Cultures & Communities - Overview
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.
"Cultures & Communities - Overview" showing 50 items.
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Weber Upright Piano
- Description (Brief)
- Albert Weber became Steinway’s principal competitor in the 1870s, just as the Chickering company began to falter. Weber made few technical innovations. He simply made extremely fine pianos like this 1876 upright and sold them at fair prices. Beautifully decorated by Herter Brothers, furniture designers of New York, this instrument helped Weber challenge Steinway at the Philadelphia Centennial Exhibition in 1876. The piano is serial number 9957, and has a compass of AAA-c5, tape-check upright action (probably not original), felt hammers, single-, double-, and triple-strings, cross-strung, 2 pedals: “soft” and dampers, a double iron frame, and an ebonized case with inlaid designs and gilded banding.
- Location
- Currently not on view
- date made
- 1876
- maker
- Weber
- decorator
- Herter Brothers
- ID Number
- 1980.0360.01
- catalog number
- 1980.0360.01
- accession number
- 1980.0360
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Pitcher Honoring Frederick Douglass
- Description
- This hand-modeled and molded, unglazed red earthenware pitcher honors Frederick Douglass, "Slave Orator/ United States Marshall, Recorder of Deeds D.C./ Diplomat."
- Although the maker is unknown, we do know that the design for the pitcher was copyrighted by a J. E. Bruce of Albany, New York, in 1896, one year after Douglass's death.
- Location
- Currently not on view
- Date made
- ca 1895
- designer
- Bruce, J. E.
- maker
- unknown
- ID Number
- 1981.0353.1
- catalog number
- 1981.353.1
- accession number
- 1981.0353
- Data Source
- National Museum of American History, Kenneth E. Behring Center
The Last Moment of the Emperor Maximilian
- Description
- This relief print from The Magazine of Art dramatically illustrates the final moments before the execution of the Mexican Emperor Maximilian I in 1867. An Austrian noble by birth, Maximilian was installed by Napoleon III of France. French forces had invaded Mexico in 1862, after President Benito Juárez suspended payments on its foreign debt. Despite a major victory by Mexican forces at the Battle of Puebla on May 5, 1862, the French seized control of large sections of Mexico, including the capital. Maximilian was initially supported by Mexican conservatives in a backlash against the changes instituted by the Mexican War of Reform (1857–1861). However, once on the throne, his support of a free press, open universities, land reform, and other progressive ideas of the day proved to be out of step with his conservative constituency and the Catholic Church. Menaced by the government of the United States, victorious after its own civil war, and the rising success of Mexican nationalist forces, the French withdrew their military support of Maximilian, the last emperor of Mexico. This historic image is one of 45,000 artistic and commercials prints housed in the Graphic Arts Collection of the National Museum of American History.
- Location
- Currently not on view
- Date made
- ca 1890
- graphic artist
- Babbage, T.
- publisher
- Magazine of Art
- ID Number
- 1996.0197.350
- catalog number
- 1996.0197.350
- accession number
- 1996.0197
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Presentation Trumpet, "Henry K. Woodruff"
- 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 brass trumpet was presented to Henry K. Woodruff by the Independence Hose Company of New York in 1862. The trumpet is divided into three sections with two rings that allow for a cord to be attached. The trumpet bears an inscription that reads “Presented by Independence Hose Company, No. 3, New York, to Foreman Henry K. Woodruff 1862.” The Independence Hose Company No. 3 was organized on November 19, 1832. Woodruff was the foreman of the Independence Hose Company from 1862 until the company disbanded in 1865.
- Location
- Currently not on view
- date made
- ca 1862
- maker
- unknown
- ID Number
- 2005.0233.0829
- accession number
- 2005.0233
- catalog number
- 2005.0233.0829
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Woman's Dress, 1936
- Description
- Mrs. Bertrand Cohn purchased this "Delphos" dress in Paris in 1936. When she returned to New York, she wore it to the Metropolitan Opera with silver shoes and a diamond necklace. She later donated the dress to the Smithsonian.
