Support online education by becoming a member today!

Kūkāʻilimoku

Ki‘i Hulu Manu: feathered image of Kūkā‘ilimoku (Kū the land grabber), war god of Hawai‘i island.

The early Polynesians who came to the islands of Hawai‘i eventually created full, and often distinct, communities on each island. While there was contact, interaction and exchange between the islands, as a general rule, political control was at the moku (large land division within an island), or sometimes island, level. During the eighteenth century however, one of the most renowned kāula (prophet, seer) from Māui predicted the coming of one who would bring all of the islands under his rule; who would bring peace through unification. During this era, in the court of Kalani‘ōpu‘u was a young boy named Kamehameha. He was a strong and brave youth and was soon assigned to the renowned warrior Kekūhaupi‘o to train in the arts of battle. He was also assigned kāhuna to teach him the ways of the gods.

The powerful god Kūkā‘ilimoku (Kū-snatcher of islands) was one important path to power of the ali‘i nui at this time. Prior to his death, Kalani‘ōpu‘u bequeathed care of his lands to his son Kīwala‘ō, but significantly, left this god of war and politics to Kamehameha. Kamehameha and his kāhuna cared for this god with the utmost austerity and were rewarded with great success in battle. After a series of battles, Kīwala‘ō was killed at Ke‘ei and eventually control of Hawai‘i Island came to Kamehameha. Kamehameha carried his efforts at unification on to Māui and defeated the warriors under Kalanikūpule at the famous battle of ‘Iao. He was not able to take Māui at the time however, as he was called to return home to put down an uprising there.

After several unsuccessful battles with his brother Keoua Kuahu‘ula, Kamehameha took a reprieve from warfare and sought the advice of his kahuna Kapoukahi. This kahuna advised Kamehameha to build a great house for his god Kūkā‘ilimoku. This act would ensure his ultimate victory over all the islands. The entire district was called forth and labored to build the massive Pu‘ukoholā heiau at Kohalā. Upon completion this intense structure stood approx. 200 feet by 100 feet and commanded awe from all who saw it. The structure however, and the god it housed, lacked one thing, an appropriate sacrifice. Kamehameha called his brother Keoua to the heiau and indeed Keoua complied. He was killed on arrival, laid upon the alter, and the dedication was complete. Kamehameha had earned the support of Kūkā‘ilimoku.

With the full power of his war god behind him, Kamehameha launched his massive Peleleu fleet of warships. Upon landing on Māui the ships were said to cover the beaches from Launiupoko to Mala. Kamehameha continued on to Moloka‘i and then launched his decisive battle against Kalanikūpule at O‘ahu. After defeat at Nu‘uanu, Kalanikūpule was later taken and offered in sacrifice to Kūkā‘ilimoku. With only Kaua‘i remaining not under his rule, Kamehameha again launched his fleet. This attempt would be unsuccessful, as a great storm would sink much of the fleet. Later, after a meeting of the two great ali‘i nui, an agreement was made to allow Kaumuali‘i to rule over Kaua‘i until his death at which time Kaua‘i too would be given over to Kamehameha. With this Kamehameha had fulfilled the prophecy and created the Kingdom of Hawai‘i, over which peace would rule for most of the next century.

Origin: Hawai‘i
Collection: ABCFM Collection
Artifact Number: 07855

Audio

Mele inoa no Kamehameha I

Mele koʻihonua no Kamehamameha

Images

Wao Lani > Kūkā‘ilimoku > Ka Na‘i Aupuni

Kealoha Kelekolio explains and performs Ka Na‘i Aupuni.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

“Tammeamea.” 1816-1817, watercolor by Louis Choris.

On November 24, 1816, Louis Choris, an artist on a Russian expedition to Hawai`i under the direction of Otto von Kotzebue, painted this portrait of King Kamehameha I clad in a red vest. Earlier that morning, Kamehameha greeted the foreigners dressed in a malo and a black kapa cloak. By the time Kamehameha arrived to the portrait sitting, he changed his attire to “blue trousers, a red waistcoat, a clean white shirt and a necktie of yellow silk.” Choris describes King Kamehameha’s costuming as that of a “sailor.”

By 1816, Kamehameha, in dealing with visitors to Hawai`i, owned numerous garments of foreign origin (including both British and Russian naval uniforms). Could the choice of wearing indigenous attire for greeting the Russian expedition and the subsequent donning of the garment of a “sailor,” have been a purposeful decision or simply a matter of comfort? In either case, Kamehameha’s decision prevented the possibility of slighting the Russian visitors by wearing a British uniform. It also prevented a show of alliance with Russia in the aftermath of the Russian political aggression in Hawai`i enacted by Georg Anton Scheffer.

