Cultures & Communities

Cleveland Many Peoples One Language Poster

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.

Picture postcard, "San Buena Ventura Mission, Founded 1782, Ventura, California"

This postcard view of San Buenaventura Mission was printed by the Van Ornum Colorprint Company in Los Angeles, Calif.
Description (Brief)
This postcard view of San Buenaventura Mission was printed by the Van Ornum Colorprint Company in Los Angeles, Calif. using photomechanical processes.
The Van Ornum Colorprint Company (1908-1921) was one of many picture postcard publishing companies producing California landmark scenes.
Mission San Buenaventura, founded in 1782, is located in the coastal town of Ventura. It was the ninth of twenty-one Spanish Franciscan missions established in California between 1769 and 1823 to convert American Indians of the Chumash tribe to Catholicism.
Today the mission serves as a parish church and a museum.
Location
Currently not on view
date made
1908-1921
graphic artist
Van Ornum Colorprint Co.
ID Number
1986.0639.0487
accession number
1986.0639
catalog number
1986.639.0487

Firefighter's Helmet

The traditional American leather firefighter’s helmet with its distinctive long rear brim, frontpiece, and crest adornment was first developed around 1821-1836 in New York City. Henry T.
Description (Brief)
The traditional American leather firefighter’s helmet with its distinctive long rear brim, frontpiece, and crest adornment was first developed around 1821-1836 in New York City. Henry T. Gratacap, a New York City luggage maker by trade, is often credited as the developer of this style of fire helmet. Gratacap created a specially treated leather helmet with a segmented “comb” design that led to unparalleled durability and strength. The elongated rear brim (also known as a duckbill or beavertail) and frontpiece were 19th century innovations that remain the most identifiable feature of firefighter’s helmets. The body of the helmet was primarily designed to deflect falling debris, the rear brim prevented water from running down firefighters’ backs, and their sturdy crowns could aid, if necessary, in breaking windows.
This leather fire helmet was made by Cairns & Brother of New York, New York around 1883 until 1885. The helmet is composed of 16 combs, painted yellow, with an eagle frontpiece holder on the crown and a rear brim embossed with hose and hydrants. The leather frontpiece is painted gold with the text “ASSISTANT/ENGINEER” above an image of a spider-type hose carriage, with the initials “P.Z.” underneath. The initials stand for Peter Zeluff, an assistant engineer in Paterson, New Jersey during the late 19th century who owned the hat.
Description
Worn by Peter Zeluff, assistant chief engineer
Location
Currently not on view
date made
1883-1885
user
Zeluff, Peter
maker
Cairns & Brother
ID Number
2005.0233.0015
accession number
2005.0233
catalog number
2005.0233.0015

Letter to Esther Copp from Lucinda Fitch

The Copp Collection contains a variety of household objects that the Copp family of Connecticut used from around 1700 until the mid-1800s.
Description
The Copp Collection contains a variety of household objects that the Copp family of Connecticut used from around 1700 until the mid-1800s. Part of the Puritan Great Migration from England to Boston, the family eventually made their home in New London County, Connecticut, where their textiles, clothes, utensils, ceramics, books, bibles, and letters provide a vivid picture of daily life. More of the collection from the Division of Home and Community Life can be viewed by searching accession number 28810.
Location
Currently not on view
date made
1802-01-03
recipient
Copp, Esther
ID Number
DL.006873.120
accession number
28810
catalog number
6873.120

The Rohwer Outpost

The "Rohwer Outpost" was a newspaper created by the camp internees. The paper circulated camp-specific information and activities. However, the newspaper had to watch what they printed since both the imprisoned people and the people in charge of the camp read it.
Description
The "Rohwer Outpost" was a newspaper created by the camp internees. The paper circulated camp-specific information and activities. However, the newspaper had to watch what they printed since both the imprisoned people and the people in charge of the camp read it. The paper was printed in both English and Japanese languages.
Location
Currently not on view
date made
1943-09-15
ID Number
1986.3144.33
nonaccession number
1986.3144
catalog number
1986.3144.33

