Government, Politics, and Reform

George Washington, Thomas Jefferson, and Abraham Lincoln are all represented in the Museum's collections—by a surveying compass, a lap desk, and a top hat, among other artifacts. But the roughly 100,000 objects in this collection reach beyond the possessions of statesmen to touch the broader political life of the nation—in election campaigns, the women's suffrage movement, labor activity, civil rights, and many other areas. Campaign objects make up much of the collection, including posters, novelties, ballots, voting machines, and many others. A second group includes general political history artifacts, such as first ladies' clothing and accessories, diplomatic materials, ceremonial objects, national symbols, and paintings and sculptures of political figures. The third main area focuses on artifacts related to political reform movements, from labor unions to antiwar groups.

This lithograph illustrates the chaos and conflict engulfing northern Mexico during the years of the Mexican-American War from 1846-1848.
Description
This lithograph illustrates the chaos and conflict engulfing northern Mexico during the years of the Mexican-American War from 1846-1848. In these years the United States organized an Army of Occupation, initially led by General Zachary Taylor, to capture cities like Monterrey in preparation for a later assault on the Mexican heartland. The figure on horseback is a Mexican guerilla fighter. These skilled horsemen, often doubling as both patriots and bandits, had an established role in Mexican military tradition, and were actively recruited to combat the U.S. invaders. To understand his limited appeal to the Mexican public, note that the dead figures over whom the guerrillero is triumphantly galloping appear to be Mexican citizens, not invading American soldiers.
The lithographer is unknown.
Description (Spanish)
Esta litografía ilustra el caos y el conflicto que abrumaron al norte de México durante los años de la guerra mexicoamericana entre 1846 y 1848. En este período Estados Unidos organizó un Ejército de Ocupación, inicialmente comandado por el General Zachary Taylor, a fin de capturar ciudades como Monterrey, en preparación para la posterior ofensa al corazón de México. La figura a caballo es la de un guerrillero mexicano. Estos hábiles jinetes, que a menudo actuaban tanto de patriotas como de bandidos, tenían una función establecida dentro de la tradición militar mexicana y se los reclutaba activamente para combatir a los invasores estadounidenses. A fin de comprender el poco atractivo que estas figuras despertaban entre el público mexicano, obsérvese que los muertos sobre los que galopa triunfante el guerrillero parecen ser ciudadanos mexicanos y no soldados americanos invasores.
Location
Currently not on view
Date made
ca 1848
maker
unknown
ID Number
DL.60.2559
catalog number
60.2559
accession number
228146
This print depicts American forces attacking the fortress palace of Chapultepec on Sept. 13th, 1847. General Winfield Scott, on a white horse (lower left), led the southern division of the U.S. Army that successfully captured Mexico City during the Mexican American War.
Description
This print depicts American forces attacking the fortress palace of Chapultepec on Sept. 13th, 1847. General Winfield Scott, on a white horse (lower left), led the southern division of the U.S. Army that successfully captured Mexico City during the Mexican American War. The outcome of American victory was the loss of Mexico's northern territories, from California to New Mexico, by the terms set in the Treaty of Guadalupe Hidalgo. It should be noted that the two countries ratified different versions of the same peace treaty, with the United States ultimately eliminating provisions for honoring the land titles of its newly absorbed Mexican citizens. Despite notable opposition to the war from Americans like Abraham Lincoln, John Quincy Adams, and Henry David Thoreau, the Mexican-American War proved hugely popular. The United States' victory boosted American patriotism and the country's belief in Manifest Destiny.
This large chromolithograph was first distributed in 1848 by Nathaniel Currier of Currier and Ives, who served as the "sole agent." The lithographers, Sarony & Major of New York (1846-1857) copied it from a painting by "Walker." While the current location of that painting is unknown, when the print was created, the painting was owned by Captain B. S. Roberts of the Mounted Rifles, as indicated by an inscription below the image.
The original artist has previously been incorrectly attributed to William Aiken Walker as well as Henry A. Walke, as both worked at various times with Currier. The artist of the original painting however is James Walker (1819-1889), who created the "Battle of Chapultepec" 1857-1862 for the U.S. Capitol. This image differs from the painting commissioned for the U. S. Capitol by depicting the troops in regimented battle lines with General Scott in a more prominent position in the foreground. Variant copies of the image from different viewpoints were painted by Walker. James Walker was living in Mexico City at the outbreak of the Mexican War and joined the American forces as an interpreter. Attached to General Worth's staff, he was present at the battles of Contreras, Churubusco, and at Chapultepec was tasked as the artist. Captain Benjamin Stone Roberts, an engineer, was assigned by General Winfield Scott to assist Walker with recreating the details of the battle of Chapultepec. Roberts is depicted in the painting as leading the storming. When the painting was complete, Roberts purchased a copy of the painting for $250.00 (documented in letters and a diary). Captain George T. M. Davis, aide-de-camp to Generals Quitman and Shields also purchased a copy of the painting by Walker, in Mexico City, which was publicized in newspapers and made into a print. By 1848, James Walker had returned to a New York City studio in the same neighborhood as the print's distributor Nathaniel Currier and lithographers Napoleon Sarony and Henry B. Major.
