paralyzed the city, and farmers used their tractors to pull cars out of snowbanks, earning the goodwill of many people.
The American Agriculture Movement bought the tractor and presented it to the Smithsonian in 1986. The IH 1486 is representative of the technology that typifies modern agriculture. It has sixteen forward and eight reverse speeds, power steering and brakes, diesel turbocharged engine, wide adjustable front end, detachable front weights, air-conditioning, AM-FM radio tape deck, hydraulic adjustable seat, and an adjustable steering wheel.
Date made
1979
user
McCathern, Gerald
maker
International Harvester
ID Number
1986.0179.01
catalog number
1986.0179.01
accession number
1986.0179
Currently not on view
Location
Currently not on view
date made
ca 1976
graphic artist
Westvaco Corporation
ID Number
2013.0131.02
accession number
2013.0131
catalog number
2013.0131.02
Currently not on view
Location
Currently not on view
date made
1974-07-05
ID Number
2013.0327.0879
accession number
2013.0327
catalog number
2013.0327.0879
Currently not on view
Location
Currently not on view
date made
1973
maker
Caffery, Debbie Fleming
ID Number
1986.0650.06
accession number
1986.0650
catalog number
1986.0650.06
Currently not on view
Location
Currently not on view
date made
1974
maker
Caffery, Debbie Fleming
ID Number
1986.0650.05
accession number
1986.0650
catalog number
1986.0650.05
Currently not on view
Location
Currently not on view
date made
1973
maker
Caffery, Debbie Fleming
ID Number
1986.0650.03
accession number
1986.0650
catalog number
1986.0650.03
Currently not on view
Location
Currently not on view
date made
1979
ID Number
1984.0873.03
accession number
1984.0873
catalog number
1984.0873.03
This is a modern fanner basket made in Mount Pleasant, South Carolina, around 1972 by a member of the Manigault family of basket sewers. Fanner baskets were originally associated with the growth of rice as a cash crop in the Lowcountry coastal regions in the 1700s and 1800s.
Description
This is a modern fanner basket made in Mount Pleasant, South Carolina, around 1972 by a member of the Manigault family of basket sewers. Fanner baskets were originally associated with the growth of rice as a cash crop in the Lowcountry coastal regions in the 1700s and 1800s. West Africans who knew how to cultivate the complicated rice plants were especially valued by slaveholders. These shallow baskets were made of coils of grass and used to remove the rice grains from the husks. Pounded grains of raw rice were placed in fanner baskets so that the rice could be tossed in the air or dropped from one basket into another. Through this process, the wind blew away the chaff and the rice would be ready for processing. The original fanner baskets were much larger. Some were more than three feet or more in diameter. These modern fanner baskets are much smaller, made to be decorative and are often used in homes as platters. The distinctive Lowcountry region of the Carolinas and Georgia and the nearby Atlantic Sea Islands culture are now part of the National Park Service as the Gullah Geechee Cultural Heritage Corridor.
date made
1972
ID Number
CL.298252.38
accession number
298252
catalog number
298252.38
collector/donor number
R.3
A.1.5
Currently not on view
Location
Currently not on view
date made
1965-1970 circa
direct
United Farm Workers
ID Number
PL.296849.28
catalog number
296849.28
accession number
296849
The American Agricultural Movement in the late 1970s consisted of a group of farmers that demanded "parity" from the government. They wanted to be paid equitably for the cost to grow crops.Currently not on view
Description
The American Agricultural Movement in the late 1970s consisted of a group of farmers that demanded "parity" from the government. They wanted to be paid equitably for the cost to grow crops.
Location
Currently not on view
date made
1977
ID Number
1978.0584.03
catalog number
1978.0584.03
accession number
1978.0584
The American Agricultural Movement in the late 1970s consisted of a group of farmers that demanded "parity" from the government. They wanted to be paid equitably for the cost to grow crops.Currently not on view
Description
The American Agricultural Movement in the late 1970s consisted of a group of farmers that demanded "parity" from the government. They wanted to be paid equitably for the cost to grow crops.
Location
Currently not on view
date made
1977
ID Number
1978.0584.06
catalog number
1978.0584.06
accession number
1978.0584
The American Agricultural Movement in the late 1970s consisted of a group of farmers that demanded "parity" from the government. They wanted to be paid equitably for the cost to grow crops.
Description
The American Agricultural Movement in the late 1970s consisted of a group of farmers that demanded "parity" from the government. They wanted to be paid equitably for the cost to grow crops. The name on the poster is likely in reference to Secretary of Agriculture Bob Bergland.
Location
Currently not on view
date made
1977
ID Number
1978.0584.01
catalog number
1978.0584.01
accession number
1978.0584
The American Agricultural Movement in the late 1970s consisted of a group of farmers that demanded "parity" from the government. They wanted to be paid equitably for the cost to grow crops.
