Cultures & Communities

Furniture, cooking wares, clothing, works of art, and many other kinds of artifacts are part of what knit people into communities and cultures. The Museum’s collections feature artifacts from European Americans, Latinos, Arab Americans, Asian Pacific Americans, African Americans, Gypsies, Jews, and Christians, both Catholics and Protestants. The objects range from ceramic face jugs made by enslaved African Americans in South Carolina to graduation robes and wedding gowns. The holdings also include artifacts associated with education, such as teaching equipment, textbooks, and two complete schoolrooms. Uniforms, insignia, and other objects represent a wide variety of civic and voluntary organizations, including youth and fraternal groups, scouting, police forces, and firefighters.

Currently not on view
Location
Currently not on view
date made
1875 - 1900
ID Number
DL.59.0796H.03
catalog number
59.0796H.03
accession number
221533
This map of North and South America appeared as part of a seven-volume historic atlas published in Paris between 1705 and 1720. It was also issued separately, and its large size together with its companion lower half suggest its use as a wall chart. Only a detail is shown here.
Description
This map of North and South America appeared as part of a seven-volume historic atlas published in Paris between 1705 and 1720. It was also issued separately, and its large size together with its companion lower half suggest its use as a wall chart. Only a detail is shown here. Circular portraits identify nine great explorers, including Columbus, Magellan, and Vespucci. Five voyages of discovery are marked on the Pacific Ocean, the southern ocean of the title.
Elaborate engraved vignettes depict beavers building a dam, Native Americans hunting and fishing, and other men salting and drying codfish. Niagara Falls is pictured, and California is shown as an island, although the growing belief that it was part of the continent is noted.
Location
Currently not on view
Date made
1719
graphic artist
Chatelain, Henri Abraham
ID Number
GA.313248.01a
catalog number
313248.01
accession number
313248
This engraving shows Hernán Cortés (1485–1547), the Spanish captain who headed the conquest of the Aztec Empire. He became a part of popular mythology the moment he arrived in Mexico around 1520.
Description
This engraving shows Hernán Cortés (1485–1547), the Spanish captain who headed the conquest of the Aztec Empire. He became a part of popular mythology the moment he arrived in Mexico around 1520. Cortés had spent time in Cuba killing and enslaving its indigenous inhabitants and administering the new social order of the Spanish colonies of the Caribbean. As his well-read memoirs attest, even his experiences in Cuba did not prepare him for the history-altering intrigues, battles, and cultural encounters between the Spanish and the Mexicans, Mayas, and their many neighbors in between. Motivated by an ancient notion of fame, Hernán Cortés wrote his own version of the conquest of Mexico that put him squarely at the center, favored by the Christian God. But neither his victories nor his pillage of the Mexican capital would have been possible without the aid of soldiers, slaves, and supplies from the enemies of the Aztecs. As a testament to Cortés's enduring fame, his portrait by the Spanish painter Antonio Carnicero was published as an engraving by Manuel Salvador y Carmona in 1791 in the book, Retratos de los españoles ilustres, con un epítome de sus vidas, (Portraits of Illustrious Spaniards, with a Synopsis of Their Lives.)
Description (Spanish)
Este grabado representa a Hernán Cortés (1485-1547), el capitán español que encabezó la conquista del Imperio Azteca. Desde que Cortés arribó a México en 1521 pasó a formar parte de la mitología popular. Había pasado algún tiempo en Cuba involucrado en la matanza y esclavización de los nativos y administrando la nueva estructura social de las colonias españolas del Caribe. Como lo atestiguan sus bien documentadas memorias, ni siquiera sus experiencias en Cuba lo prepararon para las decisivas intrigas, batallas y choques culturales entre españoles y mexicanos, mayas y otros pueblos vecinos. Motivado por el antiguo concepto de fama, Hernán Cortés escribió una versión propia de la conquista de México que lo situó manifiestamente en el centro de la historia, favorecido por el Dios cristiano. Sin embargo, ni sus victorias ni el saqueo de la capital mexicana hubieran sido posibles sin la ayuda de los soldados, esclavos y aprovisionamiento suplidos por los enemigos de los aztecas. Como testamento de la fama perdurable de Cortés, este retrato suyo del pintor español Antonio Carnicero se publicó como un grabado de Manuel Salvador y Carmona en 1791, en el libro Retratos de los Españoles Ilustres, con un Epítome de sus Vidas.
