Art

The National Museum of American History is not an art museum. But works of art fill its collections and testify to the vital place of art in everyday American life. The ceramics collections hold hundreds of examples of American and European art glass and pottery. Fashion sketches, illustrations, and prints are part of the costume collections. Donations from ethnic and cultural communities include many homemade religious ornaments, paintings, and figures. The Harry T Peters "America on Stone" collection alone comprises some 1,700 color prints of scenes from the 1800s. The National Quilt Collection is art on fabric. And the tools of artists and artisans are part of the Museum's collections, too, in the form of printing plates, woodblock tools, photographic equipment, and potters' stamps, kilns, and wheels.

The Pauline Pottery Company was formed when its founder, Pauline Jacobus, saw an exhibition of Sarah Bernhardt’s ceramics in 1880.
Description
The Pauline Pottery Company was formed when its founder, Pauline Jacobus, saw an exhibition of Sarah Bernhardt’s ceramics in 1880. Inspired by the French actress’s work, Jacobus enrolled at the Cincinnati's Rookwood Pottery studio in 1881, and opened the first art pottery workshop in Chicago in 1883. Oscar Jacobus, Pauline’s husband and business partner, was instrumental in establishing relationships with high-end retailers like Marshall Fields and Tiffany & Company. In 1888, the Jacobuses moved the pottery to Edgarton, Wisconsin, a small town renowned for its rich deposits of white earthenware clay. Although fairly successful for five years, the company suffered from Oscar’s death in 1893. Its contract with the Bell Telephone Company to produce ceramic cups for electric batteries was dissolved with the invention of the dry cell battery and the pottery was unable to withstand the financial panic of 1893.
The company’s earliest wares mimic Rookwood’s signature glaze, combining an underglaze slip decoration with floral motifs. As the company developed its own style, however, it shifted to the production of cream-colored earthenware bodies with sparse floral accents and innovative shapes. This vase, with its pale blue glaze and organic floral decoration, shows an aesthetic that was somewhat atypical for the late-nineteenth century, and was likely made during the company’s Edgarton period.
Location
Currently not on view
ID Number
CE.379662ab
catalog number
379662ab
accession number
150313
Favrile glass. Body is of light green glass. Form: shortened ovoid body with short large concave neck and flaring lip.
Description (Brief)
Favrile glass. Body is of light green glass. Form: shortened ovoid body with short large concave neck and flaring lip. Cover is shouldered on its lower side; top has a conical center trumpet shape and terminates in a tapering rod, its end looped back and bent partly around the shaft. Decorated with red-tinted grasses over the entire surface; iridescent. Purchased from Charles Tiffany for $70.00.
date made
1893-96
1893 - 96
maker
Tiffany Glass & Decorating Company, or Tiffany Studios
ID Number
CE.96416ab
accession number
30453
catalog number
96416ab
maker number
x 856 (scratched)
Currently not on view
Location
Currently not on view
date made
1914
maker
Macbeth-Evans Glass Company
ID Number
CE.251ab
accession number
57114
catalog number
251ab
Currently not on view
Location
Currently not on view
date made
1914
maker
Macbeth-Evans Glass Company
ID Number
CE.255ab
catalog number
255ab
accession number
57114
Currently not on view
Location
Currently not on view
date made
1914
maker
Macbeth-Evans Glass Company
ID Number
CE.253ab
catalog number
253ab
accession number
57114
Currently not on view
Location
Currently not on view
date made
1914
maker
Macbeth-Evans Glass Company
ID Number
CE.254ab
catalog number
254ab
accession number
57114
Currently not on view
Location
Currently not on view
date made
1914
maker
Macbeth-Evans Glass Company
ID Number
CE.252ab
catalog number
252ab
accession number
57114
TITLE: Meissen covered pot and standMAKER: Meissen ManufactoryPHYSICAL DESCRIPTION: ceramic, porcelain (overall material)MEASUREMENTS: Pot: H 4½" 11.4cm; Stand: D. 6¾" 17.2cmOBJECT NAME: Pot and standPLACE MADE: Meissen, Saxony, GermanyDATE MADE: ca.