This popular lithograph was one of several published to visually document the war while engaging the imagination of the public. Created prior to photography, these prints were meant to inform the public, while generally eliminating the portrayal of more gory details. Historians have been able to use at least some prints of the Mexican War for study and corroborate with the traditional literary forms of documentation. As an eyewitness, both Walke and Walker could claim accuracy of detail within the narrative. The battle is presented in the grand, historic, heroic style with the brutality of war not portrayed. The print depiction is quite large for a chromo of the period. In creating the chromolithographic interpretation of the painting, Sarony & Major used at least four large stones to produce the print "in colours," making the most of their use of color. They also defined each figure with precision by outlining each in black. This print was considered by expert/collector Harry T. Peters as one of the finest ever produced by Sarony & Major.
Description (Spanish)
Este grabado ilustra a las fuerzas americanas atacando la fortaleza del palacio de Chapultepec el 13 de septiembre de 1847. El General Winfield Scott, representado en la esquina inferior izquierda montando un caballo blanco, condujo la división sureña del ejército estadounidense que tomó con éxito la ciudad de México durante la guerra mexicoamericana. El resultado de la victoria americana se tradujo en la pérdida para México de los territorios al norte del país, desde California hasta Nuevo México. Estos términos quedaron establecidos en el tratado de Guadalupe Hidalgo. Debe observarse que las dos naciones ratificaron diferentes versiones del mismo tratado de paz, con los Estados Unidos eliminando en última instancia cláusulas que reconocían títulos territoriales a los ciudadanos mexicanos recientemente asimilados. A pesar de la notable oposición de los americanos a la guerra, como Abraham Lincoln, John Quincy Adams y Henry David Thoreau, la Guerra Mexicoamericana evidenció ser considerablemente popular. La victoria de los Estados Unidos reforzó el patriotismo americano y la fe del país en el Destino Manifiesto.
Location
Currently not on view
Date made
1848
associated date
1847-09-13
distributor
Currier, Nathaniel
depicted
Scott, Winfield
lithographer
Sarony & Major
artist
Walker, James
ID Number
DL.60.2602
catalog number
60.2602
accession number
228146
A short Handled hoe, 1936 hoe. Original owner Librado Hernandez Chavez, (father of Cesar Estrada Chavez). The hoe has a metal blade welded to a metal neck and a wooden handle. The two are attached by a slot screw.
Description
A short Handled hoe, 1936 hoe. Original owner Librado Hernandez Chavez, (father of Cesar Estrada Chavez). The hoe has a metal blade welded to a metal neck and a wooden handle. The two are attached by a slot screw. The top edge of the blade is similar to the two curves at the top of a valentine hear. Blade recently sharpened.
The short-handled hoe brings back memories of back-breaking labor for generations of Mexican and Mexican American migrant workers who sustained California's booming agricultural economy. Since the late 1800s, its expansive fields of produce have relied on a cheap, mobile, and temporary workforce. The short-handled hoe required workers to bend painfully close to the ground to weed and thin crops. The state abolished the short-handled hoe in 1975, ruling it an occupational hazard after a seven-year legal battle. During this period of political mobilization, the predicament of the migrant farm worker became emblematic of the limited opportunities and the cycle of poverty that trapped many Mexican Americans. In 1966, when Mexican and Filipino American farm workers were brought together under the banner of the United Farm Workers of America, the struggle for labor rights was understood by its supporters as part of the much larger civil rights movement. It was not just important for Mexican Americans but also other low-paid workers. The hoe pictured here belonged to Librado Hernandez Chavez, father of civil rights leader and farm worker organizer, Cesar Estrada Chavez.