Collection: Art Collection
Call Number: Art. People. Kamehameha.
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Iles Sandwich [Hawai‘i]. 1. Kraimoku, surnomme Pitt, 1er ministre du Roi; 2. Young, favori du Roi Tameameha; 3. Keihe-Koukoui, surnomme Jack, pilote royal. ca. 1825. Hand-colored engraving. Artist: J. Alphonse Pellion. Engraver: Roger. From: Freycinet, Voyage Autour Du Monde…Atlas Historique (Paris: 1825), pl. 84.

Call Number: Art. E. C. Hawaiian. People. Men.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Kamehameha I at Spear Practice. ca. 1872. India ink and wash drawing by an unknown artist. Adapted from: Rev. J.G. Wood. The Uncivilized Races of Man in all Countries of the World. Hartford: J.B. Burr, 1872. vol. II, opp. page 1088.

Call Number: Art. People. Kamehameha I.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Stone image from Hivaoa, valley of Atunoa, Tetoaautani, Marquesas. 1920-1921.

Call Number: Book 30 page 61

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Stone images from the Marquesas islands.

Call Number: Book 30 page 161

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Inset of Carte Plate de L’Isle Necker. Published in Atlas du Voyage de la Perouse.

Call Number: Art. Maps and Charts.
Artifact Number: CP 127137

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Early map of Mokumanamana published in Atlas du Voyage de la Perouse. November 1786.

Call Number: Art. Maps and Charts.
Artifact Number: SP 112480
Location: Bishop Museum Library

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

K.P. Emory’s archaeological site map of Mokumanamana, depicting the major features of the island and site numbers.

Collection: General Photograph Collection
Call Number: Geography. Hawai‘i. Necker Island, folder 2.
Artifact Number: SP 203881
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Ceremony to annex Mokumanamana (Necker Island) for the Republic of Hawaii. From left to right: Gregory, Freeman, three sailors. This ceremony took place atop what was later called “Annexation Hill” the highest point on Mokumanamana. Photo by Ben H. Norton, Chief Engineer of the Iwalani.

Collection: General Photograph Collection
Call Number: Geography. Hawai‘i. Necker Island, folder 2.
Artifact Number: SP 117618
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Platform on the West side of Bowl Hill; Mokumanamana (Necker Island).

Collection: General Photograph Collection
Call Number: Book 41 page 120
Artifact Number: SP 11805
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Call Number: E.C. Hawaiian. Art. Images. Stone.
Artifact Number: SP 787

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Central temple site (K.P. Emory site 12) on Mokumanamana (Necker Island), where the ki‘i pōhaku were collected.

Collection: General Photograph Collection
Call Number: Book 40 page 12
Artifact Number: SP 9699
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Mokumanamana (Necker Island) from due West. June 29, 1923. Photo by E. Bryan.

Call Number: BK 40 page 50
Artifact Number: SP 9781
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Photograph by Ray Jerome Baker, 1912.

Collection: General Photograph Collection
Call Number: E.C. Hawaiian. Fishing. Dip Net.
Artifact Number: SP 32040
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

ca. 1890

Collection: General Photograph Collection
Call Number: E.C. Hawaiian. Fishing. Surround Net.
Artifact Number: SP 201087
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Photograph by Charles Furneaux, ca. 1890.

Collection: General Photograph Collection
Call Number: E.C. Hawaiian. Fishing.
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Hawaiian spear fisherman near Hana; Maui, Hawai‘i. ca. 1890

Call Number: Ethnic Culture. Hawaiian. Fishing. Spear.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Two Hawaiian women pulling in fish net (hukilau); Hawai‘i, ca. 1934-1937. Photographer: N.R. Farbman.

Collection: N.R. Farbman Collection
Call Number: Farbman 9.3

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Sketch of Whaling. n.d.

Collection: Hawaii Maritime Center Collection
Call Number: HMC. Fishing. Whaling. [SP 202132]
Accession Number: HMC 1990.7

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

The Spermaceti Whale. ca. 1840 Hand colored engraving by J. Stewart, from: Sir William Jardine. The Naturalist’s Library. London: Samuel Highley, 1840, plate 9. Holt Collecton.

