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State Museum Announces Gallery Renovation Project

 

The New York State Board of Regents today reviewed a multi-year renovation plan for the New York State Museum's exhibition galleries. The master plan calls for 35,000 square feet of new exhibitions, a changeable wall system and new interactive technology and media. A full master plan of the renovation project, including artist renderings and floor plans, is available here:http://www.nysm.nysed.gov/information/aboutus/renewal.html.

"The New York State Museum is an educational treasure for all New Yorkers," said New York State Board of Regents Chancellor Merryl H. Tisch. "The renovated galleries will tell the stories of New York State's history in ways they have never been told before. New York State is the most important state in the nation – historically, scientifically and culturally. And the Museum's new exhibition galleries will tell that story using our own world-class collections and the extraordinary collections of museums across the state." 

The master plan unveiled today outlines the vision and goals for the new galleries and the overall approach for the renovation project. The goal of the renovation is to share New York State's natural, cultural and human history in an integrated, relevant, and memorable way. New exhibitions will link to existing exhibitions, such as the World Trade Center exhibition, the Cohoes Mastodon and Native Peoples of New York Hall.

The new galleries will be developed under a conceptual approach of "New York Stories" – with every exhibition telling the stories of the state in a diverse and compelling way. The new galleries will address the following themes:

A State of Change: demonstrates New York State's geographic and geological change through natural and human impact.

Politics and Prose: presents New York State as a place of debate, dialogue and documentation.

Emergence of a State: defines New York State through its people, places and events.

Culture, Community and Context: explores New York State's people, cities, and culture through topics such as art, music, architecture and beliefs.

New York in 100 Objects: an exhibition of 100 objects, including objects borrowed from museums across the state, that represents the history of New York.


"The State Museum master plan provides a vision for revitalizing areas of the Museum and improving visitor experience," said Regent Roger Tilles, Chair of the Regents Committee on Cultural Education. "The new exhibitions will integrate stories of science, history and culture and deliver an outstanding educational experience for all visitors – from children to adults."

"Every year, the New York State Museum attracts and educates hundreds of thousands of visitors, including tens of thousands of students across the state," said Acting State Education Commissioner Beth Berlin. "The Museum is embarking on a multi-year renovation project that will refresh existing exhibitions and create new galleries. Those new exhibitions and galleries will give visitors a renewed experience at the Museum. Every visitor will leave with a greater understanding of the natural, cultural and human history of the Empire State."

"For nearly 180 years, the New York State Museum has been a symbol of inquiry, discovery and education for all New Yorkers," said New York State Museum Director Mark Schaming. "Today, we are excited to unveil our master plan and begin an important renovation project that will introduce new and diverse stories never told before and preserve New York's rich historical, cultural and scientific legacies. We thank Governor Andrew Cuomo for the funding for this important project that will enhance visitor experience at the Museum."

The renovation is funded through a $14 million New York State capital bond item. With the master plan complete, the next stage is the exhibition design process. The renovation is expected to occur over a four-year timeline and will be completed in multiple phases. The Museum will remain open throughout the project, although certain gallery spaces will be closed temporarily while undergoing renovation. 

The Museum encourages the public to participate in the renovation project by submitting their suggestions and feedback to museuminfo@nysed.gov. In addition, the Museum will provide regular project updates through the Museum's website, social media accounts, and email newsletter.

Artist renderings are available for download here:
http://www.nysm.nysed.gov/PRkit/2015/renewal/.


The New York State Museum is a program of the New York State Education Department's Office of Cultural Education. Located on Madison Avenue in Albany, the Museum is open Tuesday through Sunday from 9:30 a.m. to 5 p.m. It is closed on Thanksgiving, Christmas and New Year's Day. Admission is free. Further information about programs and events can be obtained by calling (518) 474-5877 or visiting the Museum website.

Contact: Office of Communications
Phone: (518) 474-1201

Dr. Lisa Amati Appointed New York State Paleontologist

 

The New York State Board of Regents has appointed Dr. Lisa Amati as New York State Paleontologist. As State Paleontologist, Dr. Amati is responsible for curating the New York State Museum's paleontology collection, conducting paleontological field and laboratory research, overseeing the development of research grants and participating in the development of public and educational programs.

"Dr. Lisa Amati is a well-respected paleontologist and experienced educator," said State Museum Director Mark Schaming. "Her scholarship and experience as a college professor will contribute significantly to the museum's mission as an educational and research institution. The New York State Museum is proud to welcome her as curator of paleontology and New York State Paleontologist." 

Dr. Amati was previously an associate professor of geology at SUNY Potsdam. She received her B.S. from the University of Wyoming, M.S. from Kent State University, and Ph.D. the University of Oklahoma. Dr. Amati's research is focused on the paleontology of New York State with a concentration on the ecology and evolution of 450 million year old trilobites.

She is the second woman to serve as New York State Paleontologist. Winifred Goldring was the first woman State Paleontologist and served in that role from 1939 to 1954.

Education Law section 235 requires that the Board of Regents appoint the State Paleontologist and that the State Paleontologist be a member of the staff at the New York State Museum.

The State Museum is a program of the New York State Education Department's Office of Cultural Education. Located on Madison Avenue in Albany, the Museum is open Tuesday through Sunday from 9:30 a.m. to 5 p.m. It is closed on Thanksgiving, Christmas and New Year's Day. Admission is free. Further information about programs and events can be obtained by calling (518) 474-5877 or visiting the Museum website.

Contact: Office of Communications
Phone: (518) 474-1201

State Museum Opens Empire State Plaza at 50 Exhibition

 

The New York State Museum has opened a new exhibition commemorating the 50th anniversary of the laying of the cornerstone for the Empire State Plaza that occurred on June 21,1965. The Empire State Plaza at 50 is organized in collaboration with the New York State Office of General Services and features dozens of images as well as artwork from the Empire State Plaza Art Collection.

Open through January 17, 2016, the exhibition also features a 1963 model of an "Albany of the Future", which includes a model of the Empire State Plaza. In addition, two pieces from the Empire State Plaza Art Collection will be on exhibition: Four at Forty-Five by Alexander Calder and Studies for the Sun by Isamu Noguchi. A portrait of Nelson Rockefeller by Andy Warhol will also be on display.

"This June is the 50th anniversary of the laying of the cornerstone for the Governor Nelson A. Rockefeller Empire State Plaza," said New York State Museum Director Mark Schaming. "In cooperation with the New York State Office of General Services, the State Museum is proud to open The Empire State Plaza at 50 exhibition. The State Museum and the Board of Regents are dedicated to educating Museum visitors about New York's history. This exhibition explores the Empire State Plaza's history and how Albany became the public space where New York State government, culture and community converge."

Office of General Services Commissioner RoAnn Destito said, "The New York State Museum has done an exceptional job creating an exhibit that captures the construction of the Empire State Plaza including the stories of those who built it, explanations about how the complex works mechanically, the architectural influences that inspired its design, and the art collection that adorns it. I join Governor Cuomo in encouraging people to visit the museum to learn more about this project and many other interesting pieces of New York State History." 

A collection of video shorts that explore various features and workings of the Empire State Plaza will be screened Saturday, June 20 through Friday, June 26 (except for Monday June 22) at 12:30pm at the New York State Museum's Huxley Theater. Screenings are free and open to the public.

Photos from the exhibition are available at: http://nysm.nysed.gov/PRkit/2015/plaza50/.

The New York State Museum is a program of the New York State Education Department's Office of Cultural Education. Located on Madison Avenue in Albany, the Museum is open Tuesday through Sunday from 9:30 a.m. to 5 p.m. It is closed on Thanksgiving, Christmas and New Year's Day. Admission is free. Further information about programs and events can be obtained by calling (518) 474-5877 or visiting the Museum website.

Contact: Office of Communications
Phone: (518) 474-1201

State Museum Displays Recently Conserved 19th Century Presentation Flag

 

The New York State Museum will display a recently conserved 19th century presentation flag reportedly given to the Six Nations Iroquois by the United States government around 1813. On display for six months in Native Peoples of New York Hall, the flag was conserved by the New York State Office of Parks, Recreation and Historic Preservation.

Measuring 60 inches by 118 inches, the flag is one of many presentation flags commissioned by the United States government given as tokens of peace to Native American leaders in the early 19th century. Differing from the more common “stars and stripes” design, presentation flags often depict an eagle in the canton (upper corner). The eagle on this flag is nearly identical to others painted by William Berrett, an artist who sometimes painted flags sewn by Elizabeth Claypoole, better known as Betsy Ross.

Prior to conservation, the flag was in very fragile condition and could not be unfolded, studied or displayed without causing significant damage. The New York State Office of Parks, Recreation and Historic Preservation prepared and conserved the flag so that it may be properly stored and displayed.

The New York State Museum acquired the flag from the Minnesota Historical Society in 1962. According to the society’s records, it was donated to them in 1889 by Clay McCauley, a minister who also worked for the Bureau of American Ethnology. McCauley attributed the flag to Eleazer Williams, a controversial missionary of Mohawk and European descent who preached among the Oneida and Mohawk Nations in the first half of the 19th century.

It is not known how Williams acquired the flag, but he served in the U.S. Army from about 1812 to 1814. Envisioning one great Iroquois empire in the west, Williams worked with the Ogden Land Company to convince Native Americans in New York to move to Wisconsin in the 1820s, thus opening their lands for Euro-American settlement. Most Nations refused the move to Wisconsin with the exception of the Stockbridge Munsee and some members of the Oneida Nation, where they still have reservations today.

A photo of the flag is available here: http://www.nysm.nysed.gov/PRkit/2015/flag/.