Location
Currently not on view
Date made
ca 1795
depicted
Cortes, Hernan
original artist
Carnicero, D. A.
graphic artist
Carmona, D. J. A.
ID Number
GA.20683
catalog number
20683
accession number
226630
Thomas Moran etched this view of a mission church in New Mexico in 1881 after a photograph by friend and traveling companion William Henry Jackson (1843–1942). Moran had met Jackson in 1871 on Ferdinand V.
Description
Thomas Moran etched this view of a mission church in New Mexico in 1881 after a photograph by friend and traveling companion William Henry Jackson (1843–1942). Moran had met Jackson in 1871 on Ferdinand V. Hayden’s Yellowstone expedition, the first government-sponsored survey of that area. Jackson and Moran worked side by side recording views. While Moran’s paintings of the West made his reputation, fewer than one-fifth of his etchings depict Western or Mexican scenes. His signature “TYM” at lower left stands for Thomas “Yellowstone” Moran.
The church shown in this print was replaced by a stone building in the early 20th century, and the San Juan Pueblo recently changed its name to Ohkay Owingeh Pueblo. It lies twenty-five miles north of Santa Fe.
Location
Currently not on view
Date made
1881
Associated Date
1881
graphic artist
Moran, Thomas
photographer
Jackson, William Henry
ID Number
GA.14750
catalog number
14750
accession number
94830
The French-born artist Jean Charlot spent his early career during the 1920s in Mexico City. His 1948 lithograph depicts a scene from the domestic life of a Mexican indigenous woman, a favorite theme of the artist.
Description
The French-born artist Jean Charlot spent his early career during the 1920s in Mexico City. His 1948 lithograph depicts a scene from the domestic life of a Mexican indigenous woman, a favorite theme of the artist. Household work—without the aid of most, if any, electrical appliances—was a full-time job for many working-class and poor Mexican women, north and south of the border, well into the 20th century. Food preparation was especially labor-intensive. Corn had to be processed, wood gathered, and water fetched, in the midst of child rearing and other household duties. This was the daily fare of most women, who rarely worked outside the home after marriage. Mexican American women who found work in cities like El Paso in the early 20th century were either single or widowed. Many worked as domestic servants, others in industrial laundries or textile mills. Like today, some women turned to their kitchens to earn a living, making meager profits selling prepared food on the street to Mexican American workers and Mexican migrants.
Description (Spanish)
El artista francés Jean Charlot pasó los años 1920, a comienzos de su carrera, en la ciudad de México. Esta litografía suya de 1948 representa una escena de la vida doméstica de una mujer indígena, un tema favorito del artista. Las tareas domésticas—sin la ayuda de la mayor parte de los aparatos electrodomésticos—constituían un trabajo de todo el día para muchas mujeres pobres de la clase trabajadora de México, al norte y sur de la frontera, hasta bien entrado el siglo XX. La preparación de la comida era especialmente trabajosa. Debía procesarse el maíz, juntarse leña y acarrear el agua, sumados a la crianza de los hijos y otras obligaciones domésticas. Así era la vida diaria para la mayoría de las mujeres, quienes raramente trabajaban fuera del hogar una vez casadas. A principios del siglo XX, las mujeres mexicoamericanas que trabajaban, en ciudades como El Paso, eran solteras o viudas. Muchas se empleaban en el servicio doméstico, otras en lavanderías industriales o fábricas textiles. Al igual que en la actualidad, algunas mujeres convertían su cocina en un medio para ganarse la vida, obteniendo exiguas ganancias a través de la venta de comidas preparadas en la calle para trabajadores mexicoamericanos e inmigrantes mexicanos.