Description
TITLE: Meissen covered pot and stand
MAKER: Meissen Manufactory
PHYSICAL DESCRIPTION: ceramic, porcelain (overall material)
MEASUREMENTS: Pot: H 4½" 11.4cm; Stand: D. 6¾" 17.2cm
OBJECT NAME: Pot and stand
PLACE MADE: Meissen, Saxony, Germany
DATE MADE: ca. 1730-1735
SUBJECT: Art
Domestic Furnishing
Industry and Manufacturing
CREDIT LINE: Hans C. Syz Collection
ID NUMBER: 1981.0702.3 Aab, Bab
COLLECTOR/ DONOR: 192
ACCESSION NUMBER:
(DATA SOURCE: National Museum of American History, Kenneth E. Behring Center)
MARKS: Crossed swords in underglaze blue.
PURCHASED FROM: Adolf Beckhardt, The Art Exchange, New York, 1942.
This pot and stand is from the Smithsonian’s Hans Syz Collection of Meissen Porcelain. Dr. Syz (1894-1991) began his collection in the early years of World War II, when he purchased eighteenth-century Meissen table wares from the Art Exchange run by the New York dealer Adolf Beckhardt (1889-1962). Dr. Syz, a Swiss immigrant to the United States, collected Meissen porcelain while engaged in a professional career in psychiatry and the research of human behavior. He believed that cultural artifacts have an important role to play in enhancing our awareness and understanding of human creativity and its communication among peoples. His collection grew to represent this conviction.
The invention of Meissen porcelain, declared over three hundred years ago early in 1709, was a collective achievement that represents an early modern precursor to industrial chemistry and materials science. The porcelains we see in our museum collections, made in the small town of Meissen in the German States, were the result of an intense period of empirical research. Generally associated with artistic achievement of a high order, Meissen porcelain was also a technological achievement in the development of inorganic, non-metallic materials.
The covered pot with three lion’s feet carry onglaze enamel subjects of harbor and waterside scenes painted in purple. On the pot there is a continuous and busy Kauffahrtei scene with merchants engaged in business while laborers prepare cargo on the quayside. The cover has a waterside landscape on one side and two men preparing cargo on the other. On the stand a loading quay reaches out over a river with a harbor in the distance.
Waterways formed a major conduit for trade in the seventeenth-century Dutch Republic, and artists produced a large number of paintings and prints that featured everyday life alongside rivers, canals and harbors. The harbor scenes of the seventeenth century represented to the Dutch their success in trade from the Baltic to the Mediterranean and the Far East at a time when the Republic was the most prosperous seafaring nation in Europe. The popularity of these subjects extended into the eighteenth century, and introduced at Meissen in the 1720s they remained in the manufactory’s repertoire until the 1750s. The enduring popularity of waterside and landscape subjects, especially the tranquil rural scenes depicted in prints by artists like Jan van de Velde, held particular appeal for Europeans confined to city and court. Long before Meissen began production Dutch artists realized the potential for a market in prints that led viewers into pleasant places real and imagined. In seventeenth-century Amsterdam there was a flourishing publishing industry to support the production of illustrated books and print series for buyers to view at their leisure. Printed images enriched people’s lives and a series of prints might take the viewer on a journey, real or imaginary. Prints performed a role in European visual culture later extended by photography and film, and they provided artisans and artists with images, motifs, and patterns applied in many branches of the applied arts.
The Meissen manufactory operated under a system of division of labor. Enamel painters specializing in landscapes, harbor, and river scenes with staffage (figures and animals) were paid more than those who painted flowers, fruits and underglaze blue patterns. Most painters received pay by the piece rather than a regular wage or salary.
The pot was used to serve hot broth or bouillon, often to a sick person in the household.
On seventeenth-century Dutch art see Gibson, W.S., (2000) Pleasant Places: the rustic landscape from Bruegel to Ruisdael; Goddard, S.H., (1984) Sets and Series: prints from the Low Countries, exhibition catalog, Yale University Art Gallery.
On the painting division at Meissen see Rückert, R., 1990, Biographische Daten der Meissener Manufakturisten des 18. Jahrhunderts, pp. 134-136.
Hans Syz, J. Jefferson Miller II, Rainer Rückert, 1979, Catalogue of the Hans Syz Collection: Meissen Porcelain and Hausmalerei, pp. 112-113.
