Natural Resources
The natural resources collections offer centuries of evidence about how Americans have used the bounty of the American continent and coastal waters. Artifacts related to flood control, dam construction, and irrigation illustrate the nation's attempts to manage the natural world. Oil-drilling, iron-mining, and steel-making artifacts show the connection between natural resources and industrial strength.
Forestry is represented by saws, axes, a smokejumper's suit, and many other objects. Hooks, nets, and other gear from New England fisheries of the late 1800s are among the fishing artifacts, as well as more recent acquisitions from the Pacific Northwest and Chesapeake Bay. Whaling artifacts include harpoons, lances, scrimshaw etchings in whalebone, and several paintings of a whaler's work at sea. The modern environmental movement has contributed buttons and other protest artifacts on issues from scenic rivers to biodiversity.
1,335
Page 1 of 67
-
Elgin Wristwatch
- Description
- Wristwatches are relative newcomers among timekeepers. Although no one knows precisely when or where they first appeared, it is likely that the modern wristwatch dates from around 1880. About that time, fashionable women in England and Europe began to wear small watches set in leather bands around their wrists, especially for outdoor activities like hunting, horseback riding and, later, bicycling. Men, for the most part, did not wear wristwatches then. They considered them feminine jewelry.
- The Swiss pioneered wristwatch manufacturing, with American firms entering the business only in the second decade of the 20th century. This example – made by the Elgin National Watch Company of Elgin, Illinois, in 1917 just before America entered World War I – features a small mechanical movement with seven jewels. Over the dial is a metal grill to protect the crystal while still permitting a quick read of the time. Such grills acquired the nickname "shrapnel guard" during the war, when wristwatches increased in popularity with men.
- The practicality of having time at a glance, the feature that attracted active women to the style in the first place, changed military men's minds about wristwatches. As soldiers entered World War I, they experimented with fastening pocket watches to their sleeves or their legs. As the war progressed, the wristwatch became ubiquitous among male soldiers of all branches of the armed forces and female nurses who cared for the wounded. European manufacturers reportedly worked overtime to convert existing women's watches into military timepieces to meet the demand.
- This Elgin wristwatch looks much like today's. But when wristwatches first appeared, it wasn't at all clear what they should look like or how people should wear them. The location of the winding stem, or crown, was particularly puzzling. Some early wristwatches placed the crown in line with 3:00 on the dial, others at 9:00. Also unclear was how the watch dial should be oriented on the strap. Should 12:00 and 6:00 line up with the strap or at a right angle to it? By the 1910s, the position of the crown and the orientation on the strap, for the most part, conformed to the style we know today.
- In addition to a variety of appearances, the earliest versions of the newfangled timekeeper had a variety of names. Early advertisements called it "wrist strap watch" or just "strap watch" for men and "watch bracelet," "bracelet watch," "wristlet watch" or simply "wristlet" for women. After World War I, watch manufacturers tried to negate the wristwatch's feminine image by advertising that reassured men of the wristwatch's sturdy masculinity. But even as late as 1943, wristwatches were still called "bracelet watches" or "wristlets," recalling feminine jewelry.
- Location
- Currently not on view
- date made
- ca 1917
- manufacturer
- Elgin National Watch Co.
- ID Number
- ME.333963
- catalog number
- 333963
- accession number
- 304914
- Data Source
- National Museum of American History
-
Corset and Whalebone Scrimshaw Busk
- Description
- For much of the nineteenth century, ladies' fashion required very small waists. The most common way to achieve this was to wear a tight laced corset, which could be adjusted according to the specific garment it accompanied. Like this example, many of them were handmade to fit an individual, although they were also available in shops.
- One of the most intimate pieces of scrimshaw a whaleman could produce was a bone or baleen busk, or corset stiffener. These were carved and given to a crewman's loved one, who then inserted it into a matching sleeve on her corset as a unique memento of her beloved's feelings.
- One side of this whalebone busk contains three cityscapes, two of which have busy ports with lots of shipping. The other side has eight vertical pictures, topped by a full frontal portrait of a beautiful young woman. She may represent the recipient of this busk. Below her is a city scene with multiple church steeples over a flag in a precinct. A multi-colored circular geometric pattern is at the center, above a garden scene over a delicate basket of flowers. Next is a three-masted warship, and at the bottom is a large rural villa overlooking a walled garden. Can these pictures be woven into a story?