Location
Currently not on view
Date made
1948
graphic artist
Charlot, Jean
ID Number
GA.23377
catalog number
23377
accession number
299563
Though anchored in local Roman Catholic traditions, many of the religious beliefs and symbols of Mexican Americans have roots in indigenous notions about the soul and our universe.
Description
Though anchored in local Roman Catholic traditions, many of the religious beliefs and symbols of Mexican Americans have roots in indigenous notions about the soul and our universe. Between October 31st and November 2nd, Día de los Muertos, or Day of the Dead, is celebrated with family, decorating home altars and visiting the graves of loved ones. A holiday with much regional and individual variation, it is traditionally an occasion to commemorate parents and grandparents with altars of marigolds, candles, alcohol, skeleton-shaped sweets, and other foods and personal objects favored by the dearly departed. Day of the Dead celebrations were reinvented across many Mexican American communities beginning in the 1970s, as the Chicano movement promoted and readapted Mexican cultural practices. Many artists since then have seized on the visual power of the altar as a conduit for personal and public memory. In the United States, Day of the Dead altars can be found interrogating life and critiquing politics in public places. Contemporary Day of the Dead celebrations have memorialized those who have died from AIDS, gang violence, the civil wars in Central America, and crossing the border. This lithograph, titled Night of the Dead, was originally drawn in ink by Alan Crane in 1958. Alan Horton Crane (1901–1969) was a Brooklyn-born illustrator best known for his landscapes and genre scenes of life in Mexico and New England. This image is part of a series of prints by Alan Crane housed in the Graphic Arts Collection of the National Museum of American History.
Description (Spanish)
Se puede decir que muchas de las creencias religiosas y símbolos de los mexicoamericanos, si bien se afirman en las tradiciones de la iglesia católica romana, tienen sus raíces en nociones indígenas sobre el alma y el universo. Entre el 31 de octubre y el 2 de noviembre, se celebra el Día de los Muertos en familia, decorando el hogar y visitando las tumbas de los seres queridos difuntos. Se trata de una festividad con variaciones regionales e individuales, en ocasión de conmemorar a los padres y abuelos ausentes con altares de caléndulas, velas, alcohol, dulces con formas de esqueletos y otras comidas y objetos personales de preferencia de los seres queridos ya difuntos. Las celebraciones del Día de los Muertos se reinventaron en todas las comunidades mexicoamericanas a comienzos de la década de 1970, cuando el movimiento chicano propició y readaptó las prácticas culturales mexicanas. Desde entonces muchos artistas se han servido del poder visual del altar como conducto de la memoria personal y pública. En Estados Unidos, pueden hallarse altares del Día de los Muertos erigidos en lugares públicos para expresar interrogantes de la vida o críticas a políticos. Las celebraciones contemporáneas del Día de los Muertos han conmemorado a los muertos por SIDA, por la violencia de las pandillas, por las guerras en Centroamérica y por los cruces de frontera. Esta litografía, titulada Noche de los Muertos, fue originalmente dibujada en tinta por Alan Crane en 1958. Alan Horton Crane (1901-1969) fue un ilustrador nacido en Brooklyn, más conocido por sus paisajes y pinturas de género sobre la vida en México y Nueva Inglaterra. Esta imagen forma parte de la serie de grabados de Alan Crane albergados en la Colección de Artes Gráficas del Museo Nacional de Historia Americano.
Location
Currently not on view
Date made
1958
maker
Crane, Alan
ID Number
GA.23836
catalog number
23836
accession number
306563
The engraved copper plate "Discovery of the New World" was used to print illustration number six in Nova Typis Transacta Navigatio, an account of Columbus's expeditions published in Austria in 1621.
Description
The engraved copper plate "Discovery of the New World" was used to print illustration number six in Nova Typis Transacta Navigatio, an account of Columbus's expeditions published in Austria in 1621. The plate was engraved by Wolfgang Kilian (1581–1662), one of a distinguished family of artists and engravers from Augsburg, Germany. The scene represents European explorers being welcomed at a feast by Native Americans.