Location
Currently not on view
date made
1730-1740
maker
Meissen Manufactory
ID Number
1981.0702.03abc
catalog number
1981.0702.03abc
accession number
1981.0702
collector/donor number
192abc
Before becoming an international phenomenon, the Arts and Crafts movement began with the ideas of British artisan William Morris (1834-1896) and writer John Ruskin (1819-1900).
Description
Before becoming an international phenomenon, the Arts and Crafts movement began with the ideas of British artisan William Morris (1834-1896) and writer John Ruskin (1819-1900). Morris and Ruskin believed that the growth of cities isolated urban workers and that mass production negatively affected artisan crafts. They proposed to solve these issues by returning to a medieval-inspired village model where everybody participated in a community lifestyle. In the United States, artisans adapted these ideas into the studio art pottery movement. Unlike their British counterparts, who often focused predominantly on social issues and therefore made objects that incorporated Gothic and Renaissance motifs, American craftsmen developed a cohesive and novel aesthetic.
The Norse Pottery Company created this Scandinavian-styled jardiniere in 1909. Made from an oil-finished red clay, it features designs copied from an archaeological “bronze era” object from Bornholm, Denmark. The Danish potters Thorwald P.A. Samson and Louis Ipson, who founded the Norse Pottery Company in Edgarton, WI in 1903, primarily produced such Scandinavian revival pieces. One year later, the company was purchased by Arthur Washburn Wheelock. He relocated the pottery to Rockford, IL, where it stayed in production until 1913.
The discovery of Pompeii and Herculaneum in 1738 began an international craze for classical furniture, pottery, and glass that continued into the first half of the twentieth century. Archaeological expeditions unearthed ancient artifacts from Greece to Denmark that inspired countless replicas and redesigns. Focusing on the popularity of these historical objects, the Norse Pottery Company manufactured copies of archaic bronze, iron, or stone vases. This jardiniere’s black finish with green decoration replicates ancient copper. Its three dragon-head feet and wingless dragon handles recall the mastheads on Viking ships – a clear salute to the object’s Scandinavian heritage.
The Norse Pottery Company created this Scandinavian-styled jardiniere in 1909. Made from an oil-finished red clay, it features designs copied from an archaeological “bronze era” object from Bornholm, Denmark. The Danish potters Thorwald P.A. Samson and Louis Ipson, who founded the Norse Pottery Company in Edgarton, WI in 1903, primarily produced such Scandinavian revival pieces. One year later, the company was purchased by Arthur Washburn Wheelock. He relocated the pottery to Rockford, IL, where it stayed in production until 1913.
The discovery of Pompeii and Herculaneum in 1738 began an international craze for classical furniture, pottery, and glass that continued into the first half of the twentieth century. Archaeological expeditions unearthed ancient artifacts from Greece to Denmark that inspired countless replicas and redesigns. Focusing on the popularity of these historical objects, the Norse Pottery Company manufactured copies of archaic bronze, iron, or stone vases. This jardiniere’s black finish with green decoration replicates ancient copper. Its three dragon-head feet and wingless dragon handles recall the mastheads on Viking ships – a clear salute to the object’s Scandinavian heritage.
Location
Currently not on view
date made
c. 1909
ID Number
CE.237960
catalog number
237960
accession number
45701
Currently not on view
Location
Currently not on view
date made
1914
maker
Macbeth-Evans Glass Company
ID Number
CE.256ab
catalog number
256ab
accession number
57114
57114
TITLE: Meissen three-footed broth pot and coverMAKER: Meissen ManufactoryPHYSICAL DESCRIPTION: ceramic, porcelain (overall material)MEASUREMENTS: H.
Description
TITLE: Meissen three-footed broth pot and cover
MAKER: Meissen Manufactory
PHYSICAL DESCRIPTION: ceramic, porcelain (overall material)
MEASUREMENTS: H. 5⅛" 13.1cm
OBJECT NAME: Covered pot
PLACE MADE: Meissen, Saxony, Germany
DATE MADE: 1735-1740
SUBJECT: Art
Domestic Furnishing
Industry and Manufacturing
CREDIT LINE: Hans C. Syz Collection
ID NUMBER: 1983.0565.35ab
COLLECTOR/ DONOR: 240ab
ACCESSION NUMBER:
(DATA SOURCE: National Museum of American History, Kenneth E. Behring Center)
MARKS: Crossed swords in underglaze blue and “K” in underglaze blue (painter’s mark).