The State Museum is a program of the New York State Education Department’s Office of Cultural Education. Located on Madison Avenue in Albany, the Museum is open Tuesday through Sunday from 9:30 a.m. to 5 p.m.  It is closed on Thanksgiving, Christmas and New Year's Day. Admission is free. Further information about programs and events can be obtained by calling (518) 474-5877 or visiting the Museum website.


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Contact: Office of Communications
Phone: (518) 474-1201

World Trade Center building facade

The World Trade Center: Rescue, Recovery, Response

Ongoing Exhibition

World Trade Center Gallery

The World Trade Center: Rescue, Recovery, Response details the history of the World Trade Center, the September 11 attacks, the rescue efforts, the evidence recovery operation at the Fresh Kills facility, and the public response to the September 11th events. The exhibition includes many objects, images, videos, and interactive stations documenting this tragic chapter in New York and America's history.

Rescue

A detailed timeline traces the first 24 hours of September 11, 2001, and presents indelible images from that day. See the heavily damaged Engine 6 pumper, recovered New York Police Department and Fire Department objects, architectural remains, several battered flags, and a large steel column from floors 7–9 of the South Tower.

Recovery

The stories of the recovery operation at Fresh Kills are told through the many objects found in the mountains of debris, including material from the everyday life of the buildings, the steering wheel from a car, Observation Deck souvenirs, melted floppy discs, keys, and a crushed payphone. A large collection of firearms from WTC Building 6 are on exhibition along with several destroyed street lampposts, fire hydrants, and a destroyed elevator door from one of the World Trade Center towers.

Response

Highlights a selection of objects from the State Museum's collection of emotional material created in response to September 11, such as a portion of a preserved fence section covered with memorial flags, banners, photographs, and flowers located on Broadway at Liberty Street.

Additional Exhibit Features

Sadako's Crane

In 1955, Sadako Sasaki, a twelve-year-old Japanese victim of the atomic bombing of Hiroshima, Japan, created this delicate origami crane while she was diagnosed and hospitalized with leukemia. Donated to the 9/11 Tribute Museum in 2007 as a symbol of peace and resilience, the original origami crane will be on view in the NYSM's World Trade Center Gallery each September in honor of the 9/11 anniversary. In an effort to limit light exposure, a reproduction crane will be on view throughout the rest of the year.

World Trade Center Commuters - The Kristen Artz Collection

These photographs document morning commuters entering the World Trade Center Mall in weeks prior to the attacks of September 11, 2001 and are a historical record documenting space that no longer exists and possibly people who died in the attacks or from resulting illnesses.

Related video

World Trade Center: Rescue, Recovery, Response — Gallery Tour


Educational Resource

Quackenbush Parking Garage

Historical Archaeology

Archaeological excavations undertaken prior to the construction of a parking garage in 2000 and 2001 resulted in the recovery of over 10,000 artifacts dating from the mid-seventeenth through the nineteenth centuries. These excavations took place outside the original stockade associated with the seventeenth-century Dutch settlement at Albany called Beverwyck (1652-1664). Significant individual components of the collection include artifacts from a brick maker’s house and yard dating to the second half of the seventeenth century, a mid-eighteenth century rum distillery, and several nineteenth century features and deposits.

Sub Component

Brick Makers House and Brick Yard

This collection contains artifacts from a house which may have been the residence of a brick maker.The archaeological remains consisted of a wooden floor constructed directly on the ground and the base of a brick fireplace and chimney. Red earthenware tiles were used for the roof and the house had glass windows, delft tiles, and iron hardware.  Ranging in date from the 1640s to c. 1700, nearly 5,000 artifacts are associated with the house site including European ceramics, glassware, tobacco smoking pipes, glass trade beads, and shell beads called wampum. An associated seventeenth century brickyard deposit containing less than 500 artifacts is also included in the collection.

  • Stratum VI: Pre-contact to 1630, 319 artifacts.
  • Stratum V: 1631-1651, 1643 artifacts.
  • Stratum IV: 1652-1653, 42 artifacts.
  • Stratum III: 1654, 280 artifacts.
  • Stratum II: 1655-1686, 1370 artifacts
  • Stratum I: Post 1686, 920 artifacts.
  • Brickyard: 17th century, 418 artifacts.

An Eighteenth Century Rum Distillery

A large rum distillery or “Still-House,” was excavated during the winter of 2000-2001 before the construction of the Quackenbush Parking Garage in downtown Albany. The Still-House was constructed during the French and Indian War and renovated in the 1790s.  Remains of 21 large wooden vats, a system of wooden pipes that connected groups of the vats, and the stone bases of two stills and the chimney were located within the building, the foundation of which measured 60 by 36 feet. The largest vats were eight feet in diameter and could hold nearly 1900 gallons of fermented rum. Artifacts recovered from the distillery include two large wooden vats and a wooden pipe that connected the vats. Smaller items include rum bottles, a spigot, and tobacco pipe fragments. A privy from the renovated distillery was excavated as well.

  • Deposits: 18th century, 1071 artifacts.
  • Wooden vats, pipes, and other features associated with the distillery: 18th century, 815 artifacts.
  • Privy: ca.1800, 275 artifacts.


 

Nineteenth Century Deposits and Features

This collection contains artifacts from features and soil deposits dating to the nineteenth century. The most significant of these are 4 privies and a cistern that were filled with a variety of nineteenth century objects.

  • Deposits: 19th century, 186 artifacts
  • Brick Cistern: 19th century, 1 artifact.
  • Stone Foundation: 19th century, 12 artifacts.
  • Privy: 19th century, 2 artifacts.
  • Privy: 19th century, 35 artifacts.
  • Privy: 19th century, 15 artifacts.
  • Privy: 19th century, 395 artifacts.

The Abandonment of Henry Johnson

Henry Johnson returned to Albany after World War I a hero. Just a few months later, he disappeared almost completely from public memory. This research will examine what happened after Johnson’s homecoming and what role race and other factors played into the tragic fall of an American hero.

The Empire State in the Great War

Examining the role that New York State and its citizens played in the United States’ efforts during World War I both on the battlefield and on the Home Front.

DEC/Picotte Office Building Collection

Historical Archaeology

The DEC/Picotte Office Building Collection includes 146,000 artifacts from an excavation on the east side of Broadway between Columbia Street and Orange Street in Albany where the New York State Department of Environmental Conservation Office Building is currently located. During the colonial period, this area was near the waterfront but outside of the city wall, and occupied by tanneries and shoemakers. The buildings in these blocks were destroyed by the fire of 1797, but were rebuilt in the nineteenth century. Many important components of Albany’s history dating from the seventeenth through the early twentieth centuries are represented in this collection.

Sub Component

Trader’s House

Mid-seventeenth-century deposits included in the collection may represent an illegal trading operation.  These deposits and features were located on the northern edge of Beverwyck alongside the Hudson River where furs from the north or west that were bound for Fort Orange could be intercepted. Many objects exported from the Netherlands were discovered at the site, including tobacco pipes impressed with the Fleur-de-lis, EB heel marks, and the image of a crocodile regurgitating Sir Walter Raleigh (because he tasted so bad after smoking).. Ceramic sherds of delft and Dutch majolica tablewares were unearthed along with sherds of Frechen, Westerwald, and green-glazed earthenware. Prunts from 17th century wine glasses and wine bottle fragments are also present in this collection.  Clothing accessories recovered include pins, hook-and-eye fragments, a lace tip (aglet), and cast metal buttons.  Glass trade beads, marbles, two small quartz crystals, and a 17th century Dutch half duit coin were among the items found at this site.

  • Deposits: Mid-17th century, 444 artifacts.
  • Hearth: Mid-18th century, 71 artifacts.

John Bogart House

The remains of a house owned by John Bogart destroyed in the 1797 fire were excavated at this site. The stone foundation that supported brick exterior walls, charred wooden floorboards, an interior wall, and a fireplace were recorded.  A small pit that contained a rope-tied barrel was found inside the house. The barrel contained a knife with a bone handle, heavy iron chain links, an axe head, a well hook, a crushed pocket watch, and a variety of 18th-century ceramic sherds.  A wood-lined privy associated with this house was also discovered to contain 297 ceramic sherds made in the second half of the 18th century. The collection includes a spigot key for a tap, two tine forks, a chisel, a wood plane, a horseshoe, lead shot and copper thimbles.  There are several shoe buckles, buttons (one Continental Army button marked with USA), a drop earring, a copper alloy cross pendant, lice combs, and coins recovered from this site. An additional 1,800 artifacts predating the Bogart family occupation of the house were also recorded.

  • Deposits: Post-1797, 2,213 artifacts.
  • Deposits: Pre-1797, 1,832 artifacts.
  • Wood-lined Privy: 1780-1797, 673 artifacts.
  • Barrel Feature: Late 18th century, 473 artifacts.

Nineteenth Century Pottery Dump

Archaeologists encountered evidence of an unusual pottery dump at the north end of the DEC/Picotte site, east of Montgomery Street. The pottery was broken and discarded from the Fondey’s warehouse after the 1797 fire. Dumped upon the 1797 fire debris, the pottery sherds were found situated beneath the stone foundation of the later (c.1820) John Davis house. Individual painting styles were discovered on these ceramics. Although the ceramics were mass-produced, the painted designs were done individually, by hand. Painters were often children and women who were paid by the finished piece and subsequently marked their work for payment.