Work Trumpet

As more American volunteer fire fighting companies began to form during the late 18th century, a need emerged for better organized efforts in combating conflagrations.
Description (Brief)
As more American volunteer fire fighting companies began to form during the late 18th century, a need emerged for better organized efforts in combating conflagrations. Engineers and officers would use “speaking trumpets” to amplify their voices over the noise and commotion of a fire scene to direct the company in effectively fighting the blaze. Two trumpet variants are reflected in the collection: plain and functional “working” trumpets that were actively used at fires, and highly decorated “presentation” trumpets. Presentation trumpets were awarded to firefighters in honor of their service, or between fire companies during visits, competitions, and musters.
This nickel-plated brass speaking trumpet is unadorned and was in use during the second half of the 19th century. Two rings are attached to the trumpet’s shaft, and a leather strap is buckled through the rings to form a handle. The trumpet has no inscriptions and shows wear in a variety of places.
Location
Currently not on view
date made
ca 1890-1915
maker
unknown
ID Number
2005.0233.0852
accession number
2005.0233
catalog number
2005.0233.0852

Philadelphia Contributionship Fire Mark

Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number.
Description (Brief)
Beginning in the 1750s, some American insurance companies issued metal fire marks to policyholders to signify that their property was insured against fire damage. The fire marks bore the name and/or symbol of the insurer, and some included the customer’s policy number. The company or agent would then affix the mark to the policyholder’s home or business. For owners the mark served as proof of insurance and a deterrent against arson. For insurance companies the mark served as a form of advertising, and alerted volunteer firefighters that the property was insured.
The Philadelphia Contributionship for the Insurance of Houses from Loss by Fire issued this fire mark for policies 334 and 335 to Jacob Cooper for four properties, at numbers 118, 120, 122 and 124 on Cuthbert Street in Philadelphia, Pennsylvania in 1755. The fire mark consists of the company’s symbol cast in lead showing four hands clasped at the wrist painted red, attached to a varnished shield-shaped wooden backing. The Philadelphia Contributionship was established in 1752, becoming the first successful fire insurance company in America. Benjamin Franklin was one of its founding members. The Contributionship began as a mutual insurance company and this concept is represented by its “Hand in Hand” fire mark. The Philadelphia Contributionship is still in operation.
Location
Currently not on view
date made
1755
maker
unknown
ID Number
2005.0233.0344
accession number
2005.0233
catalog number
2005.0233.0344

Scrimshaw Sperm Whale Tooth, mid 19th Century

The obverse of this tooth has an image of a full rigged sailing ship stopped in the water, with most of the sails furled or rolled up.
Description
The obverse of this tooth has an image of a full rigged sailing ship stopped in the water, with most of the sails furled or rolled up. Alongside it is the carcass of a big whale, spinning around as the ship’s crew slice and hoist the ‘blanket pieces’ or strips of skin and body fat off the carcass in long sheets onto the deck. Once the long sheets are aboard, they’ll be cut into smaller pieces and tossed into a pot of boiling ‘blubber’ to render into whale oil. Above the scene in flowing script are the words “Ship Swift cutting a large whale.” There are a few registration pinholes within the image, but most of it is lightly drawn freehand. Engraved below the ship are the initials WHS, and in modern ink writing around the initials is written “149890. N.Y. M. Willis./U.S.A.” The number is the Smithsonian’s catalog number; the remainder is a notation by an earlier owner of the tooth. There is also a tag marked “39” stuck to the surface of the tooth in front of the ship’s bowsprit.
The reverse depicts a full-rigged ship plowing hard through heavy seas, with all sails flying. It is chasing a pair of whales lying on the water surface just ahead of its bow. The engraving is very fine but quite shallow on this side, and multiple pinholes indicate that a magazine drawing was laid over the polished tooth and pricked through for the image detail.
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
mid 19th century
ID Number
DL.149890
catalog number
149890
accession number
27163