Call Number: Art. Fishing. Whaling.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Palaoa ku‘i (ivory medicine pounder) used by Kamehameha I.

Elephant ivory.

Photographer: Seth Joel

From: Rose, Roger. “Hawai‘i: The Royal Isles.” Honolulu: Bishop Museum Press, 1980, page 13, no. 123.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Destruction of the arctic whaling fleet; . Barks Arctic and Progress receiving crews of the wrecked and abandoned ships south of Ice Cape. September 1871.

Lithograph.

From: Harper’s Weekly.

Collection: Hawaii Maritime Center Collection
Call Number: HMC. Fishing. Whaling.
Location: Bishop Museum Archives

Kai Akea > Palaoa > Koholā Lele, Leaping Whale

Hawai‘i’s Native Seamen and their Legacy, A Native Hawaiian Seaman’s Arctic Whaling Story

based on “He Moolelo Walohia, ka noho pio ana iwaena o ka Lahui Naguru ma Alika! Ka ike hou ana i ka aina!” Written by Charles Edward Kealoha and published in Ka Lahui Hawaii November 8th and 15th, 1877.

Kai Akea > Palaoa > Hamumu the Whale Rider

The story of Hamumu the Whale Rider as told by Kealoha Kelekolio.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Hawai‘iloa sailing in 1995.

Collection: Hawai‘i Maritime Center
Call Number: HMC. C.A. Hawai‘iloa
Accession Number: HMC1997.18.3
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Double hulled canoe Hawai‘iloa under construction at Pier 40, June 1992.

Collection: Hawai‘i Maritime Center
Call Number: HMC. C.A. Hawai‘iloa
Artifact Number: I 8480_5
Location: Bishop Museum Archives

Kai Akea > Hawai‘iloa > Jr Coleman voyaging

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Map of Pacific migration routes, ca. 1969 by Joseph Feher.

From: Joseph Feher, Hawai‘i: A Pictorial History (Honolulu: Bishop Museum, 1969) pg. 24.

Call Number: Art. Geography. Maps & Charts.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Map of Polynesian migration routes, 1988. Pen and ink drawing by Dr. Y. H. Sinoto.

Call Number: Art. Geography. Maps & Charts.

Kai Akea > Manaiakalani > 
Maui and the Magical Ulua

Storytellers Tom Cummings and Kealoha Kelekolio dramatize the story of Maui raising up the islands of Hawai‘i.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Spectators at Makaha Beach watching a surf competition, 1958.

Collection: Laurence Hata Collection
Call Number: Hata. Recreation. Sports. Surfing.
Artifact Number: H_91769_9

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Duke Kahanamoku with the San Onofre Surf Club; San Clemente, California. (Left to right, front) James “Burrhead” Drever, John Kernin, Doc Ball. (Left to right, seated)Obie Rod, Gordon Freeman, Ed “Pop” Proctor, “Viking”, Duke Kahanamoku, Barney Wilkes (standing behind Kahanamoku), “Whitey” Harrison, unknown, unknown, Bob “Hammerhead” Gravage, Fritz Watson (seated behind and to the right of “Hammerhead”), John Droege (reclined, far right).

Collection: Kahanamoku Collection
Call Number: Kahanamoku. Recreation. Sports. Surfing.
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Duke Kahanamoku with the officers of the world famous Duke Kahanamoku Surf Club; International Marketplace, Waikīkī beach. (Left to Right)Paul Strauch, Jr., Joey Cabell, The Duke, Fred Hemmings, Butch Van Artsdalen.

Collection: Kahanamoku Collection
Call Number: Kahanamoku. Recreation. Sports. Surfing.
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Nadine Kahanamoku, Michael Ho and Henry Ayau at the 17th Duke Kahanamoku Surfing Classic, 1981.

Collection: Kahanamoku Collection
Call Number: Kahanamoku. Recreation. Sports. Surfing.
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

The Aikau family and Nadine Kahanamoku at the 14th Duke Kahanamoku Surfing Classic and memorial for Eddie Aikau, 1978.

Collection: Kahanamoku Collection
Call Number: Kahanamoku. Recreation. Sports. Surfing.
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Two surfers in the Makaha International Surfing Championship; Makaha, O‘ahu. ca. 1960.

Collection: Laurence Hata Collection
Call Number: Hata. Recreation. Sports. Surfing.
Artifact Number: I 91298.5

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Surfing competition of the 1960’s.

