Found 78,199 Resources
Report upon United States Geographical surveys west of the one hundredth meridian / in charge of Capt. Geo. M. Wheeler ; under the direction of the Chief of Engineers, U.S. Army ; published by authority of the Honorable the Secretary of War, in accordance with acts of Congress of June 23, 1874, and February 15, 1875 ; in seven volumes and one supplement, accompanied by one topographic and one geologic atlas
A.A. Humphreys, Chief of Engineers until June 1879; succeeded by H.G. Wright.
For full contents see National union catalog, pre-1956 imprints, volume 618, pages 531-532, and the atlas collation by GIlbert Thompson in P.L. Phillips, A list of geographical atlases in the Library of Congress (Washington, D.C. : G.P.O., 1909), pages 705-713.
In addition to the 2 atlases named, maps based on the maps of the Topographical atlas were issued as Land classification series, and special maps (not accompanying reports) showing the results of some preliminary reconnaissance or of some survey of an area of peculiar interest were issued irregularly.
Volume 7 includes 40 vocabularies of Western Indian languages.
Volume 5, Chapter 3 also issued separately as: Report upon the ornithological collections made in portions of Nevada, Utah, California, Colorado, New Mexico, and Arizona, during the years 1871, 1872, 1873, and 1874 / by H.W Henshaw.
"Published by authority of ... the Secretary of War in accordance with acts of Congress of June 23, 1874, and February 15, 1875."
Errata slip tipped-in following title page to volume 3.
Some volumes published out of numerical order.
"12 photolithographs (heavily retouched), 3 chromolithographs. The photographs are by T.H. O'Sullivan and William Bell. These views, typical of the toned photolithographs published in Government reports, are striking scenes of the Western landscape, translated to this medium with a great deal of graphic richness. This title is also of prime importance because it lists every photographer for every one of the Government's surveys"--Hanson Collection catalog, page 100.
Atlas includes plates lithographed by J. Bien; illustrations by Weyss, Herman & Mahlo; Weyss, Herman & Aguirre; and Weyss, Herman & Lang; and photo-lithography by the Graphic Co. of 39 & 41 Park Place, N.Y.
Also available online.
SCNHRB copy is incomplete, having only: volumes 1-4 (v. 1: 39088002993756, v. 2: 39088002993764, v. 3: 39088002993772), two incomplete copies of volume 5 including copy 1, volume 5, chapters 4-5 only (39088002993798); copy 2, volume 5, chapters 1, 4-5 only (39088007450398); and a portfolio of some of the folio plates from the two atlases (39088007725617).
SCNHRB incomplete copy of the atlas has loose plates housed in an archival paperboard portfolio with linen cloth spine and printed paper cover label. The portfolio houses 31 plates (some color, some encapsulated, some "2nd ed."), including two copies of the title leaf from the Geological atlas, with the vignette of the headlands of Paria Creek, Arizona; one leaf of "Conventional signs;" one leaf of "Conventional signs for triangulation, outline and topographical plots of atlas sheets;" one leaf of the "Progress map of lines and areas of explorations and surveys ...;" two copies of the leaf of "Restored outline of Lake Bonneville;" atlas sheet numbers 49; 50 (2 copies); 58; 59; 65; 66; combined insets from 58 and 66 (2 copies); 67 (3 copies); 70(A) (2 copies); 70 (C) (2 copies); 75 (2 copies); 76 (2 copies); combined insets from 69(B), 69(D), 77(B),and 78(A) (2 copies); 83 (2 copies).
SCNHRB copy volume 1-3 has bookplates of Jonathan Dwight Jr. and Smithsonian Institution Libraries, gift of Marcia Brady Tucker.
SCNHRB copy inscribed in ink on front free endpaper of volume 2: E.O. Matthews 8/30/89
SCNHRB copy 1 of volume 5 has  leaves of handwritten notes laid-in. Stamped on title page: S.C. Brown. Copy 2 of volume 5 has typescript title page and is lacking the preliminaries up to page 15.
