Work - Overview
The tools, rules, and relationships of the workplace illustrate some of the enduring collaborations and conflicts in the everyday life of the nation. The Museum has more than 5,000 traditional American tools, chests, and simple machines for working wood, stone, metal, and leather. Materials on welding, riveting, and iron and steel construction tell a more industrial version of the story. Computers, industrial robots, and other artifacts represent work in the Information Age.
But work is more than just tools. The collections include a factory gate, the motion-study photographs of Frank and Lillian Gilbreth, and more than 3,000 work incentive posters. The rise of the factory system is measured, in part, by time clocks in the collections. More than 9,000 items bring in the story of labor unions, strikes, and demonstrations over trade and economic issues.
"Work - Overview" showing 1170 items.
Page 1 of 117
Pronto Series 16 Personal Computer
- Description
- Pronto Systems, Inc. introduced its Pronto Series 16 computer in 1983. It represented the high end of business computing of its era. The Pronto pioneered innovative design features, including a tilting and swiveling monitor, small foot print, a streamlined and adjustable keyboard, and an expandable cord that allowed the processor to be stored as much as six feet away from the monitor. These features won a 1983 design award from Industrial Design Magazine. The computer offered the first tower system—a design that later became common in the industry.
- Inside, the Pronto 16 was a powerful machine designed for the full range of business applications. It had a 16-bit Intel 80186 microprocessor. It was shipped with MS-DOS 2.0. It had 128 KB of RAM, which could be expanded to 1 MB. The standard hard drive was 5.6 MB, and it was removable. The computer had dual 800 KB floppy drives (5 ¼"), dual serial ports, one parallel port, and a high-resolution monochrome monitor. Users could buy a color monitor as an option. Base price was $3,000.
- Over 1,000 systems were sold from 1983 to 1987. The company had to file for bankruptcy when the stock market crashed while the company was in the process of going public through an Initial Public Offering.
- Location
- Currently not on view
- Date made
- 1983-1987
- maker
- PRONTO Computers, Inc.
- ID Number
- 2001.0255.01
- catalog number
- 2001.0255.01
- accession number
- 2001.0255
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Budding Knife
- Description
- This knife was used by Nathan Fay (1914-2001), the California grape grower credited with planting the first Cabernet Sauvignon grapes in the Stag's Leap District of Napa Valley. Since Fay's first planting in 1961, the variety has become well established and the district is internationally known for its fine Cabernet Sauvignon vintages. When he donated this budding knife to the Smithsonian in 1997, Fay estimated he had used it to bud some 4,000 to 5,000 plants. He added that, in his prime, he was able to bud about 400 vines in a day, and, in his lifetime, he had probably budded some 12,000 plants.
- The first step in budding new vines is to plant rootstock resistant to phylloxera, the devastating insect that attacks the roots of Vitis vinifera, the Eurasian species of grapes from which the world's best table wines are made. Although grapes native to North America are phylloxera-resistant, their fruit does not equal the kind of complex, classical wine produced by the V. vinifera species. Consequently, American viticulturalists have learned to plant "resistant" rootstock, typically hybrids of species native to the New World. It is on this rootstock that they graft the buds from V. vinifera wood.
- Location
- Currently not on view
- maker
- Henkels Dansk
- ID Number
- 1997.0304.03
- accession number
- 1997.0304
- catalog number
- 1997.0304.03
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Apple "Classic" Macintosh Personal Computer
- Description
- The Apple Macintosh introduced a graphic user interface (GUI) to the Apple line of computers. The idea had originated at Xerox's Palo Alto Research Center in the 1970s, but Xerox was slow to commercialize it. Apple proved far more successful when it introduced the Macintosh in January 1984, with a splashy television advertisement during the Superbowl. The original price was around $2,500.
- Instead of typing out names of programs on command lines, users with a GUI could click "icons," or pictures that represented the programs they wanted to run. They could also execute functions like saving, moving, or deleting files by clicking and dragging the icons around the screen with a pointing device called a mouse. Apple's version of the mouse had a single button, which became an Apple standard. The first Macintosh had only 128K RAM, and users quickly found this insufficient. The Macintosh 512 KB, nicknamed "Fat Mac," was introduced in September 1984. It gave users four times as much memory, and allowed them to keep several major programs open simultaneously. The vertical processor case and 9" monochrome screen were distinguishing features of all the early Macintosh line.
- The Macintosh 512 KB contained a Motorola 68000 microprocessor which ran at 8 MHz. It contained 512 KB of RAM and 64 KB of ROM and initially had a 400 KB Floppy disk drive. Applications included MacWrite, a word processor, and MacPaint, a drawing program that turned the mouse into a paintbrush. Shortly after the 512 KB appeared, Apple also introduced a LaserWriter printer, which enabled desktop publishing for individuals and small businesses. Over time, Apple computers would appeal most strongly to artists and designers, while the IBM/DOS line of computers sold better in business markets.