Collection: Laurence Hata Collection
Call Number: Hata. Recreation. Sports. Surfing.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Collection: Laurence Hata Collection
Call Number: Hata. Recreation. Sports. Surfing.
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Two surfers in the 1960’s. Photo by Laurence Hata.

Collection: Laurence Hata Collection
Call Number: Hata. Recreation. Sports. Surfing.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Night Hawk the surfing dog and his owner, Philip Auna; Waikīkī, Hawai‘i. ca. 1930

Photograph by Ray Jerome Baker

Call Number: Recreation. Sports. Surfing, folder 2. [SP 31157]

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Postcard of a 1914 Mid-Pacific Carnival poster with a Duke Kahanamoku image.

Call Number: People. Kahanamoku. Folder 1.
Artifact Number: SP 99420
Accession Number: 1976.321
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

A 1916 promotional guidebook entitled “Honolulu Tourist Guide and Handbook”

Mechanical Reproduction.

Collection: Carter Collection
Call Number: Library: 8.A.65

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Cover of an 1897 tourist booklet entitled “A Trip to Hawaii”

Chromolithograph

Call Number: MS Group 79 Box 7.38
Artifact Number: SP_38691
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Surf-board Riding [Hawai‘i], ca. 1880. Hand-tinted lantern slide.

Adapted from: Reverend J.G. Wood, The Uncivilized Races of Man in All Countries of the World. (Hartford: J.B. Burr, 1878), vol. II, pg. 1093.

Call Number: Art. Recreation. Sports. Surfing.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Duke Kahanamoku standing in front of his surfboard; Waikīkī, Hawai‘i. ca. 1915. Hand-tinted lantern slide.

Collection: General Photograph Collection
Call Number: People. Kahanamoku, folder 2.
Artifact Number: SLS 24263
Location: Bishop Museum Archives

Kai Akea > Duke Kahanamoku’s Surfboard >
The History of Waikīkī

A short video slideshow showing the development of of Waikīkī and surfing from 1900 to the present.

Kai Akea > Duke Kahanamoku’s Surfboard >
The History of Surfing

Pōhaku Stone tells of the traditions and rituals related to surfing.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Kalaniopu‘u bringing presents to [Captain] Cook by John Webber, 1784.

Collection: Art Collection
Call Number: Art. Ethnic Culture. Hawaiian. Transportation. Canoes.
Artifact Number: SXC 96641
Accession Number: 1922.129

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Hawaiian Outrigger Canoe, ca. 1912.

Call Number: E.C. Hawaiian. Transportation. Canoes, folder 1.
Artifact Number: SP 97018

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Hawaiian men with canoes at Waikīkī, Hawai‘i. ca. 1900.

Call Number: E.C. Hawaiian. Transportation. Canoes, folder 1.
Artifact Number: SP 203513

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

In 1973 the Polynesian Voyaging Society was founded. Its mission was to build a double hulled canoe and “retrace the legendary voyages that once linked those far-flung islands and in doing so demonstrate to skeptics that the ancient Polynesians could have intentionally sailed across vast stretches of the Pacific without navigational instruments when most seafaring peoples were still hugging continental shores.”* Indeed while Kānaka Maoli held many oral traditions of great navigators such as Mo‘ikeha, Pa‘ao and Hawai‘iloa, who navigated these seas centuries prior to Captain Cook’s arrival, many others believed that the Polynesians possessed no such great skill and merely drifted to Hawai‘i on an accidental voyage. This “drift” theory not only stole a history of skilled navigation from Hawaiians, but also worked to create a disconnect between a people and their sacred stories.

The P.V.S. completed its first canoe, Hōkūle‘a (star of gladness), in 1975, and with the help of master navigator Mau Pialug of Satawal, sailed on May 1, 1976 from Honolua Bay, Māui. The crew navigated without modern instruments and arrived to a cheering crowd of thousands thirty-four days later in Tahiti. This voyage of way-finding, not only made a statement about a legacy of skilled navigation for Hawaiians but re-awakened a pride within many Kānaka Maoli that helped drive what has been called a “Hawaiian Renaissance.”

The re-birth of traditional navigation, like farming lo‘i (kalo patches), working the loko i‘a (fishponds) and other traditional practices, also helped to re-connect Kānaka Maoli to ancient epistemologies. These traditional ways of knowing contained thousands of years of accumulated knowledge possessed by their ancestors. Learning navigation also brought insights into ‘ōlelo (language), lā‘au (medicine), ho‘omana (religion) and so much more. A better navigator was a better parent, a better co-worker, and better citizen.