SCNHRB copy in brown cloth binding, title in gilt on spine; volumes 1-3 housed in a drop-back linen boxes; volume 2 with binder's ticket: A.E. Foote, M.D., Philadelphia, Pa. Volume 5, copy 1 in brown cloth binding, title stamped in gilt on front cover; housed in an archival cardboard portfolio; volume 5, copy 2 is quarter bound in old brown cloth (with title in gilt on spine) and later green marbled boards, marbled edges.
Report upon United States Geographical surveys west of the one hundredth meridian, in charge of First Lieut. Geo. M. Wheeler [...] under the direction of the chief of engineers, U.S. Army. Published by authority of [...] the secretary of war in accordance with acts of Congress of June 23, 1874, and February 15, 1875. In seven volumes and one supplement, accompanied by one topographic and one geologic atlas [...]
In addition to the atlases named, there are "Special maps (not accompanying reports) ... issued from time to time to show the results of some preliminary reconnaissance or of some survey of an area of peculiar interest," and also maps, based on the maps of the Topographical atlas and known as the "Land classification series."
For full contents see National union catalog, pre-1956 imprints, volume 618, pages 531-532.
Also available online.
The Preservation Department of the Smithsonian Libraries (SIL) has been preparing materials for the past year for the upcoming exhibition in the SIL Gallery, National Museum of American History, Cultivating America’s Gardens. Drawn mainly from the collections of the Smithsonian Libraries and Smithsonian’s Archives of American Gardens, it is a cooperative curatorial effort of both units. The exhibition – curated by Kelly more »
The cultural impact of the American fairy tale The Wonderful Wizard of Oz has not diminished since the publication of L. Frank Baum's original book over 100 years ago. If anything, the story has become more beloved over time, spawning numerous revisions, interpretations, and sequels. The story has been adapted for almost every format, including theater, radio, animation, and film.
Of course, the most famous adaptation of the story is the 1939 MGM movie musical The Wizard of Oz, starring teen actress Judy Garland (1922–1969) as Dorothy Gale, the Kansas girl who travels to a fantastical land to learn the lesson that "there's no place like home." Integral to this lesson are Dorothy's magical Ruby Slippers, given to Dorothy by Glinda the Good Witch and desperately coveted by the Wicked Witch of the West.
Since 1939 the Ruby Slippers have become one of the most iconic and recognized movie costume pieces in the world. The pair possessed by the National Museum of American History is one of our most popular attractions, demonstrating the personal connection that generations of audiences have felt with the film.
But the museum's holdings related to the Wizard of Oz go beyond the slippers. We have also been fortunate to acquire other objects related to the film—important pieces that help us to further preserve and explore this shared piece of our cultural history. Some, like the camera that recorded the beloved film, are currently on display. Others, like the costume pieces worn by the Scarecrow, are off display and in need of conservation care in order to be on view as part of our culture exhibition, opening in 2018.
Ray Bolger (1904–1987) wore this costume in the film as the Scarecrow, the character who wished he "only had a brain" and became the first of Dorothy's newfound friends met along the yellow brick road. After filming, Bolger used the costume in his personal act; it was donated to the museum after his passing. The donation also included extra straw used in film production.
Unfortunately the Scarecrow costume is very fragile and sensitive to light. In order to preserve it for the future, it is rarely exhibited for long periods of time.
E. Y. "Yip" Harbug's hopeful lyrics made the film's signature ballad "Over the Rainbow" an instant favorite with 1939 audiences. The song, with music by Harold Arlen, won an Academy Award for 1939 and quickly became a national standard. Today it is still performed by artists worldwide.
One of the most memorable sequences in The Wizard of Oz is the transformation from sepia-toned monochrome to vibrant color, as Dorothy leaves her transported farmhouse to enter Oz's fantastical realm. The movie used the new process of Technicolor to amaze period audiences. (Contrary to popular mythology, the film is NOT the first color motion picture.)