PURCHASED FROM: Adolf Beckhardt, The Art Exchange, 1943.
This three-footed broth or soup pot and cover is from the Smithsonian’s Hans Syz Collection of Meissen Porcelain. Dr. Syz (1894-1991) began his collection in the early years of World War II, when he purchased eighteenth-century Meissen table wares from the Art Exchange run by the New York dealer Adolf Beckhardt (1889-1962). Dr. Syz, a Swiss immigrant to the United States, collected Meissen porcelain while engaged in a professional career in psychiatry and the research of human behavior. He believed that cultural artifacts have an important role to play in enhancing our awareness and understanding of human creativity and its communication among peoples. His collection grew to represent this conviction.
The invention of Meissen porcelain, declared over three hundred years ago early in 1709, was a collective achievement that represents an early modern precursor to industrial chemistry and materials science. The porcelains we see in our museum collections, made in the small town of Meissen in the German States, were the result of an intense period of empirical research. Generally associated with artistic achievement of a high order, Meissen porcelain was also a technological achievement in the development of inorganic, non-metallic materials.
With three claw feet and an artichoke finial on the cover this pot has a continuous band of flowering tree peonies or camelias painted around the belly of the pot and on the cover which also has a foliate border painted in iron-red and sea-green. Stylized butterflies also form part of this design. The Meissen painter has followed the Chinese Imari style in the onglaze enamel design with the pattern akin to the so-called branch or Astmuster. The pot was once paired with a saucer and this popular type of vessel was used for serving restorative soups and broths to invalids.
Chinese porcelain production in the manufacturing center of Jingdezhen was thrown into disarray when civil unrest followed the fall of the Ming Dynasty to the Qing in 1644. The Dutch East India Company turned to Japan where the production of exceptionally fine porcelain was well received in Europe. The Chinese re-entered the export market in the late seventeenth century and by the early 1700s Chinese porcelain painters were imitating Japanese Imari wares for the European and Asiatic trade. With a much smaller manufacturing base Japan could not compete when China began to produce imitations of Japanese Imari wares for which there was a high demand in Europe. By the middle of the eighteenth century Japanese porcelains were no longer competitive in quantity or price.
Original Japanese Imari collected by the European aristocracy was much admired for its opulent decorative style. When no longer imported to Europe imitations of the Imari style gained wider popularity later in the eighteenth century, most notably in the products of the English Worcester and Derby porcelain manufactories. Royal Crown Derby continues to produce a derivative pattern called Traditional Imari today.
For a detailed account of the Imari style see Ayers, J., Impey, O., Mallet, J.V.G., 1990, Porcelain for Palaces: the fashion for Japan in Europe 1650-1750. See also: Rotondo-McCord, L., 1997, Imari: Japanese Porcelain for European Palaces: The Freda and Ralph Lupin Collection; Goro Shimura, 2008, The Story of Imari: the Symbols and Mysteries of antique Japanese Porcelain; Takeshi Nagataki, 2003, Classic Japanese Porcelain: Imari and Kakiemon
For more information on this type of vessel see Weber, J., 2013, Meissener Porzellane mit Dekoren nach ostasiatischen Vorbildern: Stiftung Ernst Schneider in Schloss Lustheim, Band II, S. 201-203.
Jefferson Miller II, J., Rückert, R., Syz, H., 1979, Catalogue of the Hans Syz Collection, pp. 212-213.
Location
Currently not on view
date made
ca 1730
1730
maker
Meissen Manufactory
ID Number
1983.0565.35ab
catalog number
1983.0565.35ab
accession number
1983.0565
collector/donor number
240ab
Currently not on view
Location
Currently not on view
ID Number
1991.0664.0530
accession number
1991.0664
catalog number
M-05742
collector/donor number
SAP 454
This drug jar is marked CORT: CHIN:FLAV.
Description
This drug jar is marked CORT: CHIN:FLAV. It probably contained bark from the Cinchona tree.
Pharmaceutical historian George Urdang attributes containers 1991.0664.0760 through 1991.0664.0825 to Hanau in the late 18th century based on the floral design surrounding the medallion and the initials HN on the bottom of many of the jars in the series. However, in a letter to museum curators dated August 1983, pharmaceutical historian Wolfgang-Hagen Hein wrote that the containers without initials and those marked FH were made in Florsheim in the German state of Hesse.