  • Deposit: 1797-ca.1820, 60,400 artifacts

John Spoor House

  • Deposits: Unknown dates, 556 artifacts.
  • Builder’s Trench: 1797, 146 artifacts.
  • Wooden Sleeper/Floor: Late 18th century, 11 artifacts.
  • Builder’s Trench: Late 18th to Early 19th century, 42 artifacts.

Area 9 Excavations

  • Non-stratified Deposits: No date, 599 artifacts.

Jellis Winnie House

  • Builder’s Trench: Early 19th century, 88 artifacts.
  • Barrel Feature: Late 18th century, 73 artifacts.
  • Barrel Feature: Late 18th century, 210 artifacts.
  • Burned Beams: Late 18th century, 57 artifacts.

Hutton Brothers Silversmith

  • All Deposits: No dates, 2082 artifacts.
  • Wooden Floor: Early 19th century, 1 artifact.
  • Brick Hearth: Early 19th century, 1 artifact.

Residential and Commercial District

  • Units 1-12 All Layers: No dates, 99,714 artifacts.
  • Wood Lined Privy: 1810-1830, 498 artifacts.
  • Wood and Stone Privy: 1770-1800, 1,569 artifacts.
  • Wood Lined Privy: 1775-1800, 6,419 artifacts.
  • Cut Stone Privy: 1850-1870, 2,462 artifacts.
  • Wood Lined Privy: 1840-1860, 1,454 artifacts.
  • Brick and Stone Privy: 1850-1870, 862 artifacts.
  • Wood Lined Privy: 1860-1880, 289 artifacts.
  • Cut Stone Privy: 1840-1850, 7 artifacts.
  • Brick Cistern: 1850-1860, 805 artifacts.
  • Barrel Cistern: Mid-19th century, 132 artifacts.
  • Barrel Feature: 19th century, 17 artifacts.
  • Pit Feature: 19th century, 1028 artifacts.
  • Brick Cistern: Mid-19th century, 190 artifacts.
  • Foundation Wall: Early 19th century, 63 artifacts.
  • Barrel Feature: 19th century, 215 artifacts.
  • Builder’s Trench: Mid-19th century, 24 artifacts.
  • Drainage Trench: 19th century, 48 artifacts.
  • Bricks/Fill: Late 19th century, 24 artifacts.
  • Brick Drain: 19th century, 89 artifacts.
  • Builder’s Trench for Feature 17: Mid-19th century, 134 artifacts.
  • Possible Builder’s Trench for Feature 25: Mid/Late 19th century, 9 artifacts.
  • Stone Cistern: Pre-1850, 329 artifacts.
  • Builder’s Trench for Stone Foundation: 19th century, 181 artifacts.
  • Ceramic Pipe: Late 19th century, 157 artifacts.
  • Builder’s Trench for Stone Foundation: Mid/Late 19th century, 84 artifacts.
  • Builder’s Trench for Feature 118: Mid-19th century, 264 artifacts.
  • Clay Lining around Feature 118: Mid-19th century, 54 artifacts.
  • Cistern: 1840-1860, 444 artifacts.
  • Cold Room: 1840-1860, 16 artifacts.
  • Wastewater Basin: 1840-1860, 19 artifacts.
  • Linear Brick Drain: 1840-1860, 29 artifacts.
  • Pipe Trench for Water Pipe: 1840-1860, 229 artifacts.
  • Builder’s Trench for Feature 27: 1840-1860, 255 artifacts.
  • Wooden Cistern: 1820-1840, 134 artifacts.
  • Stone Wall: 18th century, 172 artifacts.
  • Stone Drain: After 1820, 217 artifacts.
  • Brick and Thin Tile Interior: 17th century, 465 artifacts.
  • Water Pipe and Trench: 1840s, 11 artifacts.
  • Fill: 19th century, 1 artifact.
  • Post Mold: 19th century, 7 artifacts.
  • Disturbance: 19th century, 5 artifacts.
  • Fill: 19th century, 515 artifacts.
  • Disturbed Stone Stairs: 19th century, 66 artifacts.
  • Filled Pit: Early 19th century, 83 artifacts.
  • Post Mold: 19th century, 5 artifacts.
  • Drain: 19th century, 14 artifacts.
  • Builder’s Trench: Mid-19th century, 194 artifacts.
  • Post Hole: 19th century, 13 artifacts.
  • Wooden Posts: No date, 3 artifacts.
  • House Foundation: 1841, 7 artifacts.
  • Lime Deposit: Early 19th century, 1 artifact.

Structures Area 2

  • Linear Wooden Paving: 19th century, 43 artifacts.
  • Brick Structure: 19th century, 12 artifacts.
  • Fill Associated with Structure: Early 19th century, 6 artifacts.

Structure Area 7

  • Deposits: No dates, 301 artifacts.

Hudson River Dock Area 9

  • Deposits: No dates, 908 artifacts.

Fox Creek Deposits, Area 10

  • Deposits: No dates, 6,938 artifacts.
  • Wood Lined Privy: 1840-1860, 209 artifacts.
  • Wood Fill: 18th century, 114 artifacts.

Other Features and Deposits

  • Barrel Privy: 1740-1760, 308 artifacts.

Sheridan Hollow Parking Facility

Historical Archaeology

This collection resulted from an archeological data retrieval undertaken along Sheridan Avenue in the City of Albany, New York. This area of Albany developed during the mid-19th century in the midst of the city’s decades-long growth spurt and was mostly populated by Irish immigrants and first-generation Irish-Americans. New houses, shops, schools, churches, and factories were constructed as the city expanded outward from its historic center, and by the 1840s the South End of Albany and Sheridan Hollow were under development. Over 9,000 artifacts from features and deposits associated with the occupation of Sheridan Hollow from c. 1840-1920 are included in the collection.

  • Deposits: No dates, 15 artifacts.
  • Architectural remains of two houses: ca. 1840, 139 artifacts.
  • Wooden Privy: Late 19th century, 503 artifacts.
  • Wooden Privy: Mid-19th century, 4,450 artifacts.
  • Unidentified Brick Feature: ca. 1840, 2016 artifacts.
  • Brick Drain: ca. 1850 - Late 19th century, 4 artifacts.
  • Wooden Privy: Early to Mid-19th century, 921 artifacts.
  • Wooden Privy: Mid to Late 19th century, 105 artifacts.
  • Wooden Barrel Privy: ca. 1800, 567 artifacts.
  • Concrete Privy: Late 19th century, 56 artifacts.
  • Wooden Cistern: Mid-19th century, 369 artifacts.
  • Brick Drain connected to Feature 4: ca. 1840, 41 artifacts.
  • Concrete Drain Pipe: Late 19th century, 8 artifacts.

West Athens Hill Site

Prehistoric/Contact-Era Native American Collections

In the 1960s, former state archaeologist Robert E. Funk excavated the West Athens Hill site in Greene County. West Athens Hill is well known as one of the oldest prehistoric archaeological sites in New York, dating to circa 12,500 years ago, and documents one of the earliest encampments of Native Americans who colonized New York at the end of the Ice Age. Funk's investigations revealed how these first peoples of New York systematically mined the distinctive green chert found on this hilltop outcrop to fashion spear points and other stone tools to support their hunting and gathering life way.

Stanford Gibson Collection

Prehistoric/Contact-Era Native American Collections

In 2009 the NYSM acquired Stanford Gibson’s collection recovered from 28 prehistoric Native American archaeological sites in central New York.  One of these, the White site in Chenango County, stands out due to its diverse artifact assemblage and the insights it revealed on Native American life ways in central New York, circa 900 A.D.  Archaeologists have noted that the White site yielded some artifacts that represent exotic imports, likely obtained from contemporaneous Native American groups elsewhere in Eastern North America, pointing to far-flung connections with groups outside New York at this time.

Minerals

Mineralogy

The Mineralogy Collection constitutes the world's largest and most complete array of New York State minerals. It contains approximately 35,000 specimens divided into two sub-collections. More than 11,000 of the specimens are in the "New York" collection and the others are in the "non-New York" collection representing world-wide localities. Almost all minerals reported from New York are in the "New York" collection. This collection contains about 290 valid mineral species, is organized based on the chemical composition and crystal structure, and the minerals are ordered according to Dana's System of Mineralogy. Validity of the mineral species is based on the International Mineralogical Association—Commission on New Minerals, Nomenclature and Classification rules and reports. Species from most classic, depleted, and new collection sites are represented. The mineral collection contains specimens used for public display, research, and reference. Multiple specimens of a given species from the same locality may be present in the collection to allow for study material. The "non-New York" mineral collection is dominated by specimens from sites in the Americas, but Europe and Africa are also very well represented. 

Garoga Site Collection

Prehistoric/Contact-Era Native American Collections

Garoga is a 16th-century Mohawk–Iroquois village site, located in Fulton County, that has been excavated periodically by archaeologists since the late 19th century.  The NYSM has acquired several of these assemblages, including those resulting from large-scale excavations by state archaeologists William A. Ritchie and Robert E. Funk in the 1960s.  As a result Garoga is one of the most studied Mohawk village sites, and research on our holdings continues to yield important information on the ancient Mohawk way of life prior to extensive contact with non-native peoples.  

Swart Collection

Prehistoric/Contact-Era Native American Collections

The New York State Museum curates the largest series of archaeological collections from Mohawk Iroquois sites in the world. One of these collections – the Swart family collection – was assembled during the 20th century by three generations of the Swart family, all of whom had a passion for archaeology.  At the age of eight, Joel Swart found his first artifact and began collecting on his sister’s farm.  His son, John, became involved with the Van Epps-Hartley chapter of the NYS Archaeological Association and worked as a federally-funded WPA archaeologist in the 1930s and 1940s.  John’s son, Jan, devoted his life to documenting archaeological sites in eastern New York.  The collection they assembled with help from their family and friends represents hundreds of sites throughout the Mohawk Valley, and provides a basis for ongoing research into the pre-contact and contact-era Mohawk Iroquois.  