- After selling hundreds of thousands of units, Apple discontinued the "Mac Classic" line of computers in April 1986.
- Location
- Currently not on view
- Date made
- 1984
- maker
- Apple Computer
- ID Number
- 1985.0118.01
- catalog number
- 1985.0118.01
- accession number
- 1985.0118
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Apple II Personal Computer
- Description
- In 1976, computer pioneers Steve Wozniak and Steve Jobs began selling their Apple I computer in kit form to computer stores. A month later, Wozniak was working on a design for an improved version, the Apple II. They demonstrated a prototype in December, and then introduced it to the public in April 1977. The Apple II started the boom in personal computer sales in the late 1970s, and pushed Apple into the lead among personal computer makers.
- The Apple II used a MOS 6502 chip for its central processing unit. It came with 4 KB RAM, but could be extended up to 48 KB RAM. It included a BASIC interpreter and could support graphics and a color monitor. External storage was originally on cassette tape, but later Apple introduced an external floppy disk drive. Among the Apple II's most important features were its 8 expansion slots on the motherboard. These allowed hobbyists to add additional cards made by Apple and many other vendors who quickly sprung up. The boards included floppy disk controllers, SCSI cards, video cards, and CP/M or PASCAL emulator cards.
- In 1979 Software Arts introduced the first computer spreadsheet, Visicalc for the Apple II. This "killer application" was extremely popular and fostered extensive sales of the Apple II.
- The Apple II went through several improvements and upgrades. By 1984, when the Macintosh appeared, over 2 million Apple II computers had been sold.
- Location
- Currently not on view
- Date made
- 1977
- 1977-1987
- maker
- Apple Computer
- ID Number
- 1990.0167.01.1
- catalog number
- 1990.0167.01.1
- accession number
- 1990.0167
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Work and Rest
- Description
- The Graphic Arts Collection of the National Museum of American History houses an extensive series of prints by archeologist and artist Jean Charlot (1898–1979), and prominent Los Angeles printer Lynton Kistler (1897–1993). Charlot, the French-born artist of this print, spent his early career during the 1920s in Mexico City. As an assistant to the socialist painter Diego Rivera, he studied muralism, a Mexican artistic movement that was revived throughout Latino communities in the United States in the 1960s and 1970s. This lithograph, titled Work and Rest contrasts the labor of an indigenous woman, grinding corn on a metate, with the slumber of her baby. Printed by Lynton Kistler in Los Angeles in 1956, it presents an image of a Mexican woman living outside the industrial age. This notion of "Old Mexico" unblemished by modernity appealed to many artists concerned in the early 20th century with the mechanization and materialism of American culture. It was also a vision that was packaged as an exotic getaway for many American tourists. It is worth contrasting the quaint appeal of an indigenous woman laboring over her tortillas with the actual industrialization of the tortilla industry. By 1956, this woman would likely have bought her tortillas in small stacks from the local tortillería, saving about six hours of processing, grinding, and cooking tortilla flour.
- Location
- Currently not on view
- Date made
- 1956
- graphic artist
- Charlot, Jean
- printer
- Kistler, Lynton R.
- ID Number
- GA*23355.05
- catalog number
- 23355.05
- accession number
- 299563
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Silver Dollar Launching Coin
- Description
- In the life of a ship, launching day is one of the most important. Mariners have long believed that a mishap during a vessel’s slide from land to water foretold disaster. If the transition went smoothly, however, it was cause for celebration. This silver dollar was given to shipwright Archie Green on such an occasion in 1942, after he and his fellow shipyard workers successfully launched a C3 cargo ship in San Francisco.
- Launching ceremonies include various rituals, some of which are rooted in maritime traditions. The vessel is officially named on this day, and though not fully completed, it is ready to be moved from the yard into the water, where the final outfitting will be done. The ship is first "christened" by breaking a bottle over the bow, an honor usually performed by a woman associated with the vessel, such as the ship owner’s wife or daughter. As the last of the holding blocks are removed, the ship is released into the water by the launching gang, the crew responsible for ensuring the launch’s success.
- Archie Green was born in Winnipeg, Canada, in 1917 and moved to Los Angeles with his parents in 1922. After graduating from the University of California, Berkeley, in 1939, he began to learn the shipbuilding trade at the San Francisco shipyards. When war broke out, he took part in the U.S. government-sponsored emergency shipbuilding program, which was established to offset the terrible losses of cargo ships by Nazi U-boats.
