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Smithsonian American Art Museum

" A Land Tort" 1889 Painting/Photomechanical

National Anthropological Archives
Copies by Charles Praetorius, 1889-1893, from Original John White Watercolors in British Museum, 1585; Original Number: 68

Colored pencil Watercolor painting and photomechanical on paper mount


" Nous jurons de faire baiser la Toile"

Cooper Hewitt, Smithsonian Design Museum
Parody of David's painting "The Oath of the Horatii" with textile merchants in a shop interior.

"'Noffset' Prevents Offest"

National Museum of American History

"'TELLS-U-HOW' Beverage Mixer"

National Museum of American History

"(When We Are Dancing) I Get Ideas”

National Museum of American History
This sheet music is for the song “(When We Are Dancing) I Get Ideas.” The song had lyrics written by Dorcas Cochran and music composed by Julio Sanders. The sheet music was published by Hill and Range Songs, Inc. in 1951. The cover features and image of Tony Martin, who “successfully recorded” the song for Victor Records.

"... Second Liberty Loan of 1917: Buy A Bond"

National Museum of American History

"... in Whom I Am Well Pleased"

Smithsonian American Art Museum

"...But the women rose..." Vol.1 [sound recording] / compiled and edited by Susan Kempler and Doreen Rappaport

Ralph Rinzler Folklife Archives and Collections
Program notes (7 p.) inserted in container.

"100 Books from Finland" in National Museum of Natural History

Smithsonian Archives - History Div
This file contains three additional prints from this event.

Opening of "100 Books from Finland" exhibit at the National Collection of Fine Arts (NCFA), now the National Museum of American Art, in the Foyer Gallery of the Natural History Building, November 19,1964. The exhibit was sponsored by the Ambassador of Finland. L to R: Harry Lowe, Curator of Exhibits, NCFA; Mrs. Bako; E.L. Quincy Mumford, Librarian of Congress; and Dr. Elemer Bako, Library of Congress.

"15 of New York" exhibition, Dwan Galleries

Archives of American Art
1 photographic print : b&w ; 21 x 25 cm. Interior shot of the Dwan Gallery, showing the "15 of New York" exhibit.

Identification on verso (typed): Group Exhibition: 15 of New York, Dwan Gallery, Los Angeles Oct. 1960.


Cooper Hewitt, Smithsonian Design Museum

"1778-1943 Americans Will Always Fight for Liberty" Poster

National Museum of American History
Physical Description Four-color print on paper. Specific History Produced by the United States Office of War Information, Washington, D.C. Printed by the United States Government Printing Office. Distributed by the Division of Public Inquiries, Office of War Information. Series: Office of War Information Poster, No. 26 To control the form of war messages, the government created the U.S. Office of War Information in June 1942. OWI sought to review and approve the design and distribution of government posters. Posters and their messages were seen as "war graphics," combining the sophisticated style of contemporary graphic design with the promotion of war aims. Over time, OWI developed six war-information themes for its own internal use, as well as to guide other issuing agencies and major producers of mass-media entertainment. 1. The Nature of the Enemy - general or detailed descriptions of this enemy, such as, he hates religion, persecutes labor, kills Jews and other minorities, smashes home life, debases women, etc. 2. The Nature of our Allies - the United Nations theme, our close ties with Britain, Russia, and China, Mexicans and Americans fighting side by side on Bataan and on the battlefronts. 3. The Need to Work - the countless ways in which Americans must work if we are to win the war, in factories, on ships, in mines, in fields, etc. 4. The Need to Fight - the need for fearless waging of war on land, sea, and skies, with bullets, bombs, bare hands, if we are to win. 5. The Need to Sacrifice - Americans are willing to give up all luxuries, devote all spare time to the war effort, etc., to help win the war. 6. The Americans - we are fighting for the four freedoms, the principles of the Atlantic Charter, Democracy, and no discrimination against races and religions, etc. ref: Alan Cranston to Norman Ferguson, 17 November 1942, folder: California Trip, box 1078, entry E222, MC 148, RG 208, NACP. From Design for Victory: World War II Posters on the American Home Front, William L. Bird Jr. and Harry R. Rubenstein. Princeton Architectural Press, New York. 1998. This particular poster fits neatly into theme six. General History The Division of Military History and Diplomacy has been collecting recruiting posters for more than fifty years. Recruiting as an activity of the military is important to the understanding of who serves in uniform, during both war and peace, and the visual materials used to market military service. The collection contains examples of early Civil War broadsides, World War I posters, including the original artwork for Uncle Sam as drawn by Montgomery Flagg, and World War II posters, which show the recruiting of men and women for all services and auxiliary organizations. The collection contains primarily Civil War, Spanish-American War, World War I, and World War II recruiting posters for the army, navy and some marines. More modern-day recruiting materials are also contained in the collection, and cover a broad range of army recruiting slogans. Posters during World War II were designed to instill in people a positive outlook, a sense of patriotism, and confidence. They linked the war in trenches with the war at home. From a practical point, they were used to encourage all Americans to help with the war effort. The posters called on every man, woman, and child to endure the personal sacrifice and domestic adjustments to further the national agenda. They encouraged rationing, conservation, and sacrifice. In addition, the posters were used for recruitment, productivity, and motivation as well as for financing the war effort. The stark, colorful graphic designs elicited strong emotions. The posters played to the fears, frustrations, and faith in freedoms that lingered in people's minds during the war.

"17th Century Stone Carvings" Exhibit, NMHT

Smithsonian Institution Archives
Requested from Photographic Services Division by Division of Preindustrial Cultural History.

Exhibit in Hall of Everyday Life in the American Past at National Museum of History and Technology, now known as the National Museum of American History.

"18-Carat Solid Gold Chewing-Gum" by Les Levine

Archives of American Art
1 photographic print : col. Color photograph of work of art by Les Levine "18-Carat Solid Gold Chewing-Gum," accompanied by photograph processing sleeve with handwritten inscription: LEVINE; GOLD GUM; 1972

"19th Century Japanese Prints and Drawings" Exhibition

Smithsonian Institution Archives
Also known as 66054.

Digital contact sheet available.

"19th Century Japanese Prints and Drawings" exhibition opening and reception at the Museum of History and Technology, now known as the National Museum of American History, sponsored by Smithsonian Associates.

"1st Sgt. Simmons" sketch in The True Story of Glory Continues

National Museum of American History

"1st Sgt. Simmon" sketch in artist's sketchbook used in the documentary The True Story of Glory Continues. This charcoal sketch depicts a soldier at arms. This is part of a set of sketches from "A Swamp Angel's Sketchbook,” which contains concepts for the film Glory.

Glory was the first film to illustrate the involvement of African American soldiers in the Civil War. The film follows the story of the 54th Massachusetts Infantry Regiment, the first African American Union regiment organized in the North during the Civil War, and culminates in the Battle at Fort Wagner.

"3 in One" Lubricant Vial

National Museum of American History

"49 Cree Indians Traveling" ca 1850

National Anthropological Archives
The two original paintings are housed in the Department of Ethnology, Royal Ontario Museum, Toronto, Canada.

Kane traveled between 1845 and 1848 sketching. The oil paintings were probably painted ca. 1850 after his return. -- Kenneth R. Lister 10/4/81.

Artist and date supplied from catalog card for 471 B 1, line drawing after Chippewa (?) painting.

Original glass negative found (7/1971) in Bureau of American Ethnology collection.

Black and white copy glass negative


National Museum of American History

"550 cord" (Parachute cord/paracord)

National Museum of the American Indian
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