- date made
- mid-nineteenth century
- mid-1800s
- fashion
- 19th century
- ID Number
- DL.374478
- catalog number
- 374478
- accession number
- 136263
- Data Source
- National Museum of American History
-
"Tom Mix" Style Cowboy Hat
- Description
- This "Tom Mix" style cowboy hat made by the John B. Stetson Company dates from 1910 to 1930. The huge ten-gallon Stetson hat was Tom Mix's trademark. He was the top cowboy movie star of American silent films, known for his daring stunts and his equally famous elaborate cowboy outfits. More than any other star before 1930, Tom Mix had great influence on western wear.
- Tom Mix was born on January 6, 1880 in Mix Run, Pennsylvania. His given name was Thomas Hezikiah Mix, but when he enlisted in the Army in April 1898, he listed his name as Thomas E. Mix. Mix appeared in over three hundred western films until his movie career ended when silent films were replaced by talking films. He then worked in rodeos and circuses until his death in 1940 from a freak automobile accident.
- The average cowboy wore a hat called a "JB," which stood for John B. Stetson, a hatter who started his company in 1865. He built one of America's most well known and successful businesses and created hats that stood for innovation, quality, and durability. This cowboy hat is one of the styles that the John B. Stetson Company was known for producing. It is made of an off-white felt with a matching ribbon band and measures seven inches high by fourteen inches wide by eighteen inches deep.
- Location
- Currently not on view
- Date made
- 1910 - 1930
- maker
- Stetson
- ID Number
- CS.112055.001
- catalog number
- 112055.001
- accession number
- 112055
- Data Source
- National Museum of American History
-
Levi's Brown Duck Trousers
- Description
- Levi's Brown Duck Trousers
- 1873-1896
- The brown cotton trousers shown here were made by Levi Strauss & Co. of San Francisco, California sometime during the two decades after the company's founding in 1873. Levi Strauss was a 24-year old, newly minted American citizen from Bavaria when he set sail for San Francisco in 1853 to open a branch of his brother's New York City dry-goods business. He prospered by supplying blankets, handkerchiefs, and clothing to merchants in the West for the next two decades. In 1872, he received a business proposition from Jacob Davis, a Latvian-born tailor in Reno, Nevada. Davis had invented a way to strengthen trousers by reinforcing their pocket openings with copper rivets in order to help a customer who complained about his constantly torn pockets. He asked Levi Strauss to join him in patenting the process; then they would go into business together to sell their patented riveted pants.
- Patent number 139,121 was granted on 20 May 1873, and production began immediately. The printed leather label at the center back waistband of these "waist overalls," as they were known in the late nineteenth century, suggests that the product was instantly popular with hard-working men who needed indestructible trousers. The label proclaims "Levi Strauss & Co." of "14 & 16 Battery Street SAN FRANCISCO, CAL. " to be the "Sole Proprietors and Manufacturers" of "PATENT RIVETED DUCK & DENIM CLOTHING. . . EVERY PAIR GUARANTEED. None Genuine Unless Bearing This Label. Any infringement on this Patent will be prosecuted to the fullest extent of the law. LABEL COPYRIGHTED."
- The company's patent expired in 1890, but the popularity of their riveted trousers became an American legend. Iron-clad cotton "duck" canvas (mentioned on the label, and seen in this pair of pants) was gradually phased out in favor of flexible cotton denim, a fabric that was much like the twilled cotton "jean" that had long been used for men's work clothes. By 1960, Levi's had come to be called "jeans" in both corporate advertising and the public's imagination.
- Made of a heavy cotton canvas known as "duck," the pants feature a pair of short tapered belts with a buckle to cinch the back waist yoke, and white top-stitching everywhere except along the outside leg seams below the two front pockets. A small watch pocket is set inside the right front pocket, and a single back patch pocket with Levi's now-famous double arcuate stitching is placed on the right hip. A printed leather label is centered on the back waistband.
