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.

In the nineteenth century, volunteer fire companies often commissioned paintings to decorate their hand-pumped fire engines for parades, competitions, and community events.
Description (Brief)
In the nineteenth century, volunteer fire companies often commissioned paintings to decorate their hand-pumped fire engines for parades, competitions, and community events. Sometimes framed with elaborate carvings, they adorned the tall air chamber located at the middle or rear of a pumper. The paintings would often feature patriotic, heroic, or allegorical images to associate the volunteer companies with these lofty ideals.
This fire engine panel came from the Franklin Engine Company No. 12 of Philadelphia, Pennsylvania that was active as a hand engine company from 1792 until 1863 when it acquired a steam fire engine. It operated as a steam fire engine company until 1871 when Philadelphia’s paid firefighting department was established. The painting “Franklin with Loaf of Bread” is attributed to David Rent Etter and dates to around 1830. The painting depicts the young Benjamin Franklin’s arrival in Philadelphia in 1723. As recounted in his autobiography, he mistakenly bought more bread than he could eat and gave the extra loaves to a poor woman and child. Benjamin Franklin was well known for organizing the first volunteer fire company in Philadelphia, and his image and his name were popular among the city’s fire companies. By invoking Franklin, volunteer firemen linked themselves to the progenitor of their trade, as well as someone who played a key role in the Revolution and securing America’s freedom. This painting and its companion piece (object 2005.0233.0307) would have adorned either side of the company’s engine.
Location
Currently not on view (screws)
Currently not on view
Date made
ca 1830
depicted
Franklin, Benjamin
artist attribution
Etter, David Rent
ID Number
2005.0233.0018
accession number
2005.0233
catalog number
2005.0233.0018
Currently not on view
Location
Currently not on view
date made
ca 1870-1900
ID Number
CL.65.0997
catalog number
65.0997
accession number
256396
Made of painted wood. Very little trace of original paint. Small standing figure holding a box of cigars, right hand pointing to label. Large curving feathered headdres, simple tunic with a curled collar carved in a baroque style. Banded sleves and fringed trousers.
Description (Brief)
Made of painted wood. Very little trace of original paint. Small standing figure holding a box of cigars, right hand pointing to label. Large curving feathered headdres, simple tunic with a curled collar carved in a baroque style. Banded sleves and fringed trousers. Legs cut into the log support.
Location
Currently not on view
date made
mid 19th century
ID Number
CL.65.1003
accession number
261195
catalog number
65.1003
collector/donor number
T-42
Currently not on view
Location
Currently not on view
ID Number
CL.65.0999
catalog number
65.0999
accession number
256396
Currently not on view
Location
Currently not on view
ID Number
CL.65.0983
accession number
256396
catalog number
65.0983
Currently not on view
Location
Currently not on view
ID Number
CL.65.1146
catalog number
65.1146
accession number
256396
Made of stained wood with some paint. Smal, dark-skinned figure holding a pipe in right hand and a bundle of tobacco leaves in the left. Feather headress, feather skirt, and beads around neck.Currently not on view
Description (Brief)
Made of stained wood with some paint. Smal, dark-skinned figure holding a pipe in right hand and a bundle of tobacco leaves in the left. Feather headress, feather skirt, and beads around neck.
Location
Currently not on view
date made
18th to early 19th century
ID Number
CL.65.1002
accession number
261195
catalog number
65.1002
collector/donor number
T-20
Made of carved wood with traces of paint. Standing figure, right hand holds a bundle of cigars. Figure is wearing a simplified, short-sleeved tunic, fringed trousers. Behind figure are stacked tobacco boxes. Simplified banded headdress.
Description (Brief)
Made of carved wood with traces of paint. Standing figure, right hand holds a bundle of cigars. Figure is wearing a simplified, short-sleeved tunic, fringed trousers. Behind figure are stacked tobacco boxes. Simplified banded headdress. Sheaf of tobacco leaves in left hand.
Location
Currently not on view
date made
mid 19th century
ID Number
CL.65.1001
catalog number
65.1001
accession number
261195
collector/donor number
T-43
Unknown artist, about 1894“Cheyenne Picture. Warrior Killing a Soldier.”Ink and watercolorThis drawing shows the victory of a Cheyenne warrior over a U.S. Army soldier.
Description
Unknown artist, about 1894
“Cheyenne Picture. Warrior Killing a Soldier.”
