This wall clock was custom made by the Chelsea Clock Company of Chelsea, Massachusetts in 2020 and was a gift of the White House Historical Association to the White House Collection. The clock hangs in the Ground Floor Corridor of the White House above the doorway leading to the president’s elevator. The face of the clock features an eagle on the upper half that was inspired by the James Monroe state service. White House calligraphers did the hand-lettering and numbering on the dial including the inscription “The President’s House” on the lower half of the clock’s face.

This glassware was part of a set ordered by President John F. Kennedy and First Lady Jacqueline Kennedy in 1961 from the Morgantown Glassware Guild of Morgantown, West Virginia. The purchase of the elegant, simple set ended a long tradition of engraved glassware at the White House. The glassware became widely popular as many Americans purchased the same set for their households.

Titled "Resurrection," this acrylic and graphite on canvas painting was done by Alma Thomas in 1966, who was an educator and artist in Washington, D.C. for most of her career. She was a member of the Washington Color School. This painting was unveiled as part of the White House Collection during Black History Month 2015 and is the first in this collection by an African American woman. This photograph shows the painting on display in the Vermeil Room, during a press preview of the White House holiday decorations on November 30, 2020. The holiday theme for 2020 was “America the Beautiful,” which celebrated the natural wonders of the American landscape. Selected by First Lady Melania Trump, the White House decorations also paid tribute to the courage and resilience of frontline workers, members of the military, and other American heroes. In 2020, American frontline and essential workers faced unique challenges due to the COVID-19 pandemic.

Titled "Resurrection," this acrylic and graphite on canvas painting was done by Alma Thomas in 1966, who was an educator and artist in Washington, D.C. for most of her career. She was a member of the Washington Color School. This painting was unveiled as part of the White House Collection during Black History Month 2015 and is the first in this collection by an African American woman. This photograph shows the painting on display in the Vermeil Room, during a press preview of the White House holiday decorations on November 30, 2020. The holiday theme for 2020 was “America the Beautiful,” which celebrated the natural wonders of the American landscape. Selected by First Lady Melania Trump, the White House decorations also paid tribute to the courage and resilience of frontline workers, members of the military, and other American heroes. In 2020, American frontline and essential workers faced unique challenges due to the COVID-19 pandemic.

Titled "Resurrection," this acrylic and graphite on canvas painting was done by Alma Thomas in 1966, who was an educator and artist in Washington, D.C. for most of her career. She was a member of the Washington Color School. This painting was unveiled as part of the White House Collection during Black History Month 2015 and is the first in this collection by an African American woman. This photograph shows the painting on display in the Vermeil Room, during a press preview of the White House holiday decorations on November 30, 2020. The holiday theme for 2020 was “America the Beautiful,” which celebrated the natural wonders of the American landscape. Selected by First Lady Melania Trump, the White House decorations also paid tribute to the courage and resilience of frontline workers, members of the military, and other American heroes. In 2020, American frontline and essential workers faced unique challenges due to the COVID-19 pandemic.

This is a kakemono panel (also known as a vertical hanging scroll) containing either text or a painting, intended to be viewed on a wall and rolled when not in use. It was created in 1872 by the artist Utagawa Kunitsuru and depicts a pheasant among flowering branches. This is one of a set of six paintings displayed in the dining room of Decatur House and remain a part of the Decatur House Collection. After nearly 150 years, they began to deteriorate, but with funding provided by the Sumitomo Foundation, they were conserved to their original state.

This is a kakemono panel (also known as a vertical hanging scroll) containing either text or a painting, intended to be viewed on a wall and rolled when not in use. It was created in 1872 by the artist Utagawa Kunitsuru and depicts a woman holding a parasol during a gentle snowfall. This is one of a set of six paintings displayed in the dining room of Decatur House and remain a part of the Decatur House Collection. After nearly 150 years, they began to deteriorate, but with funding provided by the Sumitomo Foundation, they were conserved to their original state.

This is a kakemono panel (also known as a vertical hanging scroll) containing either text or a painting, intended to be viewed on a wall and rolled when not in use. It was created in 1872 by the artist Utagawa Kunitsuru and depicts a woman holding the three-stringed instrument or shamisen. This is one of a set of six paintings displayed in the dining room of Decatur House and remain a part of the Decatur House Collection. After nearly 150 years, they began to deteriorate, but with funding provided by the Sumitomo Foundation, they were conserved to their original state.

This is a kakemono panel (also known as a vertical hanging scroll) containing either text or a painting, intended to be viewed on a wall and rolled when not in use. It was created in 1872 by the artist Utagawa Kunitsuru and depicts two cranes beneath a crabapple tree. This is one of a set of six paintings displayed in the dining room of Decatur House and remain a part of the Decatur House Collection. After nearly 150 years, they began to deteriorate, but with funding provided by the Sumitomo Foundation, they were conserved to their original state.