Scrimshaw Sperm Whale’s Tooth

A 20-gun American sailing warship covers the upper portion of one side of this intricately detailed scrimshaw sperm whale tooth. Nearly every sail is set; flags are flying; and every gun port is open with its gun out and ready for action.
Description
A 20-gun American sailing warship covers the upper portion of one side of this intricately detailed scrimshaw sperm whale tooth. Nearly every sail is set; flags are flying; and every gun port is open with its gun out and ready for action. Unusually, the flying flags and pennants are polychrome, with red stripes.
Below are two smaller ships in their own etched checkerboard frames, sailing towards each other on a collision course. Normally these would represent different views of the larger ship above, but both of these sailing ships are merchant vessels, without any guns. The vessel on the right is spewing smoke out of a midship smoke stack, and may be either an auxiliary steamer or a whaleship trying out a whale. In trying out, a whale’s outer layer of body fat or “blubber” was cut into small pieces and tossed into a hot cauldron to render it down into liquid.
The other side of the tooth is carved with a hillside town, with several levels of buildings dominated by a large cathedral with a tall steeple reaching up into the sky. The steeple also has red accents. On the lowest level along the waterfront are two arches; a “D” is carved into one, and a shallow “S” was carved into the other. However, the “S” was scratched out and not in-filled with black pigment to make it stand out, like the rest of the tooth’s carving. Below in the harbor are two small but detailed sailing ships without sails, probably at anchor. The one on the right has a smoking stack similar to the vessel on the other side of the tooth, but much of that ship is gone because the base of the tooth is broken and missing.
Although the style of the carving on this tooth is relatively simple, it was made by an experienced schrimshander, as shown by the amount of detail, the depth of the etching and the infilling.
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
DL.374484
catalog number
374484
accession number
136263

Engraved woodblock of "Bringing down the batten"

This engraved woodblock of “Bringing down the batten” was prepared, after a photograph, by the Government Printing Office in Washington, D.C.; the image was published as Plate XXXVIII (p.390) in an article by Dr.
Description
This engraved woodblock of “Bringing down the batten” was prepared, after a photograph, by the Government Printing Office in Washington, D.C.; the image was published as Plate XXXVIII (p.390) 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
publisher
Bureau of American Ethnology
printer
Government Printing Office
author
Matthews, Washington
Powell, John Wesley
block maker
A. P. J. & Co.
ID Number
1980.0219.1365
catalog number
1980.0219.1365
accession number
1980.0219

Picture postcard, "Mission San Miguel, California"

This postcard view of Mission San Miguel was printed by the Detroit Publishing Company in about 1910, using a copyrighted photolithographic process called "Photostint."The Detroit Publishing Company (previously known as the Detroit Photographic Company) was first listed in Detroi
Description (Brief)
This postcard view of Mission San Miguel was printed by the Detroit Publishing Company in about 1910, using a copyrighted photolithographic process called "Photostint."
The Detroit Publishing Company (previously known as the Detroit Photographic Company) was first listed in Detroit city directories in 1888. Its manager, William A. Livingstone, invited famous landscape photographer William Henry Jackson to join the company as a partner in 1897. Jackson brought with him his own photographic images, which would be used by the company.
Mission San Miguel Arcángel, located in San Miguel, was the sixteenth of twenty-one Spanish Franciscan missions founded in California between 1769 and 1823. The mission was established to convert American Indians of the Salinan tribe.
Today the mission serves as a parish church.
Location
Currently not on view
date made
ca 1910
graphic artist
Detroit Publishing Co.
ID Number
1986.0639.2041
accession number
1986.0639
catalog number
1986.639.2041

Engraved woodblock of "Weaving diamond-shaped diagonals"