Donald Rumrill Collection

Prehistoric/Contact-Era Native American Collections

Between the 1640s and 1670s, eastern Iroquois used lead obtained from fur traders to fashion small effigy figures and other forms by cold hammering or casting. The effigies sometimes take a human form, but also appear as animals or other human/animal forms. Animal effigies might have reflected the makers' clan, or perhaps some form of "charm." The Iroquois also fashioned crucifixes of lead, perhaps reflecting early contact with Jesuit missionaries. From the 1940s into the 1970s, avocational archaeologist Donald Rumrill investigated a number of Mohawk Iroquois sites, assembling a large collection of these distinctive lead effigies and crosses.

Lepidoptera Taxonomy

Isolated populations are particularly intriguing for biologists.  They foster endemic species and harbor relictual populations that are indicative of past climatic and geologic events.   Focusing on these types of populations leads to the discovery of new species and even new genera.

Bryophytes

Botany & Mycology

The Bryophyte Herbarium of the New York State Museum includes mosses, liverworts, and hornworts and it serves to document these plant groups as they are represented in the New York flora. While most of the bryophyte collection is from New York, also included are significant holdings from other parts of the United States and from other countries. The total number of accessioned specimens exceeds 50,000.

The Bryophyte Herbarium has had a long history, and accordingly it houses numerous collections dating from the 1800s. Important historical collections include specimens from Coe Finch Austin, Elizabeth G. Britton, George W. Clinton, Roy Latham, John M. Macoun, and W. H. Wiegmann. An important nineteen volume bound set of bryophytes prepared by Lewis Caleb Beck includes collections that likely predate 1829. Other major collections are the results of research and studies by former state botanists and curators, Charles H. Peck, Stanley J. Smith, and Norton G. Miller.

For information about requesting Specimen Loans, please see the Loan Policy. 

Database Records

Database records of the collection are available by searching the Consortium of North American Bryophyte Herbaria website portal:
http://bryophyteportal.org/portal/index.php.
Approximately 40% of the Bryophyte Herbarium is currently digitized.  

 

Vascular Plants

Botany & Mycology

The Vascular Plant Herbarium is a repository of plants collected primarily from New York and adjacent states or provinces. It also contains a significant number of specimens from other areas of North America and abroad. The early establishment and importance of the Herbarium through John Torrey’s collections for A Flora of the State of New York (1843) and the prominence of Herbarium staff attracted many important botanists and collections. This included material from Lewis Caleb Beck, Chester Dewey, Henry Parker Sartwell, Edward Tuckerman, Asa Gray, and Peter D. Knieskern among others. The herbarium also received important type specimens from M. A. Curtis, L. S. Rose, I. W. Clokey, C. F. Austin, B. D. Gilbert, C. S. Sheldon, E. Brainerd, C. S. Sargent, E. P. Bicknell, and H. M. Denslow. Throughout its history, the herbarium grew considerably from collections made by state botanists, Charles H. Peck (tenure: 1868-1913), Homer D. House (tenure: 1913–1948, active until his death in 1949), Eugene C. Ogden (tenure: 1952–1975), and Richard M. Mitchell (tenure: 1975-2002) and curators, Stanley J. Smith (tenure: 1947-1978) and Charles J. Sheviak (tenure: 1978-2013). 

In addition to collections made by museum staff, and by the many other botanists who document the flora of New York, the herbarium preserves important collections that were transferred from other institutions. These transferred institutional collections include the following:

  • ASLC: The herbarium of the Adirondack Lakes Survey Corporation.
  • ASRC: The herbarium of the Atmospheric Sciences Research Center, Whiteface Mountain Field Station. 
  • BROC: The original State University College at Brockport herbarium. That institution continues to maintain an herbarium with many new collections. 
  • GESU: A major component of the State University of New York at Geneseo herbarium. This institution continues to maintain an herbarium.
  • GLA: The herbarium of the George Landis Arboretum comprised almost entirely of collections made by Theodore C. Baim.
  • MSMC: The herbarium of Mount Saint Mary College, which comprises the herbarium of New York University’s Sterling Forest Research Center.
  • POST: The C.W. Post Herbarium from Long Island University. This collection includes the CUNY Hunter College herbarium.
  • Wildlife Resources Center (New York State Department of Environmental Conservation).
  • Today, the Vascular Plant Herbarium continues to grow and contains approximately 210,000 accessioned specimens.

Vascular Plant Databases

A portion of the NYSM Vascular Plant database focusing on invasive species can be accessed here: https://greatlakesinvasives.org/portal/collections/misc/collprofiles.ph…

The remaining portion of the NYSM Vascular Plant database can be accessed here: https://neherbaria.org/portal/collections/misc/collprofiles.php?collid=…

More specimen records will be added in the future.

 

For information about requesting Specimen Loans, please see the Loan Policy.

DNA studies examine the past and future of the birds of New York's Catskills and Adirondacks.

bird in hand

Two papers have been published describing ornithological research by NYSM scientists. The papers are based on Ph.D. dissertation work conducted by Dr. Joel Ralston, former University at Albany graduate student, and NYSM Graduate Fellow under the supervision of NYSM Curator of Birds, Dr. Jeremy Kirchman.

The research examines patterns of genetic diversity in Blackpoll Warblers, small migratory birds that breed in the high-elevation forests of the Catskills and Adirondacks. The two ornithologists hiked up mountains to capture breeding warblers in nets, banded the birds and took tiny blood samples, and used the blood to obtain DNA sequences. Adding samples from other museum collections and blood sampled by other ornitholgists working outside New York, the team assembled data set of DNA sequences from over 350 individual birds. It is among the first comprehensive surveys of genetic variation in a bird species that breeds in the boreal forests of North America. 

Analyses in the first paper (Continent-scale genetic structure in a boreal forest migrant, the Blackpoll Warbler (Setophaga striata). The Auk, July 2012, pp. 467-478) provide a detailed picture of how these migratory birds have responded to past climate changes. In particular, the study used DNA data to retrace the history of colonization following the retreat of glaciers from what is now the boreal forest biome beginning about 21,000 years ago. The birds apparently colonized the Adirondacks and Catskills when they expanded out of a "refugium" population that was located in the Southeastern United States during the Pleistocene. 

The second study (Predicted range shifts in North American boreal forest birds and the effect of climate change on genetic diversity in Blackpoll Warblers (Setophaga striata), in press at Conservation Genetics) used the same tissue samples and additional genetic data (DNA sequences plus microsatellite genotypes) to examine the implications of ongoing climate warming for boreal forest birds that breed at high elevations at the southern periphery of the boreal forest biome that stretches from Alaska to the Canadian Maritime Provinces and Maine.

For this study the researchers first used current climate data and occurrence data (latitudes and longitudes from museum specimens) for 15 bird species that breed in the Adirondacks and Catskills to construct computer models of their current distributions. Then they used predicted climatic conditions, based on published carbon dioxide emissions scenarios, to estimate the breeding distributions of boreal birds the year 2080. 

The results indicate that all of the fifteen species will shift their ranges north in the coming decades, and nearly all will become extirpated from their high-elevation habitats in New York, Vermont, and New Hampshire by 2080. The genetic data for Blackpoll Warblers suggest that, despite this extensive range shift, they will not loose much genetic variation and the species is not at risk of becoming extinct. However, other species may not be so lucky. Even so, it is disheartening to consider that within a single generation, we may see wholesale shifts in the Adirondack and Catskills ecosystems, and the day may come when one has to travel north of New York State to see breeding Blackpolls, Bicknell's Thrush, Spruce Grouse, Black-backed Woodpecker among many other prominent species.

Taxonomy and Systematics of the Mimic Shiner (Notropis volucellus)

The Mimic Shiner (Notropis volucellus) is a small, silvery, North American minnow with a wide geographic distribution that includes portions of the Mississippi River, Great Lakes, Hudson Bay, Gulf of Mexico, and several Atlantic Coast drainage basins. As currently classified, the Mimic Shiner has long been thought to contain multiple undescribed, morphologically similar species but, to date, little research has been performed to determine the identity, geographic distribution, and evolutionary relationships of these cryptic species, which has been called “one of the most interesting, needed, and difficult problems remaining in the systematics of North American freshwater fishes” (Etnier and Starnes 1993, p. 233). In New York, this species has a curious distribution, with populations being found in the northeastern watersheds of the Saint Lawrence River Basin and the southwestern watersheds of the Ohio River and Great Lakes watersheds, but nowhere in between. Our examinations of specimens deposited in the NYSM Ichthyology collection have uncovered several differences in morphology (particularly in pigmentation patterns) between these populations. In order to fully demonstrate the distinctiveness of these populations and determine their evolutionary and geographical origins, we have begun an examination of this species complex throughout its entire range, which includes both classical morphological methods and molecular phylogenetic analyses based on mitochondrial and nuclear DNA sequences. We anticipate this work to result in the description of several new species in the coming years, as well as an increased understanding of the interspecific and intrageneric evolutionary relationships of this perplexing group of minnows.