This is a kakemono panel (also known as a vertical hanging scroll) containing either text or a painting, intended to be viewed on a wall and rolled when not in use. It was created in 1872 by the artist Utagawa Kunitsuru and depicts a woman braving a snowstorm. This is one of a set of six paintings displayed in the dining room of Decatur House and remain a part of the Decatur House Collection. After nearly 150 years, they began to deteriorate, but with funding provided by the Sumitomo Foundation, they were conserved to their original state.

This is a kakemono panel (also known as a vertical hanging scroll) containing either text or a painting, intended to be viewed on a wall and rolled when not in use. It was created in 1872 by the artist Utagawa Kunitsuru and depicts a man with swords near a flowering tree. This is one of a set of six paintings displayed in the dining room of Decatur House and remain a part of the Decatur House Collection. After nearly 150 years, they began to deteriorate, but with funding provided by the Sumitomo Foundation, they were conserved to their original state.

This parquet flooring and wood representation of the great seal of California was installed in the Decatur House dining room between 1872 and 1874. It was part of several changes Edward Fitzgerald Beale and his wife, Mary Edwards Beale instituted after they purchased the property in 1871. The Beales were the last family to own Decatur House. Completed in 1818, Decatur House was the third building on Lafayette Square and its first private residence. It was designed by Benjamin Henry Latrobe, the architect of the Capitol and several other famous buildings, for Commodore Stephen Decatur (1779-1820) and his wife, Susan Wheeler Decatur. Tragically, on March 22, 1820 Stephen Decatur was mortally wounded during a duel. After his death, his widow Susan Decatur rented out the house to foreign ministers and several secretaries of state. The house was eventually sold and passed through several hands, including the Gadsby family, the U.S. Subsistence Bureau, and the Beale family. Marie Ogle Beale, a society maven and the last owner left the house to National Trust for Historic Preservation in 1961. In 2010, the White House Historical Association and National Trust entered into a co-stewardship arrangement of Decatur House.

This oil on canvas painting of the U.S. Camel Corps was completed by Ernest E. de F. Narjot in 1867. The painting depicts horses drinking eagerly with camels in the background. The painting highlights the usefulness of camels as back animals in the American southwest during military operations and had been championed by Gen. Edward Beale. Beale was a western adventurer naval officer, explorer, frontiersman, superintendent of Indian affairs, California rancher, and later a diplomat. Beale would help form the U.S. Camel Corp and the experiment lasted from 1856-1866. This painting commemorates the corps and is part of the Decatur House Collection. The Decatur House, which is also home to the David M. Rubenstein National Center for White House History, was completed in 1818. It was the third building on Lafayette Square and its first private residence. It was designed by Benjamin Henry Latrobe, the architect of the Capitol and several other famous buildings, for Commodore Stephen Decatur (1779-1820) and his wife, Susan Wheeler Decatur. Tragically, on March 22, 1820 Stephen Decatur was mortally wounded during a duel. After his death, his widow Susan Decatur rented out the house to foreign ministers and several secretaries of state. The house was eventually sold and passed through several hands, including the Gadsby family, the U.S. Subsistence Bureau, and the Beale family. Marie Ogle Beale, a society maven and the last owner left the house to National Trust for Historic Preservation in 1961. In 2010, the White House Historical Association and National Trust entered into a co-stewardship arrangement of Decatur House.

This sword was presented to Commodore Stephen Decatur by the Commonwealth of Virginia following his capture of the Macedonia on October 25, 1812. The blade was created in Philadelphia by William Rose and features an ivory and parcel-gilt hilt topped with a cast eagle, silver gilt plate, and brass stripes on the edges, and inlaid with gold foliage and silver lettering. An inscription on the blade reads, “In testimony of the splendid naval talents and valor displayed by Commodore Stephen Decatur commanding the United States Frigate UNITED STATES in the capture of the English Frigate MACEDONIA 25th, October 1812.” This presentation sword is part of the collection at Decatur House. In 2010, the White House Historical Association and National Trust entered into co-stewardship arrangement and Decatur House now serves as the David M. Rubenstein National Center for White House History.

This sewing table is made of wood and coated with between three and fifteen layers of fine black and gold lacquer. The sewing table was made in the early 19th century and is believed to have been an engagement gift from Stephen Decatur to his fiancée — a “Miss. King.” The King family passed the table down from generation to generation despite the couple not marrying. Stephen Decatur would go on to marry Susan Wheeler. The sewing table was made in China for the American market and originally had a silk bag attached to it, which was replaced with a mauve damask fabric in the 20th century. This table is a part of Decatur House Collection. In 2010, the White House Historical Association and National Trust entered into co-stewardship arrangement and Decatur House now serves as the David M. Rubenstein National Center for White House History.