- Drawing from lessons learned during the First World War, shipbuilders developed plans for standardized, prefabricated vessels that could be constructed in any shipyard in the nation. The most famous of these were the Liberty and Victory ships, which transported supplies and troops to Allied positions across the world. A type C3 ship, such as the one associated with this coin, was another design that produced a general-purpose vessel able to carry any cargo, but could also be modified for specific uses. Between 1939 and 1947, 465 of these ships were built in American shipyards.
- Archie Green went on to earn a Ph.D. in folklore and devoted his scholarly and teaching career to workers’ culture and occupational traditions. He remained a member of the United Brotherhood of Carpenters and Joiners of America until his death in 2009.
- date made
- 1923
- shipwright
- Green, Archie
- Archie Green's college
- University of California, Berkeley
- ID Number
- 1994.0296.01
- catalog number
- 1994.0296.01
- accession number
- 1994.0296
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Falsified Passport
- Description
- This Thai passport was seized in the well-publicized 1995 El Monte, Calif., sweatshop raid. The passport is part of a larger Smithsonian collection of artifacts documenting apparel industry sweatshops, focusing on the El Monte operation (72 workers were discovered working as slaves). With a legitimate U.S. visa, the passport looks official. In fact, the El Monte operators doctored a real passport, inserting a new photo into someone else's document, in order to smuggle workers into the country.
- Recruited from Thailand, the El Monte workers were tricked into accepting employment by misrepresentations of their future working and living conditions. They were told they would sew in a clean factory, receive good pay, and have the weekends off. They were even shown photographs of company parties and outings to Disneyland. After signing contracts (indenture agreements) committing themselves to repay 120,000 baht (about $5,000 in 1997 dollars), they were smuggled into the United States on fraudulent passports.
- On arrival, the sweatshop operators confiscated the passports and the workers were forced to sew 18 hours a day seven days a week. The debt, a guard force, and threats of physical harm to the workers and their families in Thailand discouraged them from escaping. Although the physical confinement of the work force was unusual, many aspects of the business, such as recruiting and smuggling workers, are relatively common. Less enslaving forms of debt peonage occur surprisingly often in some Asian immigrant communities.
- Sweatshops occur in many sectors of manufacturing, but are most often associated with the garment industry. While garments are designed and marketed through big name companies, assembly is often left to contract and sub-contract operations. In these small shops, where profits are razor thin and competition is excessive, abuses are rampant.
- ID Number
- 1997.0268.01
- accession number
- 1997.0268
- catalog number
- 1997.0268.01
- Data Source
- National Museum of American History, Kenneth E. Behring Center
Pacific Steam Whaleship Orca
- Description
- The steam whaler Orca was built at San Francisco in 1882 specifically for the Pacific and Arctic whale fisheries. By the late 19th century, the Atlantic whale was too scarce due to overhunting, and whaling had moved almost completely to distant western waters to exploit the remaining whales.
- Measuring 177 feet in length and 628 tons, Orca had a 280-HP steam engine for propulsion. It also had a full suit of auxiliary sails for backup and fuel conservation. When built, Orca was the largest auxiliary steam whaler in the United States.
- The bark-rigged vessel was heavily built and braced, with a strongly raked bow to work in the Arctic ice pack. The heavy timbers and bow shape allowed it to be driven up onto the ice, where its weight helped to break through. Orca’s propeller had two blades so it could be aligned vertically with the stern timbers when not in use in order to protect it from the ice.
- Information collected by Mystic Seaport Museum in Mystic, Conn. indicates that Orca, along with many other Pacific whalers, resorted to shanghaiing, or acquiring crewmen from agents ashore who forced potential crewmen onto their ships in various ways. With around two dozen whaleships clearing San Francisco each year for the Pacific whaling grounds, the need for crewmen was great.
- Date made
- 1894
- reference material
- Mystic Seaport Museum
- ID Number
- TR*076237
- catalog number
- 076237
- accession number
- 028022
- Data Source
- National Museum of American History, Kenneth E. Behring Center
R2-D2, from Return of the Jedi
- Description
- In the fictional universe of George Lucas' Star Wars films, robots called droids (short for android) come in many shapes and serve many purposes. Two droids-R2-D2 and C-3PO-have won enormous popularity for their supporting roles in all six of the series. In the collections of the museum are costumes of R2-D2 and C-3PO from "Return of the Jedi," released in 1983 and the third film in the Star Wars series.
- Designed from artwork by Ralph McQuarrie in 1975, R2-D2 looks more like a small blue-and-white garbage can than a human being. In the films, R2-D2 is the type of droid built to interface with computers and service starships-a kind of super technician suited for tasks well beyond human capability. By turns comic and courageous, this helpmate communicates with expressive squeals and head spins, lumbers on stubby legs, and repeatedly saves the lives of human masters .