This Technicolor camera was one of several used in the filming of The Wizard of Oz. The camera recorded on three separate negatives—red, blue, and green—that were then combined to develop a full-color positive print. The box encasing the camera, a "blimp," muffled the machine's sound during filming.
The museum has a complete copy of an early version of the film's screenplay, written by lead scriptwriter Noel Langley. The scene in which the film changes from black and white to color is indicated in this page.
As you can see by this handwritten note, the shoes are still being characterized as "silver" in this version of the script, as that was their color in Baum's book. The color was later changed to the familiar iridescent red by Langley and costume designer Gilbert Adrian to better capitalize on the film’s use of Technicolor.
These are a just few of the objects that help museum curators interpret the legacy of Baum's book and The Wizard of Oz movie. Why do YOU think the film has been an enduring favorite?
Eric W. Jentsch is the deputy chair for the Division of Culture and the Arts.
As the museum's social media manager, I get to see many snapshots our visitors share on social media while they're here. Frequently appearing in photos is the statue of George Washington by Horatio Greenough. Visitors often share their photos of the toga-wearing statue with a sense of awe—and occasionally they poke a bit of a fun at George. "Great abs on this guy!"
When we open our new floor, centered on the theme "The Nation We Build Together," I think visitors will find something new in Washington's statue, positioned at the entrance to the new space. "This nation isn't going to build itself," Washington seems to hint, offering his sword to the viewer. "Better start working together on this!" What a monumental task and a fitting way to orient visitors as they enter the new wing.
I chatted with the museum's Elizabeth MacMillan Director John Gray to find out what excites him most as we prepare to open "The Nation We Build Together" on June 28, 2017.
One of the first things visitors see in the new wing will be a statue of George Washington, on loan from the Smithsonian American Art Museum. What will that Washington statue communicate to our visitors as the "landmark" or "gateway" object for that space?
George Washington's most extraordinary act, one of the most profound acts in our history, was to give power back to the people. That statue is a symbol of that action. The statue portrays Washington extending his arm and offering back his sword—which represents power—to the nation. As visitors enter the second floor and see into "The Nation We Build Together," that giant statue prepares them for the experience of the whole floor.
The museum's new floor unites several different exhibitions under the unified theme of "The Nation We Build Together." Can you talk about what that theme means to you?
We really want our visitors to have the opportunity to explore the largest ideals and ideas in America. And the name, "The Nation We Build Together," says we are a people and a nation that works collectively through our democracy to forge our nation. This is an ongoing and complicated process—but we are always working toward our national motto: E Pluribus Unum (Out of Many, One). It is so important that, as Americans, we view ourselves as part of the body of America, working together, being together, and building this nation together.
We know "The Nation We Build Together" has been in development for many years. But why is that theme an important one to explore in 2017?
"The Nation We Build Together" is an important theme that resonates across our history, one that's fundamental to understanding America, ourselves, and the larger political process—not limited to party politics, but how we learn, make, and determine how we are governed together.
That said, there's never a better time than the present to understand America. Every election turns out to be different than some people expected. That was true last year, four years ago, four years before that, all the way back to our founding—it's the nature of democracy as we practice it in America! Our new exhibition American Democracy: A Great Leap of Faith will help our visitors understand and contextualize the inherent changes we see over time in America. It's both reassuring and inspirational.
What are we trying to inspire visitors to think or do differently after visiting "The Nation We Build Together"?
The whole floor is about inspiring engagement—understanding that you are part of the process in a bigger way. Many Voices, One Nation inspires all of us to participate in building American communities—really build them! American Democracy: A Great Leap of Faith reminds all of us that we must play an active role in our democracy to keep our nation vital and responsive. And Religion in Early America helps us understand the historical underpinnings of how we practice and celebrate the diversity of religious experience in America.
A large Statue of Liberty made of LEGO bricks has appeared in our Constitution Avenue lobby. Can you talk about why Lady Liberty is an important image in the museum right now and what that means to you?