This celestial globe was created by William and Thomas Marriott Bardin (professionally known as W. & T. M. Bardin) circa 1800 in Philadelphia, Pennsylvania. The globe is made of wood, brass, and glass and set on a three-legged wooden stand. There is a round compass at the juncture of the stretchers and the sphere and stand both have the months and zodiac names on it. The globe captures the position of stars observed in 1800 by Dr. William Hershel and is dedicated to Rev. Nevil Maskelyne, astronomer royal. This globe is one of a pair in the Decatur House Collection. The other is a terrestrial globe. It is believed these globes are part of the 1820 estate inventory of Decatur House. In 2010, the White House Historical Association and National Trust entered into co-stewardship arrangement and Decatur House now serves as the David M. Rubenstein National Center for White House History.

This sword and scabbard was presented to Commodore Stephen Decatur by the Commonwealth of Virginia following his capture of the Macedonia on October 25, 1812. The blade was created in Philadelphia by William Rose and features an ivory and parcel-gilt hilt topped with a cast eagle, silver gilt plate, and brass stripes on the edges, and inlaid with gold foliage and silver lettering. An inscription on the blade reads, “In testimony of the splendid naval talents and valor displayed by Commodore Stephen Decatur commanding the United States Frigate UNITED STATES in the capture of the English Frigate MACEDONIA 25th, October 1812.” The scabbard is made of gilt silver with cast-applied nautical decorations. This presentation sword and scabbard are a part of the collection at Decatur House. In 2010, the White House Historical Association and National Trust entered into co-stewardship arrangement and Decatur House now serves as the David M. Rubenstein National Center for White House History.

This fire screen by Pierre-Antoine Bellangé forms part of the 53 piece suite purchased by President James Monroe in 1817. This photograph of the fire screen shows the piece during conservation treatment, with its upholstery and gilding removed. The White House Historical Association funded all aspects of this restoration.

This photograph, taken in December 1971, shows the 18th century crèche (or nativity scene) on display in the East Room during the Richard M. Nixon administration. The crèche was donated to the White House Collection by Mrs. Charles W. Engelhard, Jr. of Far Hills, New Jersey in 1967. The donation included 39 hand-painted figurines. The 14 foot tall crèche setting display was built by Tony Award-winning stage designer Donald Oenslager, with mechanisms for annual disassembly.

This photograph, taken in December 1971, shows the 18th century crèche (or nativity scene) on display in the East Room during the Richard M. Nixon administration. The crèche was donated to the White House Collection by Mrs. Charles W. Engelhard, Jr. of Far Hills, New Jersey in 1967. The donation included 39 hand-painted figurines. The 14 foot tall crèche setting display was built by Tony Award-winning stage designer Donald Oenslager, with mechanisms for annual disassembly.

This photograph, taken in December 1971, shows the 18th century crèche (or nativity scene) on display in the East Room during the Richard M. Nixon administration. The crèche was donated to the White House Collection by Mrs. Charles W. Engelhard, Jr. of Far Hills, New Jersey in 1967. The donation included 39 hand-painted figurines. The 14 foot tall crèche setting display was built by Tony Award-winning stage designer Donald Oenslager, with mechanisms for annual disassembly.

This photograph, taken in December 1971, shows the 18th century crèche (or nativity scene) on display in the East Room during the Richard M. Nixon administration. The crèche was donated to the White House Collection by Mrs. Charles W. Engelhard, Jr. of Far Hills, New Jersey in 1967. The donation included 39 hand-painted figurines. The 14 foot tall crèche setting display was built by Tony Award-winning stage designer Donald Oenslager, with mechanisms for annual disassembly.

This photograph, taken in December 1971, shows the 18th century crèche (or nativity scene) on display in the East Room during the Richard M. Nixon administration. The crèche was donated to the White House Collection by Mrs. Charles W. Engelhard, Jr. of Far Hills, New Jersey in 1967. The donation included 39 hand-painted figurines. The 14 foot tall crèche setting display was built by Tony Award-winning stage designer Donald Oenslager, with mechanisms for annual disassembly.

This photograph, taken in December 1971, shows the 18th century crèche (or nativity scene) on display in the East Room during the Richard M. Nixon administration. The crèche was donated to the White House Collection by Mrs. Charles W. Engelhard, Jr. of Far Hills, New Jersey in 1967. The donation included 39 hand-painted figurines. The 14 foot tall crèche setting display was built by Tony Award-winning stage designer Donald Oenslager, with mechanisms for annual disassembly.

This mahogany mirrored wall sconce was likely created by American craftsman Samuel McIntire around 1800. McIntire is attributed with creating this sconce, and it's twin, due to the skilled craftsmanship and design. The sconce is seen here on the west wall of the Green Room, in a photograph by Nelson Brown, Victor Boswell, and Robert S. Oakes in January 1972, during the administration of Richard M. Nixon.