Description (Spanish)
La azada de mango corto es un recordatorio de aquellas épocas en que generaciones de trabajadores migratorios mexicanos y mexicoamericanos se quebraban las espaldas en las labores que sustentaron la floreciente economía agrícola de California. Desde fines del 1800, las extensiones de campos de producción agrícola crecían respaldadas en la mano de obra barata, móvil y temporaria. La azada de mango corto exigía que los trabajadores se agacharan penosamente cerca del suelo para poder desbrozar y entresacar los cultivos. El estado abolió la azada de mango corto en 1975, decretándola como elemento de riesgo laboral luego de una batalla que se prolongó siete años. Durante esta época de movilización política, el predicamento del trabajador agrícola se convirtió en un emblema de la limitación de oportunidades y el ciclo de pobreza en el que muchos mexicoamericanos se hallaban atrapados. En 1966, cuando los trabajadores del campo, mexicoamericanos y filipinoamericanos, se unieron bajo la bandera del Sindicato de Trabajadores Agrícolas de América (UFW, por sus siglas en inglés) , la lucha por los derechos laborales fue comprendida por sus partidarios como parte del movimiento más amplio por los derechos civiles. No sólo era importante para los mexicoamericanos, sino también para otros trabajadores mal pagos. La azada que aquí se ilustra pertenecía a Librado Hernández Chávez, padre del líder de los derechos civiles y organizador de los trabajadores agrícolas, César Estrada Chávez.
Date made
1936
user
Chavez, Librado Hernandes
Chavez, Cesar Estrada
ID Number
1998.0197.01
accession number
1998.0197
catalog number
1998.0197.01
Following the Treaty of Guadalupe Hidalgo and the annexation of Texas, the land claims of many Mexican families were not respected, either by the new English-speaking settlers or by the U.S. government.
Description
Following the Treaty of Guadalupe Hidalgo and the annexation of Texas, the land claims of many Mexican families were not respected, either by the new English-speaking settlers or by the U.S. government. Dispossession from family- and community-owned lands dealt a severe economic blow to the livelihood of generations of Mexican Americans. The issue of land evokes especially bitter memories in New Mexico. In 1967, the year this poster was made with the slogan Tierra o Muerte, meaning Land or Death, a Hispanic land rights organization called La Alianza, led by Reies López Tijerina, raided the Rio Arriba County courthouse in Tierra Amarilla, New Mexico. In addition to reclaiming land from the government of New Mexico, the goals of the raid were to free imprisoned Alianza members and to arrest the district attorney who was prosecuting them as communists and outside agitators. The raid on the courthouse was ultimately unsuccessful and Tijerina served time in a federal prison. Although seen by some as a divisive figure, Reies López Tijerina was as recognizable as Cesar Chavez to many Chicano activists of the late 1960s. Mirroring similar political tensions in the African American community, Chicano civil rights activists were torn between leaders such as Chavez, who advocated nonviolence, and leaders like Tijerina, whose political strategy was decidedly more militant.
Description (Spanish)
Seguidamente al Tratado de Guadalupe Hidalgo y a la anexión de Texas, los reclamos territoriales de muchas familias mexicanas no fueron respetados, ya sea por los nuevos colonos de habla inglesa o por el gobierno de Estados Unidos. La expropiación de tierras a las familias y comunidades que las adueñaban fue un severo revés al sustento económico de varias generaciones de mexicoamericanos. La cuestión territorial evoca memorias amargas en Nuevo México. En 1967, año en que fue creado este póster con la leyenda Tierra o Muerte, una organización de derechos territoriales hispana llamada La Alianza, dirigida por Reies López Tijerina, allanó el palacio de justicia del condado de Río Arriba en Tierra Amarilla, Nuevo México. Además de reclamar tierras al gobierno de Nuevo México, los objetivos de la incursión eran liberar a los miembros encarcelados de la Alianza y arrestar al fiscal de distrito que los acusaba de comunistas y agitadores externos. El allanamiento del palacio de justicia terminó fracasando y Tijerina fue arrestado en una prisión del gobierno de Estados Unidos. Pese que se lo percibió como una figura que ocasionó divisiones, para muchos activistas chicanos de finales de la década de 1960, Reies López Tijerina constituyó una figura tan famosa como la de César Chávez. Replicando tensiones políticas similares dentro de la comunidad afroamericana, los activistas por los derechos civiles chicanos se debatían entre seguir a líderes tales como Chávez, quien abogaba en contra de la violencia, o líderes como Tijerina, cuya estrategia política era decididamente más militante.
Location
Currently not on view
Date made
1967
ID Number
1990.0654.01
catalog number
1990.0654.01
accession number
1990.0654
The Spaniards who invaded Mexico brought to North America a well-developed equestrian tradition. Over the centuries, horses, saddles, and other riding paraphernalia were altered by the landscape and the lifestyles of both Spanish and indigenous riders.