Look at the icons that we've taken from American history and championed. We have the Star-Spangled Banner on display here at the center of the building—and we also have President Lincoln's hat. Each one helps us recognize something we know about or identify within American history—and Lady Liberty is one of those powerful symbols. The image of the Statue of Liberty is inspiring to so many of us. She embodies all of the complicated ideas that form our American history and drive our nation's future.
We try to always have a major object in the museum's Constitution Ave. lobby to send a message about what is happening in the rest of the building and that's what the Statue of Liberty does for us. For many visitors, she's a great photo opportunity and we've seen lots of selfies snapped there. But it's also a spot where people stop to discuss: What does that symbol mean to you? That is an essential discussion we want to see happening in our museum.
Before we get into specific exhibitions, is there a favorite spot in "The Nation We Build Together" that you want to call out in particular for our visitors?
Well I love that we're going to display Thomas Jefferson's desk and a church bell made by Paul Revere. But I'm also very excited about how we've re-positioned the Greensboro lunch counter in Unity Square. We've given it its own powerful and poignant installation where it will be the center for programs that get visitors talking about America's freedoms both in real life and symbolically. It's called American Experiments and it's going to be a great way to explore, through civic discourse, how we constantly pursue and ensure our freedoms.
Democracy: A Great Leap of Faith is one of the exhibitions opening in the Linda and Pete Claussen Hall of American Democracy. What do you hope our visitors take away from that exhibition? Do we want to inspire them to be more civically engaged?
Democracy: A Great Leap of Faith is incredibly engaging, moving, and a real enticement to act. It's about political history, which is one of our most important collections, but the ultimate emotional impact is that visitors will want to be more engaged in the civic life of our country—both because it's necessary to protect our freedoms but also, in America, it's essential and invigorating to participate in our democracy. You'll see public engagement over time in this exhibition.
Don't forget to look up in that exhibition, too! You'll spot a media installation showing the cacophony of political advertisements that surround Americans, featuring ads from the 1950s to the present day. The installation, which the staff has nicknamed "the cloud," features 81 separate video screens showing American political commercials—powerful, funny, sad, positive, negative—and representing the ways in which we learn who we want to vote for and who we don't want to vote for. It's both fascinating and fun to see the complicated ways in which we make our case to the people.
In recent years, national politics have become a (seemingly) non-stop source of news in the United States. How will the museum's new exhibitions cut through the noise? What will they add to our national conversation?
Politics is often perceived as noise. That's one of the things it's about. But when you get beyond the proverbial "noise" you can explore the ways we express our ideas and beliefs over time. So it's very important to see this constant activity—that's part of what democracy is about. Our exhibition shows how those ideas continue—freedom, who can vote, how people participate—and we believe that every American wants to participate and has the obligation to participate in a democracy that preserves their life, freedom, and opportunities.
Many Voices, One Nation explores the emblem on our country's Great Seal: E Pluribus Unum, Out of Many, One. Do you have a favorite object or story in that exhibition?
The "Fugees" soccer team story is one of my favorite vignettes in that exhibition! It's about how people came to America with their own traditions and, when they got here, they broadened those traditions, adopting and adapting them. That case is about soccer, sports, school—all these places where people intersect on the playing field and in communities. That's one of my favorite contemporary stories.
As far as a story from further back in time that I love, don't miss the Peter Glass marquetry table. First of all, it's visually striking. Second, it tells a story of isolation, integration, American symbolism, all wrapped up in the story of German immigrants to America.
In Many Voices, One Nation, we investigate the interactions and intersections of different people and the ways in which we have negotiated and worked through differences and challenges to achieve something more than the sum of its parts. Why is it important to study these negotiations and more challenging moments in our shared history?
One of the most exciting ideas in Many Voices, One Nation is that Americans have negotiated with each other for better lives, for a place in the country, for their lifestyles, in ways that have benefited them and, importantly, have benefited America. People from all around the world have come to America, including people who were already here and people who were brought here, and come together over time—sometimes in conflict, sometimes in concord—to create the America we know and we love. Understanding that process is both reassuring and instructive for our future.