Transcriptomic Identification of Toxic Components of Catfish Venoms

Recent research has indicated that over 2,500 fish species (or ≈ 10% of all known species) possess venom glands associated with specialized teeth, or fin, opercular, and/or or cleithral spines. The secretions produced by these glands cause a wide array of physiological effects in vertebrate organisms, including severe pain, cardiovascular, neuromuscular, and general cytolytic effects, and, as might be expected, have been shown to have significant impacts on the predator/prey interactions of the species that produce them. In spite of this, however, the venoms of fishes have received comparatively little attention from scientists relative to those of other venomous organisms, to the point that we lack even the most basic information regarding venom composition, toxin identity, and genetic architecture of venom production for nearly all venomous fish species.

Over half of all venomous fish species are catfishes, which possess venom glands lining the spines that are found along the front edges of their pectoral and/or dorsal fins. Using comparative next generation RNA sequencing of fin spines and histologically similar fin tissues, we will compare the gene transcripts that code for protein production in these two tissue types and, by using bioinformatic methods to eliminate transcripts that both have in common, identify only those transcripts that are unique to venom gland cells. Additional examination of these transcripts, in conjunction with information gained from earlier studies and proteomic sequencing, will allow us to identify those transcripts that code for venom proteins, as well as the genes that are responsible for the production of these venom protein RNAs. These results will provide the first insight into the genetic mechanisms underlying venom production in a group of venomous fishes, and will serve as a springboard for future studies in this developing area of research.

Characterization of a Pearl Dace (Margariscus sp.) Hybrid Zone in Western New York

Two species of Pearl Dace are known to occur in New York State. The Allegheny Pearl Dace (Margariscus margarita) is found in the Hudson River watershed and those of the Southern Tier, while the Northern Pearl Dace (M. nachtreibi) is found in the watersheds of the Saint Lawrence drainage and direct tributaries to Lake Ontario. Although these two species are recognized as distinct, the descriptions and morphological characters used to tell them apart are currently insufficient as many of these characters overlap, making positive identifications unnecessarily difficult. During a routine morphological study to identify consistent diagnostic traits for these species, we discovered that individuals from several locations in the Eastern Lake Ontario Basin showed characteristics that were intermediate between Allegheny and Northern Pearl Dace, indicating that these specimens were of hybrid origin. This has necessitated an expansion of this project to include genetic data and specimens from throughout the two species' ranges in New York, in order to fully delimit and characterize the range and population genetics within this hybrid zone, as well as to fulfill our original objective of being able to reliably identify Pearl Dace Specimens from New York. Because the hybrid zone occurs at the nearest margins of the two recognized species’ ranges, our genetic studies also have the potential to generate significant insights into the processes leading to the isolation and speciation of these two forms.    

The Weidhaas, Nevin, and Delfinado Mite Collections

Entomological Collection

In 1963, Weidhaas co-authored,  “The occurrence and importance of tetranychid and eriophyid mites on woody [ornamental] plants in New York" with R. M. Reeves.  There are 22  boxes of slides (100 slides / box) of mites in the Weidhaas collection.

F. Reese Nevin taught acarology for the  College of Arts and Science, in Plattsburgh, New York. There are 48 boxes (100 slides / box) of mites in the Nevin collection.

Mercedes Delfinado co-authored with (and eventually married) USDA Acarologist Ed Baker.  Dr. Delfinado described over 60 mite species associated with host insects.
There are 120  boxes of slides (100 slides / box) of mites in the Delfinado collection.

E. P. Felt Gall Collection

Entomological Collection

The New York State Museum has an extensive collection of plant galls. The collection—the finest of its kind—fills 72 drawers, each 18-by-18-inches. The collection contains plant galls that were dried and preserved, most in the early 20th century but some as early as the 1850s. They have been continuously cared for and are in excellent condition.

Plant galls comprise tissue that the plant produced as a defense against an invading organism. The plant tissue reacts to an invader by encapsulating the invader in a gall. The gall can be very ornate and is highly characteristic of the specific species of invader. A polyphagous (literally “many foods”) gall insect will attack numerous plant species, and each plant species will produce a different-looking gall even though the invading insect is the same identical species.

The gall collection also includes the associated insects. Dr. Ephraim Porter Felt (1868–1943), the third state entomologist for New York, described more than 200 species of gall flies. He preserved the plant gall that was associated with the emerging fly. This field of study requires botanical expertise as well as a certain tenacity since many flies take a year to emerge.

Asa Fitch Type Specimen Collection

Entomological Collection

The New York State Museum has the original drawer of Heteroptera types that has been maintained in their original arrangement as prepared by Asa Fitch.

Asa Fitch is considered the founder of economic entomology in America. His early studies of various grain insects lead to methods of preventing crop damage and his volumious reports set the standard for practicing entomology. Fitch began working for New York State informally in 1838 when Ebenezer Emmons, a chief geologist working for the State's Geological Survey, hired him to assist with the publication of papers describing insects of importance to agriculture. In 1847, Fitch was employed directly by the State Cabinet of Natural History to collect and name specimens of New York insects. With his 1854 appointment Entomologist of the New York State Agricultural Society, Fitch became the first occupational entomologist in the United States. More significantly, however, Fitch used this appointment as a vehicle to help solve public problems, namely how to prevent crop damage by various insects. Many types of Fitch's species of Hemiptera are in the Museum's collection.

Fitch served as official entomologist for 19 years until he was incapacitated by health in 1873. During this time, he published 14 official annual reports on the Noxious, Beneficial and Other Insects of the State of New York. These reports set the standard for entomologists and agriculturalists. Fitch is also credited with discovering the Rodent Bot fly (Cuterebra emasculator). Today, many of his notebooks are now the property of the Smithsonian Institution. 

Rock Collection

Mineralogy

Roughly 2,000 specimens comprise this collection of rocks from New York. All rock types and most stratigraphic formations are represented. The collection is organized by physiographic region. These regions are the Ontario Lowlands, Allegheny Highlands, Tug Hill Plateau, St. Lawrence Lowlands, Adirondack Lowlands, Adirondack Highlands, Mohawk Lowlands, Catskill Highlands, Hudson Lowlands, Champlain Lowlands, Taconic Highlands, Hudson Highlands, and Atlantic (coastal plain) Lowlands. Most specimens are hand-sized. Many were collected in the course of specific geological investigations. Consequently, samples are irregularly distributed statewide. A catalog is available.

Empire State Organized Geologic Information System (ESOGIS)

ESOGIS

The Empire State Organized Geologic Information System (ESOGIS) is your complete resource for shallow well and deep well information in the state of New York. In addition to allowing you to query and view data for all of New York's 42,000+ deep wells, and thousands of shallow wells, we provide easy access to digital maps, published papers (PDF), and other related information. Whether you have been interested in New York's shallow wells or deep wells for many years or you are just beginning your research, ESOGIS provides you with a wealth of information delivered to your desktop.

Visit ESOGIS:  http://esogis.nysm.nysed.gov

Meteorite Collection

Mineralogy

The New York State Museum has a small collection of meteorite specimens from 28 localities, one pseudo meteorite, three tektites, and one lunar basalt. The majority of the specimens were acquired between 1880 and 1920. The Bethlehem, Burlington, Mount Morris, and Tomhannock Creek meteorites and the Scriba pseudo meteorite are the only meteorites from New York State represented in the collection. A catalog of the meteorite collection is available. It includes information on provenance, weight, size, description, and references.

Economic Geology Collection

Mineralogy

The New York State Museum Economic Geology Collection contains approximately 2,000 specimens of ore, concentrates, gangue, and finished products collected from the operations of the mineral industry of New York during the past century. Most of the material mined in New York is represented in this collection. The bulk of the specimens were on public display when the State Museum was housed in the State Education Building. Specific commodity representation in this collection is related to the importance and duration of the industry producing the product. Hence, there are more specimens of iron and zinc ore than of pigments or slate roofing shingles. The majority of specimens were collected while the mines were in actual operation, so provenance is good overall. A catalog of this collection is available.

Gem Collection

Mineralogy

The mineral collection of the New York State Museum contains one thousand specimens of gem material. The term "gem" refers to inorganic materials that have been cut into faceted stones, cabochons, or beads, and organic materials such as coral and pearls which have not necessarily been modified from their natural state. The specimens are not mounted in jewelry and this collection does not contain carved mineral material. Uncut gem-quality minerals and polished slabs of agate or other gem species are not included in the gem collection. A catalog of this collection is available. The catalog is organized alphabetically by species and subdivided by variety. Both natural and synthetic minerals are included. Locality information, cut, color, weight, and source are provided along with specimen number. Information is most complete for material from New York localities. Locality data are lacking for some entries.

Collection of Contemporary Indigenous Art

Native American Ethnography

The Contemporary Indigenous Art Collection honors a living legacy of master craftsmanship and vibrant innovation in the artistic expressions of New York State's First Nations. Building on an initiative begun in 1986 and now numbering more than 130 objects, the collection offers insight into the endurance and evolution of tradition in tribal communities and a profound determination to survive and express as sovereign nations. Included in the collection are examples of beadwork, basketry, sculpture, silverwork, clothing, carving, painting, and pottery. The collection reflects the broad range of artwork from Native artists from functional to unique and decorative, and from traditional to modern in style and technique.

These objects speak of Indigenous experience in the first person, forging a respectful partnership between the State Museum and those whose spiritual, economic, and material presence long predates the founding of New York State. 