Ink and watercolor
This drawing shows the victory of a Cheyenne warrior over a U.S. Army soldier. The artist depicts the warrior counting coup on his enemy by touching the fallen soldier with his riding whip (quirt). Counting coup - in this instance touching an adversary in battle - was considered an act of bravery that could gain war honors. This single event took place during a larger battle against many adversaries, as indicated by the large number of rifles at the left.
Location
Currently not on view
Date made
ca 1875
date made
ca 1894
original artist
unknown
ID Number
GA.08111
accession number
1897.031963
catalog number
GA*08111
accession number
1897.31963
Currently not on view
Location
Currently not on view
Date made
1850-1899
ID Number
CL.65.0929
catalog number
65.0929
accession number
256396
Unknown artist, about 1868“Drawing made by a Kiowa Indian”(Title given by collector Dr. Edward Palmer)Media: Pencil on paperThis Kiowa Indian drawing was likely prepared and collected in 1868 at the Kiowa and Comanche Agency in present-day Oklahoma.
Description
Unknown artist, about 1868
“Drawing made by a Kiowa Indian”
(Title given by collector Dr. Edward Palmer)
Media: Pencil on paper
This Kiowa Indian drawing was likely prepared and collected in 1868 at the Kiowa and Comanche Agency in present-day Oklahoma. Non-Indians were known to have offered paper and illustrating equipment to Plains Indians as early as the 1830s. The drawing displays a Kiowa warrior’s head and neck ornament (possibly a peace medal), and his leg sashes.
Location
Currently not on view
date made
ca 1880
ca 1869
ca 1882
original artist
unknown
ID Number
2008.0175.51
catalog number
2008.0175.051
accession number
2008.0175
Working on assignment, Henry Horenstein photographed EmmyLou Harris (b. 1947) at her home. In the 1970s, Harris represented the generation of musicians who were influenced by traditional country, rock, and folk music.
Description
Working on assignment, Henry Horenstein photographed EmmyLou Harris (b. 1947) at her home. In the 1970s, Harris represented the generation of musicians who were influenced by traditional country, rock, and folk music. Over the years, Harris has had a profound impact on contemporary popular and country music.
Location
Currently not on view
negative
1980
print
2003
maker
Horenstein, Henry
ID Number
2003.0169.034
accession number
2003.0169
catalog number
2003.0169.034
This carved sperm whale tooth is only engraved on one side, but it has an unusual subject. Instead of the more common full-rigged sailing ship, this tooth depicts a steamboat in profile moving from left to right.
Description
This carved sperm whale tooth is only engraved on one side, but it has an unusual subject. Instead of the more common full-rigged sailing ship, this tooth depicts a steamboat in profile moving from left to right. Below the vessel is engraved the legend “STEAMER RIGHT ARM”, which identifies the vessel as the wrecking tugboat RIGHT ARM. Measuring 135 ft. in length by 26.5 ft. beam (width), the ship was purpose built in New England in the early 1890s as a wrecker, or salvage vessel. These uncommon vessels helped to refloat grounded or stranded ships, or recovered useful parts from a ship that was wrecked. The forward deckhouse contained a powerful steam windlass and several tons of 2-in. chain, and the pumps were so strong that the ship could pump coal--as well as water--from damaged ships. The RIGHT ARM had the capability to support divers as well, with dive gear, air compressors and special equipment.
The RIGHT ARM is best known as the salvage ship for the infamous wreck of the American warship USS MAINE in Havana harbor, Cuba, an early event in the Spanish-American War. The RIGHT ARM recovered some of the MAINE’s artillery; the ship’s safe containing ca. $25,000; valuable chalices from the chaplain’s stateroom, and sailors’ bodies from the colossal explosion on 15 February 1898 that sank the warship.
Although this tooth was not carved by a whaler during the classical Age of Sail, it still represents the latter-day art of scrimshaw through its style, material and treatment.
Location
Currently not on view
ID Number
DL.65.1135
catalog number
65.1135
accession number
256396
This long, sharp walrus tusk tip has two whales engraved on its sides. On one side is a sperm whale, with its mouth wide open displaying its characteristic teeth in the lower jaw.