The Hōkūle‘a was based on what was known of ancient voyaging design. Limited knowledge about the skills necessary to construct ancient cordage, sails and other parts however, meant that the canoe also contained many modern materials. The second voyaging canoe built by the society, named Hawai‘iloa, was an attempt to use traditional materials as much as possible. One stumbling block was the inability to find a koa log large enough to build the canoe. Where earlier great fleets were built out of native hardwoods, now, after decades of forestry and cattle grazing, trees like the koa were rare. The amazing breadth of the efforts to reclaim ancient knowledges was made apparent when a group of Native Alaskan tribes stepped forward and donated to the society two beautiful Sitka Spruce logs. In an eloquent explanation of the connection between these two distant peoples, a leader of the Alaskan tribe said, “Both the reality and the symbolism of the [Hawai’iloa] project breathe hope and inspiration into all peoples seeking to maintain their traditions, heritage and culture in a society that does not place a high priority on such things….You do it for the Hawaiian people, but it reaches far beyond. In your canoe you carry all of us who share your vision and aspiration for a people to live and prosper with their future firmly built on the knowledge of their heritage and tradition.”**

*Mission: Polynesian Voyaging Society. P.V.S. Pier 7. Honolulu HI.

**Maillot, Byron. CEO, SeAlaska. Building Hawaiiloa. 1993. P.V.S. Honolulu.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Graphite, ink, wash and watercolor drawing by John Webber, ca. 1778.

As the official artist aboard Captain James Cook’s third voyage through the Pacific (1776-1780), it was John Webber who visually defined for much of eighteenth-century Europe what the distant and exotic peoples and places of this relatively unknown world were like. His commission on this voyage was defined as ethnographic. His work served as a visual history to accompany the written accounts of Cook and his crew. Webber recorded landscapes, scenery, initial contact and other important aspects of society. These images offer a very rare glimpse at life prior to the swift and dramatic changes that would come soon after. The publication and marketing of these well-recorded voyages in the 1785 titled A Voyage to the Pacific Ocean, undertaken by the Command of His Majesty, for making discoveries in the Northern Hemisphere spurred great interest in this part of the globe.

Webber was not only a skilled artist, but also a prolific one. When he returned to England in 1780, he displayed over two hundred sketches made from the voyage. His initial work was developed, by himself and others, into finished engravings. These were published along with the official journals of Captain Cook in 1784. The death of Cook on the final voyage would only intensify interest in the expedition and Webber’s depictions. His work aboard Cook’s ships would eventually earn him a place in the prestigious Royal Academy, which was patronized by King George III.

Webber’s sketches while in Hawai‘i are invaluable as rare looks into early Hawaiian life, it is essential to remember that his representations were created through a lens that carried inherent ideas and understandings of an eighteenth-century European worldview. Webber’s art training prepared him to draw the European body and character. This specific view greatly shaped the way in which he drew Hawaiians. Webber was truly imaging the “other.” Also, both the written and sketched accounts of the voyage were affected by political concerns in Europe at the time. Many of the most commonly seen images that came to represent early Hawai‘i, are indeed second and third generation “workings” of his initial drawings. The sketches and watercolors that Webber created during the voyage were later adapted by engravers and others. These usually better known “finished products” were often significantly different than the original drawings.

This watercolor from the Bishop Museum Art Collection was sketched from a scene that Webber witnessed at Kealakekua Bay, on the western side of the Big Island of Hawai‘i. A double-hulled canoe appeared at Kealakekua where Cook’s ships had anchored. Aboard the canoe are 12 masked rowers, one of whom appears to be carrying a feathered ki‘i, or image. The rowers paddled by the European vessels and continued on to shore with no explanation as to their mission.

Collection: Art Collection
Call Number: Art. E.C. Hawaiian. Transportation. Canoes.
Artifact Number: SXC 96640
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Prince Jonah Kūhiō Kalaniana‘ole, Hawai‘i.

Call Number: People. Kalaniana‘ole, 1894-1922, folder 3.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

An Offering Before Cook in the Sandwich Islands. 1779. Ink and watercolor wash by John Webber.

Collection: Art Collection
Call Number: Art. Ethnic Culture. Hawaiian. Religion.
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

“A View of Karakakooa, in Owyhee.” 1784.

Engraving by W. Byrne after the artist John Webber.

from: James Cook, “A Voyage to the Pacific Ocean…in the Years 1776-1780.” London: 1784, pl. 68.