- The designer, Mariano Fortuny, was born in Granada, Spain, in 1871 to a family of artists. After his father’s death in 1874, the Fortunys lived in Paris and Spain and eventually settled in Venice, Italy. Inspired by his surroundings and encouraged by his family, Mariano became a painter. Fortuny's artistic interest covered a range of creative endeavors, from sculpture, photography, and interior design to stage and set design and stage lighting. His interest in dyes and chemistry led him to textile and costume design, for which he is best known today.
- Influenced by Orientalism and neoclassicism, Fortuny created lush and decorative fabrics. Using a mixture of hand and screen printing to decorate the fabrics allowed him the freedom to experiment and design. His most famous design was the "Delphos," a classic pleated tea gown he began making around 1907 and continued until his death. Named after a Greek classical sculpture, the Delphos dress was a simple column of vertical pleats permanently set in silk by a process never successfully duplicated. Fortuny considered his dress concepts to be inventions, and in 1909 he patented the pleating process and the machine he invented and copy-righted the design of the dress. These dresses were meant to be stored by rolling them lengthwise, twisting them into a ball and placing them in an oval miniature hat box (we have the one that came with this dress), thus preserving the pleats and keeping the shape of the dress.
- Avant-garde American dancers Isadora Duncan and Ruth St. Denis wore Fortunys because of their interest in the body and movement. Originally made to be worn as teas gowns for entertaining at home, the gowns were seen outside the home by the 1930s.
- This two-piece tubular cut tea gown is constructed of a finely pleated rose-colored silk. It is full length with openings at the side seams to form armholes. The wide scoop neckline has a drawstring encased along the inside edge, and there are two rows of stitching on either side of the shoulder seams. Silk cording evenly threaded with yellow glass beads with black and red stripes is stitched along the side seams and the armhole edges. The separate belt is made of rose-colored silk painted with a silver metallic pattern of trailing oak leaves and dots.
- Location
- Currently not on view
- Date made
- 1936
- user
- Mrs. Bertrand W. Cohn
- designer
- Fortuny, Mariano
- ID Number
- CS*322625.002
- catalog number
- 322625.002
- accession number
- 322625
- Data Source
- National Museum of American History, Kenneth E. Behring Center
1890 - 1893 Presbyterian Ladies Society Autograph Banner
- Description
- This banner is one of two made in the late 19th and early 20th centuries by the Ladies Society of the First Presbyterian Church, New York City, as a fundraising project. The donor, Emilie Noakes Manley, referred to them as “Autograph Quilts” as they contain many signatures of prominent political personages of the period.
- The banners belonged to her husband’s grandmother, Margaret Clarke Goodall Bradley, and were donated in her memory. According to family information, this banner was raffled as a fund raiser, possibly for an 1893 addition to the church by the firm McKim, Mead & White. Although Margaret Bradley did not win the raffle, the banner was presented to her because of “her efforts for the projects.”
- This banner has a black satin ground with an appliquéd American flag made of red and white satin with a blue and white printed field of stars. Inked signatures of Benjamin Harrison (president 1889-1893) and his cabinet are on the flag. Near the flag are the embroidered words, "Liberty Union E pluribus Unum." In the center of the banner is an appliquéd blue circle embroidered with white stars surrounded by 44 red and white rays representing the number of states in the early 1890s. The rays are embroidered, following the lines of the original signatures, with the names of state governors, including those of Idaho and Wyoming both of which joined the Union in 1890.
- The patriotic center is enhanced with appliquéd and embroidered flags of 48 nations. The embroidered insignia of 86 G.A.R. (Grand Army of the Republic) posts or units are on a 10-inch black satin border. Between two of the G.A.R. insignia is an embroidered Brooklyn Bridge, completed in 1883, and the inscription “BROOKLYN BRIDGE.” Across the top are 42 thin metal rings, an indication that it was meant to be hung. It is lined with light blue-green silk.