List of Artists in the Contemporary Indigenous Art Collection

Artist Nation/Clan Medium
Angus, Wilma Haudenosaunee, Mohawk (Kanien'keha) Basketry
Antone, Kaluyahawi Jocelyn Haudenosaunee, Oneida, Turtle Clan; Cree Illustration, mixed media
Arquette, Henry (Atsienhanonne) Haudenosaunee, Mohawk, Akwesasne Basketry
Arquette, Joseph Haudenosaunee, Mohawk, Wolf Clan Basketry
Beebe, Bruce Haudenosaunee, Cayuga Mixed metals
Benedict, Florence  Haudenosaunee, Mohawk Basketry
Benedict, James V Haudenosaunee, Mohawk-Onondaga, Turtle Clan Beadwork, leather,
Benedict, Luz Haudensaunee, Mohawk Basketry
Benedict, Rebecca Haudensaunee, Mohawk Basketry
Benedict, Salli Haudensaunee, Mohawk Basketry
Benson, Noel Chrisjohn Haudenosaunee, Oneida Sculpture, mixed media
Bigtree, Mae Haudenosaunee, Mohawk Basketry
Boots, Bruce Haudenosaunee, Mohawk Painting
Chavez, Lydia A. Wallace- Algonquin, Unkechaug Wampum Belt Reproduction, Jewelry
Chrisjohn, Richard Haudenosaunee, Oneida Woodwork
Cook, Florence Anne Lazore  (Wahianoron) Haudenosaunee, Mohawk Akwesasne Basketry  
Cook, Julius M. (Sakaronhio'keweh Haudenosaunee, Mohawk Silverwork/ jewelry
Cooke, Toni Haudenosaunee, Oneida Wampum Belt Reproduction
D'Alimonte, Robert Haudenosaunee, Tuscarora Mixed media
Dark Mountain, Dawn Haudenosaunee, Oneida Wisconsin, Turtle Clan Watercolor painting and beadwork
David, Dinah Haudenosaunee, Mohawk, Wolf Clan Beadwork, Jewelry
David, Lorena Haudenosaunee, Mohawk Beadwork
David, Madeline Haudenosaunee, Mohawk Basketry
Dennis, Jeremy Algonquian, Shinnecock; Hassanamisco-Nipmuc Photography
Dione, Glen Haudenosaunee, Mohawk Jewelry
Dowdy, Kyle L Hausenosaunee, Seneca Traditional clothing
Doxtater, Angel Haudenosaunee, Mohawk, Six Nations Cornhusk weaving and figurines
Fadden, David Haudenosaunee, Mohawk Painting
Fauzy, Mary Lou (Printup) Haudenosaunee, Tuscarora Beadwork
Goeman, Ronni-Leigh Haudenosaunee, Onondaga Basketry
Goeman, Stonehorse Lone Haudenosaunee, Tonawanda-Seneca Sculpture/Bone and antler carving
Gonyea, Tony Haudenosaunee, Onondaga Wampum Belt Reproduction
Gray, Barbara Haudenosaunee, Mohawk Basketry
Greene, David A. (Odahijo) Haudenosaunee, Cayuga, Wolf Clan Sculpture
Havens, Jay Haudenosanee, Mohawk Sculpture
Haynes, Hayden Haudenosaunee, Seneca Sculpture, Antler carving
Herne, Sue Ellen Haudenosaunee, Mohawk Sculpture/Mixed media
Hill, Brenda Haudenosaunee, Tuscarora Pottery
Hill, Carrie Haudenosaunee, Mohawk Basketry
Hill, Daniel C Haudenosaunee, Cayuga Silverwork
Hill, Lorna Thomas Haudenosaunee, Cayuga Beadwork
Hill, Rain Haudenosaunee, Mohawk Basketry
Hill, Rosemary Louise Haudenosaunee, Tuscarora, Beaver Clan Beadwork
Hill, Stanley R Haudenosaunee, Mohawk, Turtle Clan Sculpture, Antler carving
Hoffman, Karen Ann Haudenosaunee, Oneida Wisconsin Beadwork
Huff, Tom Haudenosaunee, Cayuga and Seneca Sculpture, Stone carving
Jacobs, Jamie Haudenosaunee, Seneca, Bear Clan Quillwork
Jacobs, Larry "Many Hats" Algonquin, Stockbridge-Munsee Instrument
Jacobs, Margaret Haudenosaunee, Mohawk, Turtle Clan Sculpture, Metals
Jacobs, Mary Haudenosaunee, Seneca Beadwork
Jacobs, Samantha Haudenosaunee, Seneca, Turtle Clan Beadwork, Tufting
Jacques, Alfred Haudenosaunee, Onondaga Woodwork
Jemison, G. Peter Haudenosaunee, Seneca, Heron Clan Painting
Jimerson, Norman L Haudenosaunee, Seneca, Beaver Clan Sculpture, Stone carving
Johnson, Cecily Haudenosaunee, Mohawk, Wolf Clan Jewelry, Beadwork
Johnson, Sue Haudenosaunee, Mohawk, Wolf Clan Jewelry
Jonathan, Grant Wade Haudenosaunee, Tuscarora Beadwork
Jones, Peter B Haudenosaunee, Onondaga, Beaver Clan Pottery, sculpture
Jones, Roberta Huff Haudenosaunee, Seneca, Bear Clan Jewelry
Lazore, Brandon Haudenosaunee, Onondaga, Snipe Clan Painting
Lazore, Kevin Haudenosaunee, Mohawk Basketry
Lazore, Michaelee Haudenosaunee, Mohawk, Turtle Clan Beadwork
Lazore, Robin Haudenosaunee, Mohawk (Akwesasne) Basketry
Leonard, Courtney Shinnecock Sculpture/Ceramics
Lone, Faye Haudenosaunee, Tonawanda Seneca, Hawk Clan Textile
Loran, Bill (Katsirotae) Haudenosaunee, Mohawk, Wolf Clan Traditional clothing
Martine, David Algonquian, Shinnecock, Montauk, Chiricahua Ft. Sill Apache Painting
McDonald, Irene Haudenosaunee, Mohawk, Turtle Clan Basketry
McLeod (Tome), Kristina M Haudenosaunee, Seneca, Deer Clan Jewelry
Miller, Towanna Haudenosaunee, Mohawk Painting
Minner, Penny Haudenosaunee, Seneca Basketry
Mitchell, Ann Haudenosaunee, Mohawk Basketry
Niro, Shelley Haudenosaunee, Mohawk, Turtle Clan Photography
Parish, Roger Haudenosaunee, Mohawk Painting, monoprint
Perkins, Niio Haudenosaunee, Mohawk (Akwesasne) Beadwork, Traditional clothing
Perkins, Roger Haudenosaunee, Mohawk, Bear Clan (Akwesasne) Pottery, Digital Compositions
Prescott, Todd S Haudenosaunee, Tuscarora, Beaver Clan Traditional clothing
Printup, Bryan Haudenosaunee, Tuscarora Beaver clan Beadwork
Printup Jr., Erwin Haudenosaunee, Cayuga-Tuscarora, Bear Clan Painting
Printup, Murisa Haudenosaunee, Tuscarora Mixed media, beadwork
Printup, Thomas Haudenosaunee, Seneca, Hawk Clan Beadwork
Printup-Winden, Dorothy Haudenosaunee, Tuscarora, Deer Clan Beadwork
Ransom, Sheila Kanieson Haudenosaunee, Mohawk Basketry
Redeye, Luanne Haudenosaunee, Seneca, Hawk Clan Painting
Santiago, Natasha Smoke Haudenosaunee, Mohawk, Turtle Clan Sculpture, Pottery
Schenandoah, Diane Haudenosaunee, Oneida Sculpture
Schmidt, Alyssa Haudenosaunee, Seneca Beadwork, Jewelry 
Scott, Antoinette Haudenosaunee, Seneca Cornhusk doll
Shenandoah, Leah Haudenosaunee, Onyo’ta:aká: (Oneida), Wolf Clan Mixed media
Skidders, Marjorie J. Haudenosaunee, Mohawk (Akwesasne) Photography
Skye, Isabella Haudenosaunee, Mohawk Cornhusk doll
Skye, Raymond R. Haudenosaunee, Tuscarora, Turtle Clan Printmaking, Drawing
Skye, Rhea Haudenosaunee, Mohawk, Turtle Clan Corn Husk Dolls
Smoke, Gladys Haudenosaunee, Mohawk, Bear Clan Traditional clothing
Snow, N. Tessie Haudenosaunee, Seneca, Heron Clan Corn Husk Dolls
Swamp, Andy Haudenosaunee, Mohawk, Wolf Clan Instrument
Tarbell-Boehning, Tammy Haudenosaunee, Mohawk, Turtle Clan Sculpture, Pottery, Beadwork
Tarrant, Tohanash Shinnecock; Hopi; Ho-Chunk Beadwork
Thomas, Benjamin Haudenosaunee, Mohawk, Wolf Clan Sculpture
Thomas, Eli Haudenosaunee, Onondaga Painting
Thomas, Gregg Haudenosaunee, Onondaga Drawing
Thomas, Samuel Haudenosaunee, Caygua, Wolf Clan Beadwork
Vandewalker, Brooke Haudenosaunee, Onondaga Basketry
Waterman, Carson Haudenosaunee, Seneca Painting, printmaking
Watt, James Haudenosaunee, Seneca, Heron Clan Jewelry
White Pigeon, Denise Haudenosaunee, Seneca, Beaver Clan Corn Husk Dolls
Williams Jr., Kenneth D. Haudenosaunee, Cattaraugus Seneca; Arapaho Beadwork
Zumpano, Wilma M. Haudenosaunee, Mohawk Beadwork

Related Exhibitions

Research and Collections of Arthur C. Parker

Native American Ethnography

Arthur C. Parker was the first full-time archaeologist at the New York State Museum from 1906 until 1925.  Born on the Cattaraugus Seneca Reservation, he was initially hired as an ethnologist by the New York State Library in 1904 to document Iroquois traditions, but soon joined the New York State Museum where he continued his ethnological work in addition to archaeological research.