- The patented copper rivets that reinforced the upper corners of each pocket and the base of the fly set these trousers apart from all other work clothing of their day. Each rivet is inscribed "L. S. & CO. S. F. PAT. MAY 1873." The pants were fastened and supported by four-hole metal buttons; the two buttons hidden in the concealed fly are unmarked, but the rims of the one at the front waist, and the six suspender buttons around the waistband, are marked "LEVI STRAUSS & CO. S. F. CAL."
- Location
- Currently not on view
- Date made
- 1873 - 1896
- maker
- Levi Strauss and Company
- ID Number
- CS.256979.002
- catalog number
- 256979.002
- accession number
- 256979
- Data Source
- National Museum of American History
-
Sperm Whale Tooth Watch Stand
- Description
- Scrimshaw known to have been made specifically for men is comparatively rare. This unfinished tooth was hollowed out at the back to carry a gentleman’s pocket watch inside, perhaps set on a wardrobe, a bureau or a dressing table overnight.
- Patriotic imagery was very popular on American scrimshaw. At the top is a large eagle in flight clutching arrows and an olive branch; the hole for the watch is framed by a simple scalloped line. The space at the bottom was probably reserved for the owner’s initials or possibly a date, and the two holes were likely drilled for ivory buttons. The piece was unfinished when it was donated in 1875 by J. H. Clark of Newport, R.I.
- date made
- 19th century
- Associated Date
- collected
- ID Number
- DL.024905
- catalog number
- 024905
- accession number
- 4331
- Data Source
- National Museum of American History
-
Patent Model for the Improvement in Ear-Rings
- Description (Brief)
- Small metal model or example of a design for a spring clasp mechanism to securing an earring to the ear lobe. The design specifications also allowed for and concave/convex discs to help the earring seat itself on the ear lobe or a pin on the disc incase the wearer had pierced ears (This model does not show the pin). The model also shows two eye hooks. One allowed for a dangle and the other allowed a chain and hair clip that would attach to the hair for security.
- Location
- Currently not on view
- date made
- ca 1876
- patent date
- 1877-03-13
- inventor
- Weed, Louisa A.
- ID Number
- AG.188323
- catalog number
- 188323
- accession number
- 89797
- patent number
- 188,323
- Data Source
- National Museum of American History
-
Common Nail Hammer
- Description
- This general purpose or common hammer is used for pounding nails and prying nails up or other light material such as molding. The hammer is all one forged steel piece with a blue nylon grip. It has a smooth stricking face and straight claw. It was used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world.
- When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
- In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and trucked off to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution.
- Location
- Currently not on view
- maker
- Estwing
- ID Number
- 2005.0276.10
- catalog number
- 2005.0276.10
- accession number
- 2005.0276
- Data Source
- National Museum of American History
-
Double End Pry Bar
- Description
- This is a double end pry bar designed to pull out nails and for light demolition. The length has a flat shape, one end has a slight curve that is tapered and slotted and the other end is shaped like the claw portion of a common hammer. It was used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world.
- When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
- In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution.
- Location
- Currently not on view
- date made
- 1998-2005
- ID Number
- 2005.0276.11
- catalog number
- 2005.0276.11
- accession number
- 2005.0276
- Data Source
- National Museum of American History
-
Metal Cutting Shears
- Description
- Metal cutting snips or shears are used to cut sheet metal and wire mesh, as well as a variety of other materials. These snips have yellow and black plastic grips showing the brand Task Force, an in-house brand for Lowes Corporation. The shorter blade is good for notching or trimming. It was used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world.
- When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
- In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution.
- Location
- Currently not on view
- ID Number
- 2005.0276.08
- catalog number
- 2005.0276.08
- accession number
- 2005.0276
- Data Source
- National Museum of American History
-
30' Retractable Measuring Tape
- Description
- Recoil tape measures are easily portable and can be used for a variety of purposes. The yellow casing is meant to be easily seen according to its product description. The measure is a thin flexible steel blade marked in inches. It retracts into the casing by spring action when it is unlocked from an extended position. It was used by Jillian Gross while working for Habitat for Humanity, a not-for-profit, non-government organization advocating affordable housing around the world.
- When Hurricane Katrina struck the Gulf Coast in August 2005, Jillian Gross had worked with Habitat for Humanity for three years learning woodworking and house-building skills. Groups such as Habitat for Humanity marshaled volunteers, tools and lumber to step in when it became clear that normal avenues of housing assistance were overwhelmed.