Description
The Spaniards who invaded Mexico brought to North America a well-developed equestrian tradition. Over the centuries, horses, saddles, and other riding paraphernalia were altered by the landscape and the lifestyles of both Spanish and indigenous riders. Accompanied by mariachi music, la charrería is the elaborate and spectacle-driven tradition of horsemanship in Mexico. As a national sport rooted in the everyday demands of ranching, the crafts and techniques of charrería were adopted and modified by American settlers in the 19th century. They in turn developed their own rodeo tradition. This elaborate saddle with embossed silver medallions was given to General Philip Sheridan by a Mexican friend in 1866. In that year, General Sheridan armed Mexican nationalists led by Benito Juárez, and headed a 50,000-man army along the U.S.-Mexico border in order to pressure France to end its occupation of Mexico.
Description (Spanish)
Los españoles que invadieron México transfirieron a Norteamérica una tradición ecuestre bien desarrollada. A lo largo de los siglos, los caballos, las monturas y otra parafernalia relativa a la equitación se modificarían para adaptarse a la geografía y al estilo de vida tanto de los españoles como de los indígenas. Junto al acompañamiento de música mariachi, la charrería es la tradición ecuestre de México, elaborada y transformada para el espectáculo. Como práctica nacional enraizada en las demandas cotidianas de la vida en las haciendas, el arte y la técnica de la charrería fueron adoptados y modificados por los colonos americanos en el siglo XIX, quienes a su vez desarrollaron su propia tradición de rodeo. Esta compleja montura con medallones de plata estampados en relieve fue entregada al General Philip Sheridan por un amigo mexicano en 1866. En dicho año, el General Sheridan armó a nacionalistas mexicanos conducidos por Benito Juárez, quien encabezó un ejército de 50.000 hombres a lo largo de la frontera entre Estados Unidos y México para presionar a Francia a que pusiera fin a la ocupación de México.
Location
Currently not on view
Date made
ca 1865
associated date
1865
associated user
Sheridan, Philip H.
maker
Felipe del Aguila
ID Number
CL.035293
catalog number
35293
35,293
accession number
89849
Cesar Estrada Chavez, the founder of the United Farm Workers of America, is one of the most recognized Latino civil rights leaders in the United States. A Mexican American born in Yuma, Arizona, his family lost their small farm in the Great Depression (1930s).
Description
Cesar Estrada Chavez, the founder of the United Farm Workers of America, is one of the most recognized Latino civil rights leaders in the United States. A Mexican American born in Yuma, Arizona, his family lost their small farm in the Great Depression (1930s). Like many Americans, they joined the migration to California and worked for low wages in its great agricultural fields. The agricultural industry in the West was a modern, market-driven phenomenon. In 1965, the United Farm Workers of America, led by Cesar Chavez and Dolores Huerta, began its five-year Delano grape strike against area grape growers for equal wages for foreign workers. Filipino and Mexican Americans who labored in California vineyards were suddenly visible in the eyes of American consumers. The movement to boycott table grapes mobilized students and educated consumers across America. The text on this poster, printed around 1970, describes Chavez's vision of political and economic emancipation for farm workers. La Causa, or The Cause, as it was known among Mexican Americans, was the political and artistic touchstone of the Chicano movement.
Description (Spanish)
César Estrada Chávez, fundador del Sindicato de los Trabajadores Agrícolas de América (UFW, por sus siglas en inglés) es uno de los líderes más reconocidos de los derechos civiles de los latinos en Estados Unidos. Mexicoamericano, nacido en Yuma, Arizona, la familia perdió su pequeña granja durante la Gran Depresión (década de 1930). Al igual que muchos americanos, emigró hacia California para trabajar en los grandes campos agrícolas por un sueldo mínimo. La industria agrícola en el oeste era un fenómeno moderno, regido por el mercado. En 1965, el Sindicato de Trabajadores Agrícolas, conducido por César Chávez y Dolores Huerta, inició la huelga de la uva de Delano, la cual se prolongó durante cinco años, contra los productores de uva en pro de los derechos de paga de los trabajadores migratorios. Como consecuencia, los filipinos y mexicanoamericanos que trabajaban en los viñedos de California adquirieron una repentina presencia ante los ojos de los consumidores americanos. El movimiento de boicot a la producción de uva fresca movilizó a estudiantes y consumidores en toda América. El texto que se observa en este póster, impreso alrededor de 1970, describe la visión política de Chávez acerca de la emancipación política y económica de los trabajadores agrícolas. La Causa, como se la conocía entre los mexicoamericanos, era el pedernal político y artístico del movimiento chicano.
Location
Currently not on view
depicted (sitter)
Chavez, Cesar
associated; direct
United Farm Workers
maker
Lithographers and Photoengravers International Union
ID Number
PL.296849.35
catalog number
296849.35
accession number
296849

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