Description
The American Agricultural Movement in the late 1970s consisted of a group of farmers that demanded "parity" from the government. They wanted to be paid equitably for the cost to grow crops.
date made
1977
ID Number
1978.0584.05
The American Agricultural Movement in the late 1970s consisted of a group of farmers that demanded "parity" from the government. They wanted to be paid equitably for the cost to grow crops.
Description
The American Agricultural Movement in the late 1970s consisted of a group of farmers that demanded "parity" from the government. They wanted to be paid equitably for the cost to grow crops.
date made
1978
1977
used date
1977
ID Number
1978.0584.02
The American Agricultural Movement in the late 1970s consisted of a group of farmers that demanded "parity" from the government. They wanted to be paid equitably for the cost to grow crops.Currently not on view
Description
The American Agricultural Movement in the late 1970s consisted of a group of farmers that demanded "parity" from the government. They wanted to be paid equitably for the cost to grow crops.
Location
Currently not on view
date made
1977
ID Number
1978.0584.07
catalog number
1978.0584.07
accession number
1978.0584
The American Agricultural Movement in the late 1970s consisted of a group of farmers that demanded "parity" from the government. They wanted to be paid equitably for the cost to grow crops.Currently not on view
Description
The American Agricultural Movement in the late 1970s consisted of a group of farmers that demanded "parity" from the government. They wanted to be paid equitably for the cost to grow crops.
Location
Currently not on view
date made
1977
ID Number
1978.0584.08
catalog number
1978.0584.08
accession number
1978.0584
Currently not on view
Location
Currently not on view
date made
ca 1973
maker
Micro-Gen Equipment Corporation
ID Number
1997.0285.01
catalog number
1997.0285.01
accession number
1997.0285
model number
2AA
serial number
1485
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1972
date printed
1998
maker
Law, Lisa Bachelis
ID Number
1998.0139.190
accession number
1998.0139
catalog number
1998.0139.190
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1975
date printed
1998
maker
Law, Lisa Bachelis
ID Number
1998.0139.193
accession number
1998.0139
catalog number
1998.0139.193
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1971
date printed
1998
maker
Law, Lisa Bachelis
ID Number
1998.0139.187
accession number
1998.0139
catalog number
1998.0139.187
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1970
date printed
1998
maker
Law, Lisa Bachelis
ID Number
1998.0139.178
accession number
1998.0139
catalog number
1998.0139.178
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1973
date printed
1998
maker
Law, Lisa Bachelis
ID Number
1998.0139.191
accession number
1998.0139
catalog number
1998.0139.191
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture.
Description
With her camera, Lisa Law documented history in the heart of the counterculture revolution of the 1960s as she lived it, as a participant, an agent of change and a member of the broader culture. She recorded this unconventional time of Anti-War demonstrations in California, communes, Love-Ins, peace marches and concerts, as well as her family life as she became a wife and mother. The photographs were collected by William Yeingst and Shannon Perich in a cross-unit collecting collaboration. Together they selected over two hundred photographs relevant to photographic history, cultural history, domestic life and social history.
Law’s portraiture and concert photographs include Bob Dylan, The Beatles, Lovin Spoonful and Peter, Paul and Mary. She also took several of Janis Joplin and her band Big Brother and the Holding Company, including the photograph used to create the poster included in the Smithsonian’s American Art Museum’s exhibition 1001 Days and Nights in American Art. Law and other members of the Hog Farm were involved in the logistics of setting up the well-known musical extravaganza, Woodstock. Her photographs include the teepee poles going into the hold of the plane, a few concert scenes and amenities like the kitchen and medical tent. Other photographs include peace rallies and concerts in Haight-Ashbury, Coretta Scott King speaking at an Anti-War protest and portraits of Allen Ginsburg and Timothy Leary. From her life in New Mexico the photographs include yoga sessions with Yogi Bhajan, bus races, parades and other public events. From life on the New Buffalo Commune, there are many pictures of her family and friends taken during meal preparation and eating, farming, building, playing, giving birth and caring for children.
Ms. Law did not realize how important her photographs were while she was taking them. It was not until after she divorced her husband, left the farm for Santa Fe and began a career as a photographer that she realized the depth of history she recorded. Today, she spends her time writing books, showing her photographs in museums all over the United States and making documentaries. In 1990, her video documentary, “Flashing on the Sixties,” won several awards.
A selection of photographs was featured in the exhibition A Visual Journey: Photographs by Lisa Law, 1964–1971, at the National Museum of American History October 1998-April 1999.
Location
Currently not on view
date made
1970
date printed
1998
maker
Law, Lisa
ID Number
1998.0139.181
catalog number
1998.0139.181
accession number
1998.0139

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