The publication was dedicated to Caspar Plautius, Abbot of the Benedictine monastery of Seitenstetten, where the book was published. Plautius also has been suggested as the author of the work, which treats the exploration and discovery of the Americas and the role of Benedictine priests as missionaries. The Benedictines, under Father Bernardo Boyl or Buell, were sent by the King of Spain to Christianize the native peoples of the New World. The plate came to the Smithsonian in 1905 from the Seitenstetten monastery, through Prof. P. Joseph Schock. Several impressions were printed from the plate in 1913.
Location
Currently not on view
Date made
1621
maker
Kilian, Wolfgang
ID Number
GA.07252
catalog number
07252
accession number
45209
La Malinche, the title of this lithograph, was the indigenous woman who translated for Cortés between Maya, Náhuatl, and Spanish during his first years in Mexico.
Description
La Malinche, the title of this lithograph, was the indigenous woman who translated for Cortés between Maya, Náhuatl, and Spanish during his first years in Mexico. Considered either as a traitor or a founding mother by some Mexicans, La Malinche was Cortés's lover and the mother of his favorite son Martín. She and Moctezuma are also central figures in the Matachines dances that are performed in Mexico and New Mexico. Originally commemorating the expulsion of the Moors from southern Spain in 1492, the dance was brought to Mexico where it was treated as a means for Christianizing native peoples. The historical figure of La Malinche, known in Spanish by the name Doña Marina, is also credited for playing an almost miraculous role in the early evangelization of central Mexico. This print, made by Jean Charlot in the 1933, shows a young girl in the role of La Malinche, holding a rattle or toy in one hand, and a sword in the other. Jean Charlot, a French-born artist, lived and studied in Mexico in the 1920s and 1930s. He depicted stylized scenes from the daily life of Mexican workers, particularly indigenous women.
Description (Spanish)
La Malinche, título de esta litografía, fue la mujer indígena que interpretaba para Cortés entre los mayas, náhuatl y españoles durante sus primeros años en México. La Malinche, quien para algunos mexicanos es una traidora, mientras que otros la consideran la madre fundadora, fue la amante de Cortés y la madre de su hijo favorito, Martín. Ella y Moctezuma constituyen también los personajes centrales de las danzas matachines que se interpretan en México y Nuevo México. Al principio estas danzas conmemoraban la expulsión de los moros del sur de España, pero en 1492 cuando la danza llegó a México se la utilizó como medio para cristianizar a los pueblos nativos. Se le atribuye también a la figura histórica de La Malinche, conocida asimismo como Doña Marina, un desempeño casi milagroso dentro de la temprana evangelización de México. Esta ilustración, hecha por Jean Charlot en 1933, es la imagen de una niña representando a La Malinche, sosteniendo un sonajero o juguete en una mano y una espada en la otra. Jean Charlot fue un artista francés que vivió y estudió en México entre las décadas de 1920 y 1930, quien se dedicó a ilustrar escenas estilizadas de la vida diaria de los trabajadores mexicanos y en particular de las mujeres indígenas.
Location
Currently not on view
Date made
1933
ID Number
GA.23401
catalog number
23401
accession number
299563
This cigar store Indian was used as an advertisement for D. F. Saylor’s Pennsylvania tobacco shop during the late 19th and early 20th century. The Indian holds a bundle of cigars in one hand and a tobacco leaf in the other.
Description
This cigar store Indian was used as an advertisement for D. F. Saylor’s Pennsylvania tobacco shop during the late 19th and early 20th century. The Indian holds a bundle of cigars in one hand and a tobacco leaf in the other. He stands on a four-sided pedestal that has writing on each side: “145/D. F. Saylor/Cigars, Tobacco, Candy”—“Smoke/50-50/Cigar”—“El Wadora/5¢/Cigar” and “Thank You! Call Again.” The pedestal also advertises a shoe shine. Indians were associated with tobacco since they introduced it to Europeans, and advertisers played upon these stereotypes to hawk their wares to illiterate consumers.