Location
Currently not on view
date made
1790-1810
Date made
1775 - 1799
ID Number
1991.0664.0821
accession number
1991.0664
collector/donor number
SAP 745
catalog number
1991.0664.0821
This albarello has a white background and blue, green, purple–brown and yellow–orange stylized floral motifs flanked by solid bands of color. Pharmaceutical historian George Urdang dates this albarello to 16th-century Florence.
Description
This albarello has a white background and blue, green, purple–brown and yellow–orange stylized floral motifs flanked by solid bands of color. Pharmaceutical historian George Urdang dates this albarello to 16th-century Florence. In a letter dated 7 October 1973, pharmaceutical historian and author Dr. D. A. Wittop Koning attributes the place of origin to the Netherlands, and Professor Wolfgang–Hagen Hein, to 16th-century Antwerpen.
Location
Currently not on view
Date made
1500 - 1599
ID Number
1991.0664.0520
catalog number
M-05732
accession number
1991.0664
collector/donor number
SAP 444
catalog number
1991.0664.0520
This urne–shaped drug jar has a grayish–white glaze, a straight neck, and a round, domed foot. The lid has a cone–shaped finial.
Description
This urne–shaped drug jar has a grayish–white glaze, a straight neck, and a round, domed foot. The lid has a cone–shaped finial. A rectangular label is formed at the center of the jar by thin lines of brown, yellow, and green, topped by four C–scrolls forming a blue cartouche with a yellow center. The label creates a frame for the jars inscription.
The inscription reads Cort Cinnam. The outer frame is surrounded at its top and bottom by yellow and green vines and swags of beads. Correspondence in 1954 between Division of Medicine Associate Curator George Griffenhagen and George Urdang notes that the jars appear to be of Catalonian–Aragonese origin. This jar would have contained Cortex Cinnamomum, Latin for cinnamon bark which was used as an aromatic to stimulate the appetite and aid digestion.
Location
Currently not on view
date made
18th century
ID Number
1991.0664.0564
collector/donor number
SAP 488
catalog number
1991.0664.0564.01
1991.0664.0564.02
M-05776
accession number
1991.0664
This blown and molded square-shaped glass jar is decorated with a baked enamel shield outlined in red and black and capped with a yellow crown. A lion lies at the bottom of the shield.
Description
This blown and molded square-shaped glass jar is decorated with a baked enamel shield outlined in red and black and capped with a yellow crown. A lion lies at the bottom of the shield. According to George Urdang, author of The Squibb ancient Pharmacy Catalogue the seated lion is an indication that the jar was from a pharmacy named Lion Apothecary. It is marked with the alchemical symbol for salt and C RE CT.
Location
Currently not on view
date made
18th century
ID Number
1991.0664.0228
accession number
1991.0664
catalog number
M-05376
collector/donor number
SAP 85
catalog number
1991.0664.0228
"SEM: LYCOPOD." are seeds of the Bugleweed. They can be used as an astringent, narcotic, and as a douche.
Description (Brief)
"SEM: LYCOPOD." are seeds of the Bugleweed. They can be used as an astringent, narcotic, and as a douche. George Urdang author of The Squibb Ancient Pharmacy Catalogue attributes the containers 1991.0664.0760 through 1991.0664.0825 to Hanau in the late 18th century based on the floral design surrounding the medallion, and the initials "HN" on the bottom of many of the jars in the series. However, in a letter to museum curators dated August 1983, the pharmaceutical historian Wolfgang-Hagen Hein wrote that the containers without initials and those marked "FH" were made in Florsheim in the German state of Hesse twenty-three miles southwest of Hanau.
Location
Currently not on view
date made
1790-1810
Date made
1775 - 1799
ID Number
1991.0664.0785
accession number
1991.0664
collector/donor number
SAP 709
catalog number
1991.0664.0785
Currently not on view
Location
Currently not on view
Date made
19th Century
ID Number
1991.0664.0709
accession number
1991.0664
catalog number
M-05921
collector/donor number
SAP 633
catalog number
1991.0664.0709.01
1991.0664.0709.02
This squat–shaped drug jar has a baluster-shaped body and a stepped flared foot. A yellow shield depicts a lion balanced on one hind leg, holding an orb with its two front paws.