The museum's second floor will focus on some of the most discussed issues in America today—politics, religion, migration, and immigration, for example. What is the role of history museums within these big debates?
One thing that's really wonderful about understanding American history is that the hot issues of today were the hot issues of yesterday and the day before. That is a very important notion regarding the dynamic nature of American history. Your National Museum should always be involved in topics that are relevant to people today as well as to those who came before us. Our goal and our deep hope is that we will provide more context to understand the issues to bring us together.
What's happening on opening day, Wednesday, June 28, 2017?
It's going to be a fun day! Opening day for "The Nation We Build Together" will feature live music, wandering Statue of Liberty characters, a fun LEGO make-and-take activity, and a performance at our Greensboro lunch counter in Unity Square. I'm excited to hear jazz, a conjunto ensemble, and blues in our museum that day as we celebrate the opening. Let's cut some ribbons!
Erin Blasco is the museum's blog and social media manager in the Department of Programs and Audience Development.
In 1935, 101 cane toads from Hawaii were set loose in Australia to help control beetles that were decimating the Australian sugar crop. But instead […]
The post Discovery: Australia’s invasive cane toads modify their bodies to conquer new territory faster appeared first on Smithsonian Insider.
Recently there has been a significant debate about how and where to feature a woman on United States currency. In April 2016, Secretary of the Treasury Jacob Lew released a statement confirming the plans for the redesign of the five, 10, and 20 dollar notes and stating that all will include women in some manner. The reverse of the 10 will feature women that prominently figured in the movement for woman suffrage in the United States: Susan B. Anthony, Alice Paul, Sojourner Truth, Elizabeth Cady Stanton, and Lucretia Mott. This announcement is a wonderful opportunity to take a look at how woman suffrage has been depicted on coins and currency in the past!
Susan B. Anthony is perhaps the best-known suffragist in the United States, likely in part due to the circulation of a one dollar coin that features her portrait. Born in 1820 in Massachusetts, Anthony played an integral role in the suffrage movement in the United States. She campaigned around the country and participated in multiple organizations with the aim of getting women the right to vote. More than a suffragist, Anthony was also an activist for racial equality, and for women's property rights and equality in marriage. Anthony died in 1906, 14 years before the 19th Amendment would grant female citizens in the United States the right to vote.
In 1979 the United States commemorated Anthony's great contribution to society with a one dollar coin. This was the first time that the United States featured a real, as opposed to allegorical, woman on a coin intended for circulation. The coin was minted in multiple years (1979-1981 and 1999) but did not achieve great popularity. Though they are no longer being minted, Susan B. Anthony dollar coins are still in circulation. They were replaced with Sacagawea gold dollar coins, one of which can also be seen on display in the "Women on Money" display inside the Stories on Money exhibition.
New Zealand has featured Kate Sheppard, a leader in the country's movement for woman suffrage, on the 10 dollar note since 1999. Born in 1847, Sheppard had a significant impact on politics in New Zealand, first by founding its Women's Christian Temperance Union and then by leading a suffrage movement there. In 1893 the efforts of Sheppard and many others led to New Zealand becoming the first country to allow women to vote. Her work did not stop there; Sheppard continued to fight tirelessly for women's rights. In 1896 she cofounded the National Council of Women of New Zealand and was actively involved in efforts toward suffrage in other countries. Sheppard died in 1934. The ten dollar note bears her portrait along with a white camellia, a flower that is representative of woman suffrage in New Zealand.
Secretary Lew, in his announcement about the changing currency, stated that the new designs for the notes will be revealed in 2020, the centennial of the ratification of the 19th Amendment in the United States. I am looking forward to seeing the redesign of all three notes and am especially excited to see the suffragists who fought so tirelessly for the passage of that amendment be honored on the anniversary of their great achievement.
Jennifer Gloede is the outreach and collections specialist for the National Numismatic Collection.