ID Number
CL.65.0993
catalog number
65.0993
accession number
256396
Depicting an Indian with drawn bow and dog. Silhouette of Indian with stylized head dress (hair) with ornament on forehead holding a drawn bow and arrow. There is a dog at the base of the the weathervane.Currently not on view
Description (Brief)
Depicting an Indian with drawn bow and dog. Silhouette of Indian with stylized head dress (hair) with ornament on forehead holding a drawn bow and arrow. There is a dog at the base of the the weathervane.
Location
Currently not on view
Date made
1875-1900
ID Number
CL.65.0917
accession number
256396
catalog number
65.0917
Currently not on view
Location
Currently not on view
date made
ca 1875-1895
ID Number
CL.65.0995
catalog number
65.0995
accession number
256396
Currently not on view
Location
Currently not on view
date made
ca 1882-1900
maker
Robb Workshop
ID Number
CL.65.0985
catalog number
65.0985
accession number
256396
Depicting an Indian with a raised tomahawk. The image is the same on both sides. Painted figure with a five plume headpiece in blue, black yellow and red; blue jacket with five yellow buttons and a yellow belt; blue garters, brown shoes.
Description (Brief)
Depicting an Indian with a raised tomahawk. The image is the same on both sides. Painted figure with a five plume headpiece in blue, black yellow and red; blue jacket with five yellow buttons and a yellow belt; blue garters, brown shoes. The figure holds a bow in front hand and a raised tomahawk in the back hand. There is a brace to hold the tomahawk and arm on one side and the other side has a brace across shoulders which connects to support rod.
Location
Currently not on view
Date made
1850-1899
ID Number
CL.65.0918
accession number
256396
catalog number
65.0918
Currently not on view
Location
Currently not on view
Date made
1850-1899
ID Number
CL.65.0919
catalog number
65.0919
accession number
256396
Depicting an Indian with a bow and arrow. Silhoutted figure made of two layers of sheet metal held togther by rivets. The figure has a quiver and a stylized plume head-dress with three points. There are three loops for a support rod.Currently not on view
Description (Brief)
Depicting an Indian with a bow and arrow. Silhoutted figure made of two layers of sheet metal held togther by rivets. The figure has a quiver and a stylized plume head-dress with three points. There are three loops for a support rod.
Location
Currently not on view
Date made
1850-1899
ID Number
CL.65.0914
accession number
261195
catalog number
65.0914
collector/donor number
T-1
Depicting an Indian with a drawn bow. Silhouetted figure in a running stance with a five feather head-dress, a bow and arrow made from sheet metal. The arrowhead is attached by two rivets. The figure is supported through a metal covered wood sphere.
Description (Brief)
Depicting an Indian with a drawn bow. Silhouetted figure in a running stance with a five feather head-dress, a bow and arrow made from sheet metal. The arrowhead is attached by two rivets. The figure is supported through a metal covered wood sphere. There are traces of green paint.
Location
Currently not on view
Date made
1850-1899
ID Number
CL.65.0913
accession number
261195
catalog number
65.0913
collector/donor number
T-14
Currently not on view
Location
Currently not on view
date made
1972-01
depicted (sitter)
Kennedy, Edward M.
photographer
Regan, Ken
ID Number
2014.0112.619
catalog number
2014.0112.619
accession number
2014.0112
The evolving civil rights movement of the 1950s, 1960s, and 1970s revolutionized the consciousness of young people across the United States. As in African American communities, a new sense of mobilization spread among Mexican Americans.