Parker collected both Iroquois and Algonquian material culture including cooking utensils such as baskets, spoons, stirring paddles, wooden bowls, and maple sugaring tools, and tools used in silversmithing and basket making. He published Museum Bulletins on the Iroquois Uses of Maize and other Food PlantsThe Code of Handsome LakeThe Seneca ProphetThe Constitution of the Five Nations, and The Archeological History of New York as well as articles on Iroquois history and culture. His dioramas depicting Iroquois life in the past set a new professional standard in museum exhibits and incorporated numerous items commissioned from Iroquois craftspeople. 

Johnson Family Collection of Abenaki Basketry and Tools

Native American Ethnography

The Abenaki basketry collection donated by Rodney Johnson of Rochester, NY, is a unique collection of 20th century Native American material culture handed down through four generations of his family. The collection, which includes baskets, basket-making tools, birch bark and wooden items, represents the types of things once made by Mr. Johnson’s great-grandparents, Norman and Angeline Sarah (Totoson) Johnson and his great-uncle George Johnson in Lake George, NY, during the early to mid-1900s.

As early as the mid-19th century, Native American families would sell beadwork, baskets, and other hand-made items as souvenirs to tourists at well-known vacation destinations such as Niagara Falls, Saratoga Springs, and Lake George. The Johnson family was among a group of Native American artisans who settled in Lake George where they ran a small store selling baskets, canoes, and other items. Their family’s collection, which also includes a cradleboard donated by his great-grandmother in 1909, is the largest and best documented collection of Abenaki material culture ever acquired by the NYSM.

Cohoes Mastodon

Pleistocene Vertebrate Paleontology

The Cohoes Mastodon was discovered in 1866 during construction of Harmony Mill No. 3 near Cohoes Falls on the Mohawk River in the city of Cohoes, New York.  The mastodon’s remains were found deeply buried in two potholes, which had been worn into the bedrock by the swirling action of water and stones at the end of the last Ice Age. In life, the Cohoes Mastodon stood about eight and one-half feet high at the shoulder, was about fifteen feet long, and weighed between eight and ten thousand pounds. 

Is this a Mastodon or a Mammoth?  
Although mastodons resembled mammoths (also extinct) and elephants, they were not closely related mammal species.  The ancestors of the mastodons diverged from the evolutionary tree, about 15 million years ago, long before those of the mammoths and elephants did.  

A major difference between mastodons and mammoths was the shape of their teeth.  Mastodon teeth had pointed cusps used to cut and crush the coarse, often woody plants on which they fed.  In fact, the name mastodon is derived from Greek words describing the shape of their teeth, “mastos”, meaning breast, and “odous”, meaning tooth.  In contrast, mammoths and elephants, had molar teeth that were flattened on top, suitable for grazing on grasses.  The different diets and habitats of mastodons and mammoths suggest that they behaved differently. 

What Happened to the Mastodons?: The End-Pleistocene Mass Extinction 
Why did mastodons, mammoths and many other large mammals become extinct about 10,000 years ago, while other animals did not?  The question has puzzled researchers for over one hundred years.  One explanation is that climatic change caused their habitat to shrink in size.  Along with their low birthrates, this environmental stress made these mammals especially vulnerable to predation and disease.  Perhaps, like mammoths, mastodons were also hunted by early American Indians.  The most probable explanation is a combination of human hunting and climatic change caused the mastodons and other large mammals to go extinct. 

PCB Remediation and Recovery of Fish Communities in the Upper Hudson River

Over a 30 year period from the late 1940s to the late 1970s, over a million pounds of toxic polychlorinated biphenyls (PCBs) were released into the Upper Hudson River. These compounds  cause a number of harmful effects to fish and other aquatic wildlife, as well as the humans who might consume them. Since 2009, dredging and backfilling to remove and replace PCB-contaminated sediments has been taking place in a 40-mile stretch of the river from Fort Edward to the Federal Dam in Troy. When clean-up efforts have been completed, fish will be tested to demonstrate that PCB levels in their flesh have declined, however, no post-dredging monitoring of the overall recovery of biological communities from these large scale ecological disturbances has been planned. In collaboration with Dr. Denise Mayer (NYSM Cambridge Field Laboratory), we have received a research grant from the Hudson River Foundation to examine the rates and relationships of fish and invertebrate community recoveries in dredged areas of the Upper Hudson. Our surveys and studies will encompass a broad range of environmental and biological variables, in order to better understand the interplay between these communities and the river itself, as well as the clean-up activities that have occurred there. This work has great potential to inform future policy decisions regarding the Upper Hudson River fishery, as well as large river clean-up projects nation- and worldwide, considering that less than 10% of these operations have planned to examine post-remediation recovery of biological communities in this way.

Ecological Impacts of Introduced Rainbow Darters (Etheostoma caeruleum) in the Mohawk River Watershed

The Rainbow Darter (Etheostoma caeruleum) is a small, brightly colored, bottom-dwelling fish that is native to the Lake Erie, western Lake Ontario, and Allegheny River watersheds in western New York. In 2009, this species was discovered in Fox Creek, a tributary of Schoharie Creek, in the Mohawk River watershed, but was not known from other sites in the basin. In 2013, during routine surveys in the area, we discovered Rainbow Darters in the Switzkill, which is a tributary of Fox Creek, but also in the Plotter Kill, a tributary of the main stem Mohawk River, indicating possible dispersal and range expansion through Schoharie Creek and the Mohawk River. In 2014, we began broad scale surveys of the Schoharie Creek and eastern Mohawk basins and have documented Rainbow Darters at 10 additional sites throughout these drainages, often at very high population densities, indicating that the species has become established in these parts of the watershed. Surveys continue to document the full extent of this species’ colonization and expansion in the Mohawk watershed, along with examinations of past museum collections from these sites. The specimens contained in these museum collections, when compared to more recent survey results, will help to identify other species that may have decreased in abundance since this darter’s introduction. We are complementing these surveys and historical examinations with dietary studies, in order to identify those species that show overlap with the Rainbow Darter and which may have been, or continue to be, negatively affected by this introduced species.

Well Cuttings Collection

Geological Collection

Cuttings are a byproduct of the well drilling process. As a well is being drilled, these small bits of bedrock circulate to the surface. In many cases these rock chips are collected, labeled with the depth from which they came, and stored for later studies. Cuttings are often stored in plastic vials or manilla envelopes. These rock fragments can be used to identify the type of rock at a given depth as well as provide sample material for geochemical and mineralogical analyses.

The NYSGS currently holds a collection of cuttings from over 3,000 wells, all of which are available for scientific analysis. 

Geophyiscal "Wireline" Well Logs

Geological Collection

Geophysical logs are depth-registered graphical representations of the rock properties in a given well. When drilling is complete, a logging company is brought in to log the well. This involves lowering a series of sophisticated tools down the well. As these tools are brought back up, they record various rock properties, such density and porosity. Logs from a single well can been used to study the geology characteristics of a single well. Logs from multiple wells can be correlated to determine the geology across a large area.

The NYSGS maintains a large collection of wireline logs from over 12,500 oil and gas wells. These logs are stored in the New York State Archives, however they have been scanned and are available for a fee on the Empire State Organized Geologic Information System (ESOGIS) at http://esogis.nysm.nysed.gov/. A portion of the collection has been digitized to create LAS files which can be used in a wide variety of geologic software.

Barclay’s Bank/75 Wall St.

Historical Archaeology

This collection includes artifacts from late 17th century land filling and contained deposits and features dating from this period through the mid-19th century.  Features include the foundation walls of the first structures built on the site, as well as basement deposits, privies, and cisterns dating back to the 18th and 19th centuries. Four major sub-components comprise the collection: a variety of household goods and metal working tools associated with a gold and silversmith named Daniel van Voorhis, who lived and worked on the block in the 1780s; a group of artifacts from druggist Richard Brown dating to 1810; artifacts from the shop of druggist-physicians Joel and Jotham Post, dating to c. 1790; and an assemblage of objects from the privy of David Dunham, auctioneer and commission merchant, deposited c.1820. The total count of artifacts is more than 208,000.

  • Daniel van Voorhis metalsmith shop/house: 1780s.
  • Richard Browne druggist household: 1810s.
  • Joel & Jotham Post druggist shop: ca. 1790.
  • David Dunham privy: ca. 1820.

Broad Financial Center

Historical Archaeology

Broad Financial Center collection comes from an excavation conducted during the early 1980s on the block bounded by Whitehall, Pearl, Bridge, and Broad streets in lower Manhattan. This site was located on the original 17th century island of Manhattan as opposed to landfill or man-made land. Excavation revealed deposits and features dating from the Dutch settlement of New Amsterdam through the mid-19th century. There are materials associated with the c. 1650 warehouse of tobacco merchant and slave trader Augustine Heermans, including a 1590 Dutch token (the oldest European artifact excavated in New York) and domestic deposits from 17th and early 18th century inhabitants of the block.  Significant components from the collection include the privy of the first doctor of the Dutch West India Company named Dr. Hans Kiersted and his wife Sarah, who was Peter Stuyvesant’s Native American interpreter; a c. 1680 basket filled with Native American and European goods including delft tiles, hand-wrought nails, wampum, glass trade beads, thimbles and pins, 17 marbles of various sizes and a possible wooden game board. English Colonial artifacts include 7,000 fragments of 17th and 18th century clay tobacco pipes made at the Robert Tippet shop in Bristol, England, and probably shipped to a local tavern on the block, a sword guard, candle snuffer, candlestick holder, and a delft posset pot. Many other domestic materials date to Federalist and Jacksonian New York. More than 61,000 artifacts are contained in this collection.