Description
This long, sharp walrus tusk tip has two whales engraved on its sides. On one side is a sperm whale, with its mouth wide open displaying its characteristic teeth in the lower jaw. Beneath it is the inscription: “LONG IS.” The other side has a large baleen or right whale, with the inscription “THo 1854 WILLETS” carved below. Baleen whales lack teeth and filter their food through hundreds of long, thin, flexible baleen plates. Thomas Willets was probably a crewman on an 1854 sealing or whaling voyage out of Long Island, a region in New York known for its whaling industry. In the 19th century, the Willets family was widespread and well known in the New York area.
Scrimshaw began in the late 18th or early 19th century as the art of carving whale bone and ivory aboard whale ships. The crew on whalers had plenty of leisure time between sighting and chasing whales, and the hard parts of whales were readily available on voyages that could last up to four years.
In its simplest form, a tooth was removed from the lower jaw of a sperm whale and the surface was prepared by scraping and sanding until it was smooth. The easiest way to begin an etching was to smooth a print over the tooth, prick the outline of the image with a needle and then “connect-the-dots” once the paper was removed. This allowed even unskilled craftsmen to create fine carvings. Some sailors were skilled enough to etch their drawings freehand. After the lines were finished, they were filled in with lamp black or sometimes colored pigments.
Scrimshaw could be decorative, like simple sperm whale teeth, or they could be useful, as in ivory napkin rings, corset busks (stiffeners), swifts for winding yarn or pie crimpers. The sailor’s hand-carved scrimshaw was then given to loved ones back on shore as souvenirs of the hard and lonely life aboard long and dangerous voyages.
Location
Currently not on view
date made
1854
ID Number
1978.0052.11
accession number
1978.0052
catalog number
1978.52.11
Pearl Butler accepts a song request from a young fan. Pearl (1927-1998) and Carl Butler (1927-1992) were part of the honky-tonk and bluegrass music movements before World War II.
Description
Pearl Butler accepts a song request from a young fan. Pearl (1927-1998) and Carl Butler (1927-1992) were part of the honky-tonk and bluegrass music movements before World War II. After their 1962 hit, "Don't Let Me Cross Over," the Butlers became one of the most popular male-female vocal teams in country music.
Location
Currently not on view
negative
1973
print
2003
maker
Horenstein, Henry
ID Number
2003.0169.076
accession number
2003.0169
catalog number
2003.0169.076
In the nineteenth century, volunteer fire companies often commissioned paintings to decorate their hand-pumped fire engines for parades, competitions, and community events.
Description
In the nineteenth century, volunteer fire companies often commissioned paintings to decorate their hand-pumped fire engines for parades, competitions, and community events. Sometimes framed with elaborate carvings, they adorned the tall air chamber located at the middle or rear of a pumper. The paintings would often feature patriotic, heroic, or allegorical images to associate the volunteer companies with these lofty ideals.
The knight pictured is Saint Florian, who is associated with protection from the destructive forces of fire and water. Florian was a Roman guard under Emperor Diocletian who converted to Christianity. He was drowned when he refused to follow the order to persecute fellow Christians. The painting depicts Florian in his Roman garb putting out a fire with a single bucket of water, a common motif in depictions of the saint.
Location
Currently not on view
date made
19th century
maker
unknown
ID Number
2005.0233.0323
accession number
2005.0233
catalog number
2005.0233.0323
Currently not on view
Location
Currently not on view
Date made
1875-1899
ID Number
CL.65.0932
catalog number
65.0932
accession number
256396
This large, highly polished sperm whale tooth is carved on both sides. The obverse is etched with a large full-rigged three-masted ship sailing towards the observer with all sails set.
Description
This large, highly polished sperm whale tooth is carved on both sides. The obverse is etched with a large full-rigged three-masted ship sailing towards the observer with all sails set. Atop the mainmast is a homeward bound pennant, and fifteen gunports are aligned along the starboard side of the ship. Below the sailing ship is etched in upper case letters "MONMOUTH-L.Is." (for Long Island). The reverse has a large heart with a keyhole in the center, with a forked pennant swirling around it marked "SARAH THE KEY IS WITH THEE 1864". Below the name "Wm. BAYLES" is etched along the same line as the lettering on the other side. There were no whalers named Monmouth in the records, and William Bayles does not appear in the New Bedford Whaling Museum Whaling Crew List Database.