Description
The evolving civil rights movement of the 1950s, 1960s, and 1970s revolutionized the consciousness of young people across the United States. As in African American communities, a new sense of mobilization spread among Mexican Americans. Many adopted a more political identity—chicano and chicana—and explored their history, which was omitted from school textbooks. The Chicano movement sought to remedy the injustices experienced by many Mexican Americans, from substandard education and housing to working conditions. Many symbols and ideas of the Chicano movement were taken from the pre-Hispanic past, especially Aztec history. Aztlán, the original homeland in the Aztec migration stories, has an important place in Chicano mythology. As a symbolic reclamation of their place in American history, Chicanos locate Aztlán in the Southwest United States, in the area conquered during the Mexican-American War. The image shown here, by Manuel Moya, is an ink drawing done on a handkerchief known as a paño. Paños are graphic art works drawn on handkerchiefs by Chicano prisoners in California, Texas, and the Southwest. Titled, La Tierra Nueva en Aztlán, or The New Land in Aztlán, combines the images of the Aztec past with a Pancho Villa-like figure from the Mexican Revolution.
Description (Spanish)
El movimiento por los derechos civiles que se desarrolló entre las décadas de 1950, 1960 y 1970, revolucionó las conciencias de los jóvenes a los largo de los Estados Unidos. Al igual que en las comunidades afroamericanas, también se difundió entre los mexicoamericanos un nuevo sentido de movilización. Muchos adoptaron una identidad de carácter más político—chicano y chicana—y empezaron a explorar su historia, la cual había quedado omitida de los libros de texto escolares. El movimiento chicano buscó remediar las injusticias experimentadas por muchos mexicoamericanos, tales como condiciones educativas, de vivienda y de trabajo inferiores al estándar. Muchos símbolos e ideas del movimiento chicano se extrajeron del pasado prehispánico, especialmente de la historia azteca. Aztlán, la patria original aludida en las historias migratorias de los aztecas, ocupa un lugar de relieve en la mitología chicana. Como reclamo simbólico de su lugar en la historia americana, los chicanos ubican a Aztlán en el sudoeste de los Estados Unidos, en el área conquistada durante la guerra mexicoamericana. La imagen que se observa aquí, del artista Manuel Moya, es un dibujo en tinta hecho sobre un pañuelo o paño. Los paños son obras de arte gráfico diseñadas sobre pañuelos por los prisioneros chicanos en California, Texas y la región sudoeste. Titulado La Tierra Nueva en Aztlán, combina las imágenes del pasado azteca con una figura estilo Pancho Villa de la Revolución Mexicana.
Location
Currently not on view
Date made
1986
artist
Moya, Manuel
ID Number
1991.0431.01
catalog number
1991.0431.01
accession number
1991.0431
Henry Leavitt Ellsworth brought this notebook of sample fabrics from an East Coast manufacturer to Fort Gibson, Oklahoma, during his time as part of the Stokes Commission from 1832 until 1834.
Description
Henry Leavitt Ellsworth brought this notebook of sample fabrics from an East Coast manufacturer to Fort Gibson, Oklahoma, during his time as part of the Stokes Commission from 1832 until 1834. The Indian Removal Act of 1830 forced southeastern tribes to the Indian Territory in the West, and Fort Gibson became the home of the commission, whose goal was to pacify the indigenous tribes and create treaties between new tribes during their forced migration.
Ellsworth explained the books contents on the first page, “The annexed samples were cut from large samples and promised at the manufacturers in the East. These prices are fixed by the manufacturers themselves. A sutler at this post Wm. West has kindly given the prices as sold at this garrison. In the interior they are much higher.” The book was believed to have been assembled to support a bill in front of Congress regulating trade with the Indians. As outlined in the book, cloth sold to the Indians was sold at anywhere between a 48% and 180% markup—one of many unfair trade practices between the settlers and Native Americans. The Ellsworth report used this as an example of the need for regulation to prevent traders from taking advantage of the Native Americans with the prospect of a booming population due to forced migration. The book itself contains fifty samples of eleven different fabric types.
date made
1834
associated dates
1990 01 19 / 1990 01 19
ID Number
1979.0425.183
catalog number
1979.0425.183
accession number
1979.0425
This engraved woodblock of an "Iroquois Mask" was prepared by the Government Printing Office in Washington, D.C.; the print was published as Plate XXII.49 (p.