- The Grand Army of the Republic was founded in Decatur, Illinois on April 6, 1866 by Benjamin F. Stephenson. Membership was limited to honorably discharged veterans of the Union Army, Navy, or Marine Corps who had served between April 12, 1861, and April 9, 1865. Its peak membership was at more than 400,000 in 1890, about the time this banner was made. It lobbied Congress to establish veterans' pensions, supported voting rights for black veterans, and supported Republican political candidates. The organization ended in 1956 with the death of the last member to have served in the Civil War.
- The donor recalled in a letter that she remembered hearing that the banner was “a money-making project, and all the ladies of the church participated in the assembling of the ‘Autograph-Swatches’ and the stitching and embroidery. The signatures on the flags were probably members and friends of the congregation (and possibly charged a small fee for the privilege) and when the quilts were completed they were raffled off.”
- Margaret J. Clarke was born December 1858 to John and Matilda McKinney Clarke in New York City. Her parents were born in Ireland. She married Edward F. Goodall on September 18, 1877. He was killed by a train in 1880 and she married Samuel Bradley on February 25, 1885. She died November 21, 1929, in New York.
- Margaret's daughter Louise, from her first marriage, married John Gordon Noakes. Their son, Donald Gordon Noakes, married Emilie, the donor. He died in 1948 and Emilie later married John Manley. In 1979 she gave the quilts to the National Museum in honor of the family and Margaret Clarke Goodall Bradley. Another granddaughter, Marjorie Blampied, wrote that the quilts “. . . most certainly are where they belong . . . where they will be treasured and appreciated.”
- Location
- Currently not on view
- date made
- 1890-1893
- maker
- unknown
- ID Number
- 1979.1019.01
- catalog number
- 1979.1019.01
- accession number
- 1979.1019
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Engraved woodblock of the "Arikara sign for lie or falsehood"
- Description
- This engraved woodblock of an “Arikara sign for a lie or falsehood” was prepared by the Government Printing Office in Washington, D.C.; the print was published in 1881 as Figure 233 (p. 393) in an article by Garrick Mallery (1831-1894) entitled “Sign Language Among the North American Indians” in the First Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian, 1879-80.
- Location
- Currently not on view
- date made
- 1881
- publisher
- Bureau of American Ethnology
- printer
- Government Printing Office
- author
- Mallery, Garrick
- block maker
- V. W. & Co.
- ID Number
- 1980.0219.0340
- accession number
- 1980.0219
- catalog number
- 1980.0219.0340
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Engraved woodblock of a "Navajo Indian with silver ornaments"
- Description
- This engraved woodblock of “Navajo Indian with silver ornaments" was prepared, after a photograph, by the Government Printing Office in Washington, D.C.; the print was published as Plate XX (p. 178) in an article by Dr. Washington Matthews (1843-1905) entitled “Navajo Silversmiths” in the Second Annual Report of the Bureau of Ethnology to the Secretary of the Smithsonian, 1880-81.
- Location
- Currently not on view
- date made
- 1883
- publisher
- Bureau of American Ethnology
- printer
- Government Printing Office
- author
- Matthews, Washington
- block maker
- J. J. & Co.
- ID Number
- 1980.0219.0442
- accession number
- 1980.0219
- catalog number
- 1980.0219.0442
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Engraved woodblock of seven American Indians in an enclosure
- 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
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Engraved woodblock of a "Navajo blanket"
- Description
- This engraved woodblock of a "Navajo blanket" was prepared by the Government Printing Office in Washington, D.C.; the image was published as Figure 53 (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
- block maker
- W. T. & B.
- author
- Matthews, Washington
- ID Number
- 1980.0219.1180
- catalog number
- 1980.0219.1180
- accession number
- 1980.0219
- Data Source
- National Museum of American History, Kenneth E. Behring Center
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