Location
Currently not on view
date made
19th-20th century
ID Number
1978.0052.25
accession number
1978.0052
catalog number
1978.52.25
Henry Horenstein photographed Hank Williams Jr., the son of legendary singer Hank Williams, leaving his tour bus. Williams Jr. (b. 1949) spent his early career singing his father's songs in his own style.
Description
Henry Horenstein photographed Hank Williams Jr., the son of legendary singer Hank Williams, leaving his tour bus. Williams Jr. (b. 1949) spent his early career singing his father's songs in his own style. After a 1974 suicide attempt and a mountain climbing accident in 1975, he revamped his own image, modeling it after rowdy southern rockers. Later he was considered part of the Outlaw Country Movement.
Location
Currently not on view
negative
1973
print
2003
maker
Horenstein, Henry
ID Number
2003.0169.074
accession number
2003.0169
catalog number
2003.0169.074
At Tootsie's Orchid Lounge, musicians could hang out, perform and hope for a chance to be discovered.Currently not on view
Description
At Tootsie's Orchid Lounge, musicians could hang out, perform and hope for a chance to be discovered.
Location
Currently not on view
negative
1974
print
2003
maker
Horenstein, Henry
ID Number
2003.0169.111
catalog number
2003.0169.111
accession number
2003.0169
Currently not on view
Location
Currently not on view
date made
ca 1878-1888
ID Number
CL.65.1009
accession number
256396
catalog number
65.1009
Made of painted carved wood. Black hair, face fron, running to the right, left arm outstretched. Back of carving is flat.Currently not on view
Description (Brief)
Made of painted carved wood. Black hair, face fron, running to the right, left arm outstretched. Back of carving is flat.
Location
Currently not on view
ID Number
CL.66.222
catalog number
66.222
accession number
261195
collector/donor number
S-313
Nearly every spot on this small sperm whale tooth is decorated. The center of the main side contains a generic US warship in the center, with a swallowtail pennant on the foremast, a homeward bound pennant on the main mast and a big American flag off the stern.
Description
Nearly every spot on this small sperm whale tooth is decorated. The center of the main side contains a generic US warship in the center, with a swallowtail pennant on the foremast, a homeward bound pennant on the main mast and a big American flag off the stern. Above it floats a thistle; below is a crosshatch basket of flowers. Vines connect the edges of the tooth to the other side, the bottom of which is etched with an American eagle shield with thistles in its beak and crossed American flags in its talons. Above it floats a heart with a star in the middle. Three arrows and a horn pierce it through the middle, and above floats another vine. On the final edge is a head-on view of a ship with studding sails flying. It appears to be an alternate view of the ship on the other side of the tooth, judging from its visible flags. Around the base of the tooth, a sharp dentil molding draws all the images together into one composition.
Scrimshaw began in the late 18th or early 19th century as the art of carving whale bone and ivory aboard whale ships. The crew on whalers had plenty of leisure time between sighting and chasing whales, and the hard parts of whales were readily available on voyages that could last up to four years.
In its simplest form, a tooth was removed from the lower jaw of a sperm whale and the surface was prepared by scraping and sanding until it was smooth. The easiest way to begin an etching was to smooth a print over the tooth, prick the outline of the image with a needle and then “connect-the-dots” once the paper was removed. This allowed even unskilled craftsmen to create fine carvings. Some sailors were skilled enough to etch their drawings freehand. After the lines were finished, they were filled in with lamp black or sometimes colored pigments.
Scrimshaw could be decorative, like simple sperm whale teeth, or they could be useful, as in ivory napkin rings, corset busks (stiffeners), swifts for winding yarn or pie crimpers. The sailor’s hand-carved scrimshaw was then given to loved ones back on shore as souvenirs of the hard and lonely life aboard long and dangerous voyages.
Location
Currently not on view
ID Number
TR.67.723
accession number
248268
catalog number
67.723
An intergenerational crowd leaves the Ryman Auditorium after a show. The "WSM" stands for "We Shield Millions," the motto for the insurance company that originally funded the Grand Ole Opry.Currently not on view
Description
An intergenerational crowd leaves the Ryman Auditorium after a show. The "WSM" stands for "We Shield Millions," the motto for the insurance company that originally funded the Grand Ole Opry.
Location
Currently not on view
print
2003
maker
Horenstein, Henry
ID Number
2003.0169.060
accession number
2003.0169
catalog number
2003.0169.060

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