- In November 2005, Habitat for Humanity launched “America Builds on the National Mall,” a demonstration house-building marathon in Washington, D.C. in which the basic components of 51 homes were assembled within a week and shipped to the Gulf Coast. Upon completion of the project Ms. Gross, one of the house building leaders during this event, donated her tool belt, tools and protective wear to the Smithsonian Institution.
- Location
- Currently not on view
- maker
- Stanley Works
- ID Number
- 2005.0276.09
- catalog number
- 2005.0276.09
- accession number
- 2005.0276
- model number
- 30-380
- Data Source
- National Museum of American History
-
Open Metal Fan Button
- Location
- Currently not on view
- ID Number
- 1962.239460.01224
- accession number
- 239460
- catalog number
- 239460.01224
- Data Source
- National Museum of American History
-
Lacy Glass Button with Center Floral Shape, Rhinestone Center
- Location
- Currently not on view
- ID Number
- 1962.239460.01354
- accession number
- 239460
- catalog number
- 239460.01354
- Data Source
- National Museum of American History
-
Round Pressed Glass Button with Multi-colored Background
- Location
- Currently not on view
- ID Number
- 1962.239460.01357
- accession number
- 239460
- catalog number
- 239460.01357
- Data Source
- National Museum of American History
-
Lacy Glass Button with Petal and Rhinestone Design
- Location
- Currently not on view
- ID Number
- 1962.239460.01360
- accession number
- 239460
- catalog number
- 239460.01360
- Data Source
- National Museum of American History
-
Red Pressed Glass Button with Floral Motif
- Location
- Currently not on view
- ID Number
- 1962.239460.01365
- accession number
- 239460
- catalog number
- 239460.01365
- Data Source
- National Museum of American History
-
Lacy Glass Button with Rhinestone Center
- Location
- Currently not on view
- ID Number
- 1962.239460.01366
- accession number
- 239460
- catalog number
- 239460.01366
- Data Source
- National Museum of American History
-
Pressed Glass Button With Floral Pattern and Iridescent Border
- Location
- Currently not on view
- ID Number
- 1962.239460.01369
- accession number
- 239460
- catalog number
- 239460.01369
- Data Source
- National Museum of American History
-
Lacy Glass Button with Floral Motif
- Location
- Currently not on view
- ID Number
- 1962.239460.01370
- accession number
- 239460
- catalog number
- 239460.01370
- Data Source
- National Museum of American History
-
Glass Button with Swirl Motif
- Description (Brief)
- Round glass button with swirl design of squares, hemi-spheres, and irregular curves and twists.
- Location
- Currently not on view
- ID Number
- 1962.239460.01371
- accession number
- 239460
- catalog number
- 239460.01371
- Data Source
- National Museum of American History
-
Iridescent Pressed Glass Button
- Location
- Currently not on view
- ID Number
- 1962.239460.01372
- accession number
- 239460
- catalog number
- 239460.01372
- Data Source
- National Museum of American History
Pages
Filter Your Results
Click to remove a filter:
- data source
-
topic
- Clothing and dress 1335
- Dress accessories 1335
- Industrialization 1330
- Buttons 1038
- Architecture 40
- Engineering 40
- Family 40
- Social life and customs 40
- America Builds on the National Mall 39
- Hurricane Katrina, 2005 39
- Ecology 17
- Fishing 16
- Contemporary United States 13
- On the Water exhibit 12
- Textiles 8
- Art 5
- Transportation 5
- Lace and lace making 4
- Women 4
- object type
- date
- place
-
set name
- Industry & Manufacturing 1330
- Work and Industry: Production and Manufacturing 1258
- Buttons 1038
- Work 67
- Cultures & Communities 45
- Engineering, Building, and Architecture 40
- Family & Social Life 40
- Work and Industry: Mechanical and Civil Engineering 40
- National Museum of American History 27
- American Enterprise 23
- On the Water 20
- Natural Resources 17
- Work and Industry: Maritime 17
- On the Water exhibit 12
- Textiles 8
- Art 5
- Cultural and Community Life: Textiles 5
- Transportation 5
- Work and Industry: Work 4