This engraved woodblock of “Weaving diamond-shaped diagonals” was prepared, after a photograph, by the Government Printing Office in Washington, D.C.; the image was published as Plate XXXV (p.380) in an article by Dr.
Description
This engraved woodblock of “Weaving diamond-shaped diagonals” was prepared, after a photograph, by the Government Printing Office in Washington, D.C.; the image was published as Plate XXXV (p.380) 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
publisher
Bureau of American Ethnology
printer
Government Printing Office
author
Matthews, Washington
block maker
W. T. & B.
ID Number
1980.0219.1359
catalog number
1980.0219.1359
accession number
1980.0219

Compact

Currently not on view
Location
Currently not on view
ID Number
2011.0164.03
catalog number
2011.0164.03
accession number
2011.0164

Camera-ready comic art drawing for Marmaduke

This pen-and-ink drawing produced for the Marmaduke single-panel daily comic strip shows the Great Dane upset because Phil Winslow, his owner, has put ice in his daughter Barbara’s water, but not in his own water.Brad Anderson (1924- ) began his career as a comic artist selling s
Description (Brief)
This pen-and-ink drawing produced for the Marmaduke single-panel daily comic strip shows the Great Dane upset because Phil Winslow, his owner, has put ice in his daughter Barbara’s water, but not in his own water.
Brad Anderson (1924- ) began his career as a comic artist selling some of his cartoon art to an aviation magazine while still in high school. After college and four years' service in the U.S. Navy, Anderson began working in advertising and prepared freelance drawings for magazine cartoons in 1953. His creation Marmaduke was debuted in newspapers across the country in 1954. Today Anderson continues to draw Marmaduke with the help of his son.
Marmaduke (1954- ) is a newspaper daily panel and Sunday comic strip. The title character is a Great Dane belonging to the Winslow family, including husband and wife, Phil and Dottie, and two children, Barbara and Billy. The running theme involves the human characteristics of the title character, which contribute to the household's general unease and confusion.
Location
Currently not on view
date made
1963-04-22
graphic artist
Anderson, Brad
maker
United Feature Syndicate, Inc.
ID Number
2010.0081.009
accession number
2010.0081
catalog number
2010.0081.009

Warrior Killing a Soldier

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

Picture postcard, "Monterey. Old Mission Chapel"

This postcard view of the Old Mission Chapel at Monterey was printed using a copyrighted photolithographic process called "Photostint" by the Detroit Photographic Company in about 1899.The Detroit Photographic Company was first listed in Detroit city directories in 1888 and was m
Description (Brief)
This postcard view of the Old Mission Chapel at Monterey was printed using a copyrighted photolithographic process called "Photostint" by the Detroit Photographic Company in about 1899.
The Detroit Photographic Company was first listed in Detroit city directories in 1888 and was managed by William A. Livingstone. Livingstone invited the famous landscape photographer William Henry Jackson to join the company as a partner in 1897. Jackson brought with him his own photographic images, which would be used by the company.
Mission San Carlos Borroméo de Carmelo, or the Old Mission Chapel, was founded in 1770 by Fr. Junípero Serra, the Spanish Franciscan missionary associated with twenty-one missions in California. Mission San Carlos was the second of the missions founded between 1769 and 1823 for the conversion of American Indians of the Esselen and Ohlone, or Costanoan, tribes to Catholicism.
Today the mission serves as a parish church.
Location
Currently not on view
date made
1899
graphic artist
Detroit Photographic Co.
ID Number
1986.0639.1998
catalog number
1986.639.1998
accession number
1986.0639

Letter to family from Samuel Copp and reply from Mary Copp

The Copp Collection contains a variety of household objects that the Copp family of Connecticut used from around 1700 until the mid-1800s.
Description
The Copp Collection contains a variety of household objects that the Copp family of Connecticut used from around 1700 until the mid-1800s. Part of the Puritan Great Migration from England to Boston, the family eventually made their home in New London County, Connecticut, where their textiles, clothes, utensils, ceramics, books, bibles, and letters provide a vivid picture of daily life. More of the collection from the Division of Home and Community Life can be viewed by searching accession number 28810.
Location
Currently not on view
date made
1804-09-19
originator (author or composer, etc.)
Copp, Mary Esther
recipient
Copp, Jr., Samuel
originator (author, etc.)
Copp, Mary
maker
Copp, Jr., Samuel
ID Number
DL.006873.141
catalog number
6873.141
accession number
28810

