Skip to main content
Advanced Search
John Quincy Adams Indian Peace Medal
John Quincy Adams Indian Peace Medal

John Quincy Adams Indian Peace Medal

Artist (Hungarian, 1782 – after 1841)
Artist (American, born Germany, 1768 – 1833)
Date1825
Period19th century
MediumSilver
DimensionsObject Size: Dia. 2 1/2 inches, depth 3/16 inches
Credit LinePurchase with funds provided by the Electra Havemeyer Webb Memorial Fund
Object number2009.005
Curatorial DepartmentNorth American Art (pre 1900)
_Place of OriginUnited Sates
John Adams Whipple (1822-1891)
John Adams Whipple (1822-1891)
Rufus Anson
1861
Object number: 2019.036
At the North Adams, Berkshire County, Massachusetts
At the North Adams, Berkshire County, Massachusetts
Edward Seager
Object number: 2016.113
Peace and Love! Rogers Statuary. The Council of War.
Peace and Love! Rogers Statuary. The Council of War.
Anonymous (American)
19th century
Object number: 2014.048
Peace—Fourth of July, 1865. from Harper’s Weekly
Peace—Fourth of July, 1865. from Harper’s Weekly
Anonymous (American)
1865, July 8
Object number: 1986.007
Occupational Daguerreotype of John Deere (1804–1886)
Occupational Daguerreotype of John Deere (1804–1886)
Anonymous (American)
c. 1851–56
Object number: 2016.012
Five Civil War Soldiers from the 12th Vermont Infantry, Company K, including Lewis Hemenway (1841–1925, Class of 1864) and John A. Mead (1841–1920, Class of 1864)
Five Civil War Soldiers from the 12th Vermont Infantry, Company K, including Lewis Hemenway (1841–1925, Class of 1864) and John A. Mead (1841–1920, Class of 1864)
Anonymous (American)
c. 1863
Object number: 2010.031
The Reverend John Ingersoll
The Reverend John Ingersoll
Henry Ulke
Object number: 1968.016
Portrait of Reverend John Hough, 1783–1861
Portrait of Reverend John Hough, 1783–1861
Benjamin Franklin Mason
Object number: 0.116
Portrait from a Medal of Byzantine Emperor Johannes VIII
Portrait from a Medal of Byzantine Emperor Johannes VIII
Jacques de Gheyn II
c. 1595
Object number: 1974.007
Image Not Available for 59. Clatsop County, Oregon. To be denied the original forest that stood here is to be orphaned, as children whose parents died in a war. In this situation we can never take comfort from the whole shape of the natural lives that bore us. John Szarkowski has written about how Eugene Atget’s photographs of old trees in France “describe the particular ways that trees articulate their forms, effloresce, bear fruit, grip the earth, claim space and light, and fail.” That testimony of completeness is destroyed by clearcutting, and with it an encouragement to wisdom and peace. From Turning Back, A Photographic Journal of Re-exploration
59. Clatsop County, Oregon. To be denied the original forest that stood here is to be orphaned, as children whose parents died in a war. In this situation we can never take comfort from the whole shape of the natural lives that bore us. John Szarkowski has written about how Eugene Atget’s photographs of old trees in France “describe the particular ways that trees articulate their forms, effloresce, bear fruit, grip the earth, claim space and light, and fail.” That testimony of completeness is destroyed by clearcutting, and with it an encouragement to wisdom and peace. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.059
60. Clatsop County, Oregon. To be denied the original forest that stood here is to be orphaned, as children whose parents died in a war. In this situation we can never take comfort from the whole shape of the natural lives that bore us. John Szarkowski has written about how Eugene Atget’s photographs of old trees in France “describe the particular ways that trees articulate their forms, effloresce, bear fruit, grip the earth, claim space and light, and fail.” That testimony of completeness is destroyed by clearcutting, and with it an encouragement to wisdom and peace. From Turning Back, A Photographic Journal of Re-exploration
60. Clatsop County, Oregon. To be denied the original forest that stood here is to be orphaned, as children whose parents died in a war. In this situation we can never take comfort from the whole shape of the natural lives that bore us. John Szarkowski has written about how Eugene Atget’s photographs of old trees in France “describe the particular ways that trees articulate their forms, effloresce, bear fruit, grip the earth, claim space and light, and fail.” That testimony of completeness is destroyed by clearcutting, and with it an encouragement to wisdom and peace. From Turning Back, A Photographic Journal of Re-exploration
Robert Adams
1999–2003
Object number: 2006.026.060
Adam and Eve
Adam and Eve
Rembrandt van Rijn
1638
Object number: 1978.021