  • Kiersted privy: 17th century.
  • Augustine Heerman’s warehouse: 17th century.

Greenwich Mews

Historical Archaeology

The Greenwich Mews collection includes three large domestic deposits recovered from two 19th century privies excavated on Greenwich Street in Manhattan.  One assemblage was from privy no.1 at 689 Greenwich Street and was deposited after 1868.  The house at 689 Greenwich Street was occupied by seafood merchants, and a mason during the 1870s and 1880s. A second assemblage consists of the upper layers of privy no.2 at 691 Greenwich Street, deposited c. 1880. The two-family house was then occupied by the families of a milk-dealer and a clerk. The large domestic deposit from the lower levels of privy no. 2, were deposited after 1851. This deposit represents three consecutive single family occupations by the families of a merchant (1840s-1850s), a mahogany dealer (1850s) and a butcher (1870s).  Objects include chamber pots, spittoons, bone toothbrushes, coins, a profusion of pitchers, numerous medicine, perfume and hair-dye bottles (some with ingredients still inside), cold cream and ointment pots, cologne bottles, a glass bird feeder, cruets, candlesticks, and stoneware storage vessels. Ambrotypes (an early method of photography) were also recovered, one of which, dating to c. 1860, was conserved and reproduced.  Locks of hair were also found between the framing and the matting of several ambrotypes. The total artifact count is more than 5,000 for this collection.

  • Privy at 689 Greenwich Street: 1868-1880s.
  • Privy at 691 Greenwich Street, context 1: 1851-1870s.
  • Privy at 691 Greenwich Street, context 2: ca. 1880.

Sullivan Street

Historical Archaeology

The Sullivan Street collection includes approximately 200,000 artifacts recovered from Manhattan. One important domestic assemblage illustrates the upper middle-class lifestyle of wealthy Dr. Benjamin Robson whose house faced Washington Square.  Robson is thought to be the prototype of Dr. Roper, one of the protagonists in the novel “Washington Square” by Henry James.  Domestic artifacts include perfume bottles, tortoise shell combs, a hair brush and hair ornaments, baking dishes, and a pressing iron.  Also found in this spectacular assemblage is a child’s presentation mug, (“A Present from Carolina”), slate pencils and writing slates, champagne bottles, coffee beans, shell and bone buttons, and  bone button blanks (for making buttons). Two other important upper middle-class assemblages in this collection are from the privy associated with Francis Sage, a wealthy commission flour merchant and another linked to Edward Tailer, a New York City broker. In contrast, a stone-lined privy dating from 1850-century 1880 was attributed to members of the working class, and was probably used by a glassmaker and his family and by an English artist.  By the 1880s, the building associated with the privy housed unskilled workers.

  • Robson family house/privy: 1841 – 1860s.
  • Francis Sage house/privy: 19th century.
  • Edward Tailer house/privy: 1828 – 1903.
  • Working-class privy: 1850 – ca. 1880

 

Betsey Prince Site

Historical Archaeology

The Betsey Prince collection consists of over 8,000 artifacts recovered from the late 18th to early 19th century household of Prince Jessup and his wife Betsey in Brookhaven Long Island. Jessup was among several free African Americans who owned houses in the area during the first two decades of the 19th century. Betsey Prince remained in the house following her husband’s death in the 1810s until the 1830s. The collection includes a wide variety of household artifacts dating from 1800 to the 1830s. The Betsey Prince collection represents a rare assemblage of material culture from a free African American household in New York State.    

SUCF/SUNY 600 Parking Garage/ State University Construction Fund

Historical Archaeology

Excavations at this site, located east of Dean Street and south of Maiden Lane in Albany, unearthed a French and Indian War stockade line, waterfront bulkheads, and numerous foundations, privies, wells, cisterns, drains, and other features associated with 18th-19th century warehouses, shops, taverns, homes, and boarding houses. There are 176,000 artifacts in this collection. Artifacts within the collection range in date from about 1740 to 1900.

Sub Component

Stewart Deans Lot

Cricket Cage

The merchant and Revolutionary War hero Stewart Dean owned one of the waterfront lots excavated by archaeologists. After the war, he built a 60-foot sloop, Experiment, which he took on a trading voyage to China in 1785. This was the second vessel from the United States to make the trip to the important trading port of Canton with tar, furs, ginseng, wine, “Jamaica spirits”, tobacco, and other items and Dean returned with tea, silk, and 26 chests of China teacups and saucers. Artifacts from China, such as porcelain, a sandware teapot, and a cricket cage were among the items found at this site along with British and European manufactured goods.

  • Stone Collar over Wooden Barrel Well/Privy: 1785-ca.1800, 4,973 artifacts.
  • Stewart Dean’s house foundation: 1760-1780, 151 artifacts.

 

Eights’ Lot

Abraham Eights was born in New York City in 1740s where he was trained as a sail-maker. He moved to Albany in 1769 and was married the following year. He acquired his waterfront lot next door to Stewart Dean in 1775 where he manufactured and mended sails for boats all along the Hudson River as far south as New York City. Eights was among the 94 men who signed the constitution of the Sons of Liberty, in reaction to the passage of the Stamp Act and served in the military during the Revolutionary War, while supplying the Continental Army with sails and provisions. In 1790 his household consisted of 4 white males over 16, 8 females, and two slaves. He was appointed Dock Master in 1812 and continued in this position until his death in 1820 at age 74.

  • Privy: 1800-1820, 2,362 artifacts.

Boarding House Privies

The original owner of this waterfront lot was William James, a merchant and grandfather to the well-known author Henry James.  In the 1820s, his heirs subdivided the lot into 9 rental properties that shared a large outhouse.  Two of these properties were boardinghouses which primarily served transient workers and laborers.  The house at 37 Dean Street was run by a widowed German immigrant, Elizabeth Roff, in the 1830s and an Irish immigrant named Philip Duffy from 1855 until 1861. Another Irish immigrant named Thomas Kearnan, operated a boarding at neighboring 35 Dean Street from 1855 until 1865. Occupants of the boardinghouse included European immigrants, especially from Ireland and Germany who arrived between 1830 and 1860. Over 21,000 artifacts were recovered from the two boardinghouse privies, including dominoes, die, a harmonica, glass inkwells, marbles, doll parts, and a cowry shell engraved with a love poem.  Also found was a perforated temperance medallion labeled “The STATE OF NEW YORK”. 

  • The Common Wooden Privy: 1840-1860, 20,668 artifacts.
  • The Common Stone Privy: 1830-1840, 918 artifacts.

Other Features and Deposits

  • Organic Fill Near Stockade: 1760s, 3081 artifacts.
  • Artifact Deposit: 1850s-1900, 181 artifacts.
  • Artifact Deposit Associated with the Stockade: 1750s, 221 artifacts.
  • Early Stockade Construction: 18th century, 285 artifacts.
  • Stockade Surface, Selected contexts: 1740s-1750s, 8338 artifacts.
  • Transitional Surface prior to 1760s Stockade Construction, Selected contexts: Pre-1760s, 356 artifacts.
  • Waterfront Construction Surfaces, Selected contexts: 1760s, 199 artifacts.
  • Surface, selected contexts: 1760s, 129 artifacts.
  • River Bottom, Selected contexts: 1760s, 424 artifacts.
  • Three Barrel Cistern: ca. 1750, 86 artifacts.
  • Archibald Craig’s Cistern: ca. 1840, 857 artifacts.
  • Christopher Beekman’s Privy: 1800-1810, 1,897 artifacts.
  • Widow Benedict’s Privy: 1800-1820, 589 artifacts.
  • John Tayler’s Privy: 1800-1820, 1517 artifacts.
  • The Lemet-Olmsted Privy: 1810-1820, 100 artifacts.
  • Allen Brown’s Privy: 1815-1830, 9,651 artifacts.
  • Cowan and Cobb’s Privy: 1820-1830, 2,024 artifacts.
  • Possible Stone Lined Privy: 1850-1900, 1,162 artifacts.
  • Brick Drain: 19th century, 80 artifacts.
  • Wooden Drain: ca. 1760, 152 artifacts.
  • Possible Midden: 19th century, 1,474 artifacts.
  • Quoin support for waterfront bulkhead: 1760s, 1,537 artifacts.
  • Possible Midden: 1850-1900, 58 artifacts.
  • Pit Feature: 1850-1900, 392 artifacts.
  • Stacked Rigging for waterfront bulkhead: 1780s, 15 artifacts.
  • Vertical-pile Waterfront Bulkhead: 1780s, 566 artifacts.
  • Fill Deposit in Waterfront Bulkhead: 1760s, 324 artifacts.
  • Wooden Stockade: 1750s, 2,154 artifacts.
  • Early Waterfront Bulkhead: 1750s, 129 artifacts.
  • Waterfront bulkhead Feature: 1760s, 53 artifacts.
  • Builder’s Trench for Stockade: 1750s, 31 artifacts.
  • Fill and Building Debris within the Demilune: 1750s, 358 artifacts.
  • Wooden Feature Possibly Associated with Demilune: 1750s, 702 artifacts.
  • Planks for building foundation: 19th century, 487 artifacts.
  • Possible Drain through the Stockade: 1750s, 292 artifacts.
  • Stone Building Foundation: 1870s, 84 artifacts.
  • Early Waterfront Bulkhead: 1750s, 66 artifacts.
  • Dog Burial: 1750s, 372 artifacts.
  • Cobblestone fill within the Demilune: 1750s, 3,934 artifacts.