1835 - 1845 Quaker Trousseau Pieced Quilt

An intriguing note came with this framed medallion quilt when it was donated: “The Quaker Quilt. Phil.
Description
An intriguing note came with this framed medallion quilt when it was donated: “The Quaker Quilt. Phil. ca 1840 made for wedding of bride of early Philadelphia Quaker Abolitionist of pieces from the gowns of her trousseau.” Unfortunately there is no indication of the quilt maker or ownership.
The focus of the 41-inch central square, “Star of Bethlehem,” is set off by a 5-inch octagonal border. Additional pieced and plain borders frame this variation of a medallion-style quilt. The beige, tan, brown, rust, and light grey silks and satins utilized for the pattern would be typical of the Quaker esthetic and period. The quilt is lined with roller printed cottons and filled with wool. It is quilted with a variety of geometric patterns (grid, diagonal, chevron, and parallel lines), feathered and flowering vines in the borders, and a spray of flowers in the corner squares. This quilt is a precisely designed example of Quaker quilts in the mid-19th century.
Location
Currently not on view
date made
1835-1845
maker
unknown
ID Number
TE.E388880
accession number
182022
catalog number
E388880

Scrimshaw Sperm Whale Tooth, 19th-20th Centuries

Patriotic scenes were among the most popular for amateur scrimshaw artists in the 19th century American whaling fleet. On the front of this sperm whale tooth is a large, intricately detailed eagle with a shield in its midsection marked "USA".
Description
Patriotic scenes were among the most popular for amateur scrimshaw artists in the 19th century American whaling fleet. On the front of this sperm whale tooth is a large, intricately detailed eagle with a shield in its midsection marked "USA". His talons clutch a pennant inscribed "MASSACHUSETTS". Above is flying another pennant marked "BENJ GRAY 1857": likely the scrimshaw artist. The other side of the tooth is carved with a tall, slender urn marked "HOPE" on its lip, out of which large leaves are sprouting. The etching on this tooth is entirely freehand, attesting to a high level of artistic skill.
There are two Ben or Benjamin Grays in the New Bedford Whaling Museum Whaling Crew List Database, but their dates and ships do not match the date or ship on this tooth.
Location
Currently not on view
date made
19th-20th century
ID Number
1978.0052.24
accession number
1978.0052
catalog number
1978.0052.24

Letter to his sister from Samuel Copp

The Copp Collection contains a variety of household objects that the Copp family of Connecticut used from around 1700 until the mid-1800s.
Description
The Copp Collection contains a variety of household objects that the Copp family of Connecticut used from around 1700 until the mid-1800s. Part of the Puritan Great Migration from England to Boston, the family eventually made their home in New London County, Connecticut, where their textiles, clothes, utensils, ceramics, books, bibles, and letters provide a vivid picture of daily life. More of the collection from the Division of Home and Community Life can be viewed by searching accession number 28810.
Location
Currently not on view
date made
ca 1812
originator (author or composer, etc.)
Copp, Jr., Samuel
recipient
Copp, Mary Esther
originator (author, etc.)
Copp, Jr., Samuel
ID Number
DL.006873.019
catalog number
6873.019
accession number
28810

