Military

The Museum's superb military collections document the history of the men and women of the armed forces of the United States. The collections include ordnance, firearms, and swords; uniforms and insignia; national and military flags and banners; and many other objects.

The strength of the collections lies in their enormous depth. Some 3,000 military small arms and 2,400 civilian firearms document the mechanical and technological history of the infantryman's weapons from the beginning of the gunpowder era to the present. Among the 4,000 swords and knives in the collection are many spectacular presentation pieces. The collections also include Civil War era telegraph equipment, home front artifacts from both world wars, early computers such as ENIAC, Whirlwind, and Sage, and materials carried at antiwar demonstrations.

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
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
Mexican Americans have served in U.S. armed forces since the Civil War. But it was the generation of Mexican Americans returning from World War II who mobilized their communities and changed the political landscape of the West.
Description
Mexican Americans have served in U.S. armed forces since the Civil War. But it was the generation of Mexican Americans returning from World War II who mobilized their communities and changed the political landscape of the West. Laying the groundwork for the Chicano movement of the 1960s, organizations like the American G.I. Forum began advocating on behalf of Hispanic veterans who were denied the educational, health care, housing, and other rights guaranteed by the G.I. Bill. Often working in concert with the League of Latin American Citizens (LULAC) and other Latino civil rights organizations, the Texas-based G.I. Forum soon engaged in broader social battles over school desegregation and voter registration rights. Today, the G.I. Forum is a nationally recognized source of scholarships among Mexican American students. This paño, titled Valor, the Spanish word for courage, commemorates the Korean War Medal of Honor winner Rodolfo Hernández. Paños are an art form created traditionally by Chicano prisoners on white handkerchiefs. Often mailed as gifts to friends and families, the images on paños remember loved ones, depict important memories, and tell stories about the dark side of life, as well as redemption. The maker of this paño is unknown.
Description (Spanish)
Los mexicoamericanos habían estado al servicio de las fuerzas armadas de Estados Unidos desde la Guerra Civil. Pero fue la generación de mexicoamericanos que regresó de la Segunda Guerra Mundial la que inició una movilización de sus comunidades y modificó el panorama político del oeste. Sentando las bases para el movimiento chicano de la década de 1960, organizaciones como el Foro Americano G.I. comenzaron a defender los derechos de los veteranos hispanos a quienes se les negaba educación, atención médica, vivienda y otros derechos garantizados por la ley G.I., A menudo conjuntamente con la Liga de Ciudadanos Latinoamericanos (LULAC, por sus siglas en inglés) y otras organizaciones de derechos civiles, el Foro G.I., con sede en Texas, pronto se comprometió con batallas sociales de mayor envergadura como la segregación escolar y el derecho al voto. Hoy en día, el Foro G.I. constituye una institución de acreditación nacional que se ocupa principalmente de facilitar becas para estudiantes mexicoamericanos. Este paño, titulado Valor, conmemora la Medalla de Honor de la Guerra de Corea que obtuvo Rodolfo Hernández. Los paños son una manifestación de arte que tradicionalmente elaboraban los prisioneros chicanos sobre pañuelos blancos. Solían enviarse de regalo a familiares y amigos, con imágenes que recordaban a los seres queridos, describían memorias significativas y referían historias de vida, tanto de momentos oscuros como redentores. En el caso de este paño, se desconoce a su autor.
Location
Currently not on view
Date made
1988
depicted
Hernandez, Rudy
ID Number
1993.0150.06
catalog number
1993.0150.06
accession number
1993.0150
Pancho Villa is one of the most recognizable leaders of the Mexico Revolution. This civil war, which lasted from 1910-1921, was fought to curb U.S. corporate interests and to redistribute agricultural lands, especially for indigenous communities.
Description
Pancho Villa is one of the most recognizable leaders of the Mexico Revolution. This civil war, which lasted from 1910-1921, was fought to curb U.S. corporate interests and to redistribute agricultural lands, especially for indigenous communities. It was a social revolution that reasserted popular culture and the value of "Mexican-ness." It was also a prolonged, violent conflict that spread death and hunger throughout Mexico, spurring migrants north, mostly into El Paso, Los Angeles, and other historically Mexican U.S. cities. With them came ideas, images, and language for organizing laborers and the rural poor. These ideas and images percolated in the popular culture of Mexican Americans and reappear in the art and activism of Chicanos in the 1960s and 1970s. On the back of this candle depicting Villa are prayers written in English and Spanish asking him to grant the petitioner some of the insight and prowess that enshrined this bandit, social revolutionary, and media star in the mythology of modern Mexico.
Description (Spanish)
Pancho Villa es uno de los líderes más populares de la Revolución de México. Esta guerra civil, que se prolongó desde 1910 hasta 1921, se centró en poner freno a los intereses de las corporaciones estadounidenses y redistribuir las tierras de cultivo, especialmente entre las comunidades indígenas. Se trató de una revolución social para reafirmar la cultura popular y el valor de la "mexicaneidad". Pero constituyó también un largo y violento conflicto que esparció la muerte y el hambre a través de México, instigando la inmigración hacia el norte, mayormente hacia ciudades históricamente mexicanas dentro de los Estados Unidos, como El Paso y Los Ángeles. Con ellos llegaron las ideas, imágenes y lenguaje que organizaron a los trabajadores y los campesinos pobres. Estas ideas e imágenes penetrarían la cultura popular de los mexicoamericanos y reaparecerían en el arte y activismo de los chicanos en las décadas de 1960 y 1970. En la parte de atrás de esta vela con la imagen de Villa hay oraciones escritas en inglés y en español donde los suplicantes piden al héroe que les conceda algo de la lucidez y pericia que consagraron a este bandido, revolucionario social y estrella de los medios, a la mitología del México moderno.
Location
Currently not on view
depicted
Villa, Pancho
ID Number
1991.0741.13
catalog number
1991.0741.13
accession number
1991.0741
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

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