- Several R2-D2 units, specialized according to function and edited into a final composite, were used for making a single movie scene. Some units were controlled remotely. Others, like this one, were costume shells, in which actor Kenny Baker sat and manipulated the droid movements.
- R2-D2's sidekick and character foil, also based on art by Ralph McQuarrie, is C-3PO. Termed a protocol droid in the films, C-3PO can speak six million languages and serves the diverse cultures of Lucas' imaginary galaxy as a robotic diplomat and translator. Where R2 is terse, 3PO is talkative. Where R2 is brave, 3PO is often tentative and sometimes downright cowardly. Where R2 looks like a machine, 3PO-in spite of the distinctive gold "skin" -more closely resembles a human in movements, vision, and intelligence
- In each of the Star Wars films, actor Anthony Daniels wore the C-3PO costumes. Like the R2-D2 units, more than one C-3PO costume was used for each movie.
- The Star Wars films are much more than pop entertainment. Since the first of the series was released in 1977, they have been so immensely popular that they have become cultural reference points for successive American generations. And like other popular works of science fiction, they play a powerful role in shaping our vision of the future.
- Likewise, the droids are more than movie stars in these influential films. They are also indicators of the place of robots in the American experience. Conceived at a time when more robots inhabited the imaginative worlds of science fiction than the real world, R2-D2 and C-3PO represent the enduring dream of having robots as personal servants, to do things we will not or cannot do for ourselves. Today, real robots are more numerous. They mostly work on industrial production lines, but researchers are working to extend the use of robots for tasks not humanly possible. It is likely we will see more of them in the future--as aids for medicine and surgery, for military and security, and even for exploring, if not a galaxy far away, at least the far reaches of our own solar system.
- Location
- Currently not on view
- ID Number
- 1984.0302.01
- catalog number
- 1984.0302.01
- accession number
- 1984.0302
- Data Source
- National Museum of American History, Kenneth E. Behring Center
C-3PO, from Return of the Jedi
- Description
- In the fictional universe of George Lucas' Star Wars films, robots called droids (short for android) come in many shapes and serve many purposes. Two droids--R2-D2 and C-3PO--have won enormous popularity for their supporting roles in all six of the series. In the collections of the museum are costumes of R2-D2 and C-3PO from "Return of the Jedi," released in 1983 and the third film in the Star Wars series.
- Designed from artwork by Ralph McQuarrie in 1975, R2-D2 looks more like a small blue-and-white garbage can than a human being. In the films, R2-D2 is the type of droid built to interface with computers and service starships--a kind of super technician suited for tasks well beyond human capability. By turns comic and courageous, this helpmate communicates with expressive squeals and head spins, lumbers on stubby legs, and repeatedly saves the lives of human masters.
- Several R2-D2 units, specialized according to function and edited into a final composite, were used for making a single movie scene. Some units were controlled remotely. Others, like this one, were costume shells, in which actor Kenny Baker sat and manipulated the droid movements.
- R2-D2's sidekick and character foil, based on art by Ralph McQuarrie, is C-3PO. Termed a protocol droid in the films, C-3PO serves the diverse cultures of Lucas' imaginary galaxy as a robotic diplomat and translator, speaking six million languages. Where R2 is terse, 3PO is talkative. Where R2 is brave, 3PO is often tentative and sometimes downright cowardly. Where R2 looks like a machine, 3PO--in spite of the distinctive gold "skin"--more closely resembles a human in movements, vision, and intelligence.
- In each of the Star Wars films, actor Anthony Daniels wore the C-3PO costumes. Like the R2-D2 units, more than one C-3PO costume was used for each movie.
- The Star Wars, films are much more than pop entertainment. Since the first of the series was released in 1977, they have been so immensely popular that they have become cultural reference points for successive American generations. And like other popular works of science fiction, they play a powerful role in shaping our vision of the future. Likewise, the droids are more than movie stars in these influential films. They are also indicators of the place of robots in the American experience. Conceived at a time when robots inhabited the imaginative worlds of science fiction rather than the real world, R2-D2 and C-3PO represent the enduring dream of having robots as personal servants, to do things we will not or cannot do for ourselves. Today, real robots are more numerous. They mostly work on industrial production lines, but researchers are working to extend the use of robots for tasks not humanly possible. It is likely we will see more of them in the future--as aids for medicine and surgery, for military and security, and even for exploring, if not a galaxy far away, at least the far reaches of our own solar system.
- Location
- Currently not on view
- ID Number
- 1984.0302.02
- accession number
- 1984.0302
- catalog number
- 1984.0302.02
- Data Source
- National Museum of American History, Kenneth E. Behring Center