Description
This squat–shaped drug jar has a baluster-shaped body and a stepped flared foot. A yellow shield depicts a lion balanced on one hind leg, holding an orb with its two front paws. The shield is surrounded by an elaborate blue floral motif on a white glazed background with yellow rope bands at the neck and the rim of the foot.
A yellow and blue striped escroll is inscribed in black, PILL DE CINOGL OSS. The jar would have contained pills of cynoglossum. The herb cynoglossum, also known as hound’s-tongue, was used as a narcotic, sedative, astringent, and expectorant.
The jar was incorporated into the Squibb Ancient Pharmacy Collection when it was purchased at auction in 1935 from the American Art Association Anderson Galleries in New York City.
Location
Currently not on view
date made
ca 1600
Date made
1675 - 1699
ID Number
1991.0664.0505
accession number
1991.0664
catalog number
M-05717
collector/donor number
SAP 429
catalog number
1991.0664.0505
Currently not on view
Location
Currently not on view
Date made
18th Century
ID Number
1991.0664.0703
accession number
1991.0664
catalog number
M-05915
1991.0664.0704.01
1991.0664.0704.02
collector/donor number
SAP 627
This is a blue, yellow and green tin glazed waisted drug jar. The jar is decorated with a painted female mythological figure with a swan in one hand and flowers in the other, set against a landscape. On either side of the figure are vertical bands of foliage.
Description
This is a blue, yellow and green tin glazed waisted drug jar. The jar is decorated with a painted female mythological figure with a swan in one hand and flowers in the other, set against a landscape. On either side of the figure are vertical bands of foliage. An escrol above the figure is marked “THERIACA ANDROMACHI.” Theriac, an opium compound, was thought to be a panacea for a variety of diseases and an antidote for poison. Andromachus served as the Roman Emperor Nero’s physician, and this opium compound would have contained his formulation of the medicine.
Location
Currently not on view
Date made
1700 - 1799
date made
18th century
ID Number
1991.0664.0646
accession number
1991.0664
catalog number
M-05858
collector/donor number
SAP 570
catalog number
1991.0664.0646
This blue monochrome albarello-shaped drug jar has a stylized cobalt-blue floral motif with a cross-hatch band just above the shoulder and foot. An escroll in the center of the container is inscribed in gothic script, u dialtea.
Description
This blue monochrome albarello-shaped drug jar has a stylized cobalt-blue floral motif with a cross-hatch band just above the shoulder and foot. An escroll in the center of the container is inscribed in gothic script, u dialtea. This jar would have contained Unguentum Dialthaea, an ointment made from the gummy extract of the roots of the Althaea officinalis, also known as the Marshmallow. The ointment was used to soothe irritated throats and to relieve coughs.
Location
Currently not on view
date made
ca 1500
Date made
1500 - 1550
ID Number
1991.0664.0495
accession number
1991.0664
catalog number
M-05707
collector/donor number
SAP 419
catalog number
1991.0664.0495
This albarello-shaped drug jar is decorated with blue arches or false gadroons.
Description (Brief)
This albarello-shaped drug jar is decorated with blue arches or false gadroons. In Apothecary Jars by Rudolf Drey, a similar jar to 1991.0664.0648 through 1991.0664.0664 is illustrated, and attributed to Savona, a seaport town in northern Italy, and has a similar blue and manganese pallet. The Roman numeral X has been glazed onto the bottom of the foot.
Location
Currently not on view
date made
18th century
ID Number
1991.0664.0657
accession number
1991.0664
collector/donor number
SAP 581
catalog number
1991.0664.0657
This waisted drug jar has a flared foot with a deep blue glaze over a white background. The jar is decorated with stylized flowers and leaves on the upper and lower shoulders. The label at the center of the waist is marked Ung Bphonir.
Description
This waisted drug jar has a flared foot with a deep blue glaze over a white background. The jar is decorated with stylized flowers and leaves on the upper and lower shoulders. The label at the center of the waist is marked Ung Bphonir. The jar would have contained some type of unguentum, or ointment. This jar belongs to a set of drug containers seen in objects 1991.0664.0589 through 1991.0664.0596.
Location
Currently not on view
date made
18th century
ID Number
1991.0664.0594
accession number
1991.0664
catalog number
M-05806
collector/donor number
SAP 518
catalog number
1991.0664.0594

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