Cheyenne Pictures. Warrior Killing a Soldier

Unknown artist, about 1894“Cheyenne Pictures. Standing Elk’s Horse Killed in Fight with Troops.”Pencil, ink, and watercolorThe central focus of this image is a wounded horse, bleeding from head and rump, being fired on by U.S. troops at the right.
Description
Unknown artist, about 1894
“Cheyenne Pictures. Standing Elk’s Horse Killed in Fight with Troops.”
Pencil, ink, and watercolor
The central focus of this image is a wounded horse, bleeding from head and rump, being fired on by U.S. troops at the right. Standing Elk, with his name glyph above him, has dismounted and appears to be safe from the rifle shots. The suggestion of concern by the warrior indicates the high value placed on horses by Plains tribesmen.
Location
Currently not on view
date made
ca 1894
original artist
unknown
ID Number
GA.08112
catalog number
GA*08112
accession number
1897.031963

Camera-ready comic panel, entitled Laugh It Off

Laugh It Off was a comic panel series created by New Yorker cartoonist Sydney "Syd" Hoff (1912-2004) and distributed by King Features Syndicate from 1957 to 1971. The panels often illustrated funny moments or situations people find themselves in on a daily basis.
Description
Laugh It Off was a comic panel series created by New Yorker cartoonist Sydney "Syd" Hoff (1912-2004) and distributed by King Features Syndicate from 1957 to 1971. The panels often illustrated funny moments or situations people find themselves in on a daily basis. In this panel, a boss addresses one of his workers that is putting on his jacket to leave: "I don't mind you leaving early to avoid the traffic rush, Folsom, but it itsn't even noon yet."
Location
Currently not on view
date made
8/10/1966
08/10/1966
graphic artist
Hoff, Syd
publisher
King Features Syndicate
ID Number
GA.22346
catalog number
22346
accession number
277502

Plato de Madera

Carved from a single piece of wood, this large and oblong shallow wood platter was probably used for drying coffee or serving sweets in the early 20th century.Este gran plato de madera oblongo y llano, tallado de una sola pieza, se empleaba probablemente para secar café o servir
Description
Carved from a single piece of wood, this large and oblong shallow wood platter was probably used for drying coffee or serving sweets in the early 20th century.
Description (Spanish)
Este gran plato de madera oblongo y llano, tallado de una sola pieza, se empleaba probablemente para secar café o servir dulces al comienzo del siglo XX.
Location
Currently not on view
Date made
20th century
early 20th century
ID Number
1997.0097.0357
catalog number
1997.0097.0357
accession number
1997.0097

On the Lookout for Game

Koba, aka Wild Horse,drawn between 1875 and 1878 at Fort Marion, Florida"On the Lookout for Game"Collected by Richard Henry Pratt about 1878Colored pencil, ink, and watercolorThis illustration by Koba shows a band of Kiowa traveling to the right.
Description
Koba, aka Wild Horse,
drawn between 1875 and 1878 at Fort Marion, Florida
"On the Lookout for Game"
Collected by Richard Henry Pratt about 1878
Colored pencil, ink, and watercolor
This illustration by Koba shows a band of Kiowa traveling to the right. Both men and women carry various supplies, bow and quiver cases, rifles, and umbrellas (a popular trade item). The route of the band is imaged using dashes on the ground. A scout keeps a lookout on the highest hill. The Kiowa hunt on foot, in the old way, though they use both old and new weapons.
date made
ca 1875-1878
original artist
Koba
ID Number
2008.0175.58
accession number
2008.0175
catalog number
2008.0175.058

Camera-ready comic strip, entitled "Blue Chips".

"Blue Chips", drawn by Morrie Brickman (1917-1994), is based on stock traders and their dealings with the economic uncertainties of the times. This was a precursor to Brickman's most famous cartoon, "The Small Society", which deals with money, politics, and national issues.
Description
"Blue Chips", drawn by Morrie Brickman (1917-1994), is based on stock traders and their dealings with the economic uncertainties of the times. This was a precursor to Brickman's most famous cartoon, "The Small Society", which deals with money, politics, and national issues. In this strip, Pigeon gets advice from his advisor, Bartlett.
Location
Currently not on view
date made
9/24/1966
graphic artist
Brickman, Morrie
publisher
King Features Syndicate
ID Number
GA.22357
catalog number
22357
accession number
277502

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