Description
This engraved woodblock of an "Iroquois Mask" was prepared by the Government Printing Office in Washington, D.C.; the print was published as Plate XXII.49 (p. 189) in an article by William Healey Dall (1845-1927) entitled “On Masks, Labrets, and Certain Aboriginal Customs with an Inquiry into the Bearing of Their Geographical Distribution” in the Third Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian, 1881-82. According to the annual report, the mask was “used by the order of ‘Falsefaces’.” Lewis Henry Morgan (1818-1881) was the original artist.
Location
Currently not on view
date made
1884
publisher
Bureau of American Ethnology
printer
Government Printing Office
author
Dall, William H.
original artist
Morgan, L. H.
block maker
A. P. J. & Co.
ID Number
1980.0219.0437
accession number
1980.0219
catalog number
1980.0219.0437
This engraved woodblock of "Navaho blanket" was prepared by the Government Printing Office in Washington, D.C.; the print was published as Figure 52 (p.387) in an article by Dr.
Description
This engraved woodblock of "Navaho blanket" was prepared by the Government Printing Office in Washington, D.C.; the print was published as Figure 52 (p.387) in an article by Dr. Washington Matthews (1843-1905) entitled “Navajo Weavers” in the Third Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian, 1881-82.
Location
Currently not on view
date made
1884
printer
Government Printing Office
publisher
Bureau of American Ethnology
author
Matthews, Washington
ID Number
1980.0219.0421
accession number
1980.0219
catalog number
1980.0219.0421
This engraved woodblock of seven American Indians inside an enclosure was prepared by the Government Printing Office in Washington, D.C. for the Bureau of American Ethnology in about 1880. The engraving is marked with the initials WLS and DN for the original and graphic artists.
Description
This engraved woodblock of seven American Indians inside an enclosure was prepared by the Government Printing Office in Washington, D.C. for the Bureau of American Ethnology in about 1880. The engraving is marked with the initials WLS and DN for the original and graphic artists. The full names of the artists have not yet been identified.
Location
Currently not on view
date made
ca 1880
publisher
Bureau of American Ethnology
printer
Government Printing Office
block maker
V. W. & Co.
ID Number
1980.0219.1121
catalog number
1980.0219.1121
accession number
1980.0219
This engraved woodblock of “Eskimo child’s clothing” was prepared by the Government Printing Office in Washington, D.C.; the image was published as Figure 512 (p.557) in an article by Franz Boas (1858-1942) entitled “The Central Eskimo” in the Sixth Annual Report of the Bureau of
Description
This engraved woodblock of “Eskimo child’s clothing” was prepared by the Government Printing Office in Washington, D.C.; the image was published as Figure 512 (p.557) in an article by Franz Boas (1858-1942) entitled “The Central Eskimo” in the Sixth Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian,1884-85.
Location
Currently not on view
date made
1888
publisher
Bureau of American Ethnology
printer
Government Printing Office
author
Boas, Franz
ID Number
1980.0219.0477
accession number
1980.0219
catalog number
1980.0219.0477
This engraved woodblock of a “Zuni Paint Cup” was prepared by the Government Printing Office in Washington, D.C.; the image was published as Figure 457 (p.364) in an article by James Stevenson (1840-1888) entitled “Illustrated Catalogue of the Collections Obtained from the Indian
Description
This engraved woodblock of a “Zuni Paint Cup” was prepared by the Government Printing Office in Washington, D.C.; the image was published as Figure 457 (p.364) in an article by James Stevenson (1840-1888) entitled “Illustrated Catalogue of the Collections Obtained from the Indians of New Mexico and Arizona in 1879” in the Second Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian, 1880-81. BAE photographer John K. Hillers (1843-1925) accompanied Stevenson on this expedition.
Location
Currently not on view
date made
1883
publisher
Bureau of American Ethnology
printer
Government Printing Office
photographer
Hillers, John K.
author
Stevenson, James
ID Number
1980.0219.0986
catalog number
1980.0219.0986
accession number
1980.0219

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