Collection: Art Collection
Call Number: Art. Geography. Hawai‘i. Kealakekua.
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Captain Cook Monument at Kealakekua Bay, Kona, Hawai‘i.

Collection: General Photograph Collection
Call Number: Geography. Hawai‘i. Kealakekua. Cook Monument.
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Collection: Art Collection
Call Number: Art. People. Cook.
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Part of the west side of Owhaow, one of the Sandwich Islands. Owhyhee. [A view of Waimea from the coast; O‘ahu, Hawai‘i], by William Ellis, February 2, 1779.

Collection: Art Collection
Call Number: Art. Geography. Oahu
Artifact Number: SXC 99372
Accession Number: 1959.188
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

View of Atowa [Kaua‘i], one of the Sandwich Isles [Hawai‘i], by William Ellis, 1778.

Call Number: Art. Geography. Kauai.
Artifact Number: SXC 99376
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Engraving by Grignion after an original drawing by John Webber, 1784.

Collection: Art Collection
Call Number: Art. Ethnic Culture. Hawaiian. Transportation. Canoes.
Artifact Number: SP 203238
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

An Offering Before Cook in the Sandwich Islands. 1779. Ink and watercolor wash by John Webber.

Collection: Art Collection
Call Number: Art. Ethnic Culture. Hawaiian. Religion.
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Man of the Sandwich Islands in a Mask. 1874. Engraving by T. Cook after John Webber.

Call Number: Art. Ethnic Culture. Hawaiian. People. Men.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Une Vue de l’Interieur de l’Isle d’Atooi [Kaua‘i], 1785.

Hand-colored engraving by Bernard.

From: James Cook. Troisieme Voyage de Cook. Paris: Hotel de Thou, 1785. pl. 35.

Call Number: Art. Geography. Kaua‘i.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Lua technique “Leiomano (variant 1)”. For illustrations of the complete technique, see Lua: Art of the Hawaiian Warrior by Richard Paglinawan, Mitchell Eli, Moses Kalauokalani, and Jerry Walker. Honolulu, Hawaii: Bishop Museum, 2006.

Call Number: GV1100.H3 P34 2006.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Pīkoi with a handle used as a club from Lua: Art of the Hawaiian Warrior by Richard Paglinawan, Mitchell Eli, Moses Kalauokalani, and Jerry Walker. Honolulu, Hawaii: Bishop Museum, 2006. Photo by David Franzen.

Call Number: GV1100.H3 P34 2006, page 54.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Newa and Pīkoi from Lua: Art of the Hawaiian Warrior by Richard Paglinawan, Mitchell Eli, Moses Kalauokalani, and Jerry Walker. Honolulu, Hawaii: Bishop Museum, 2006. Photo by David Franzen.

Call Number: GV1100.H3 P34 2006, page 53.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Ma‘a with sling stones of various sizes from Lua: Art of the Hawaiian Warrior by Richard Paglinawan, Mitchell Eli, Moses Kalauokalani, and Jerry Walker. Honolulu, Hawaii: Bishop Museum, 2006. Photo by David Franzen. Ma‘a and stone by R. Nakama.

Call Number: GV1100.H3 P34 2006, page 51.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Teeth of cattle bone replicate the teeth of the great white shark. Samuel M. Damon Collection, 2006.

Collection: Samuel M. Damon Collection
Call Number: Hawaiian Hall photographs by Linny Morris
Artifact Number: B.02807-11 and B.06677

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Newa Kauila [04784]Kaulia club with human features carved on one side, Queen Emma Collection, 1889.

Leiomano [1991.370.001]Shark tooth weapon, Gift of the Hemmeter Corporation, 1991.

Collection: Queen Emma Collection; Gift of the Hemmerter Corporation
Call Number: Hawaiian Hall photographs by Linny Morris
Artifact Number: 1991.370.001; 04784
Location: On display in Hawaiian Hall, Wao Kanaka

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Publisher of Ka Leo o Ka Lahui and Ka Oiaio.

Call Number: SP 59297

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Editor Ke Aloha Aina 1895 – 1896

As a lawyer and legislator from the Puna District of Hawai‘i Island, Joseph Nāwahī served his nation as a determined and well-respected leader. His eloquent and thoughtful critiques delivered within the legislature were not reserved only for the common target of foreign influence, but could just as pointedly highlight what he saw as the poor governmental policy of his King. Nāwahī founded a Hawaiian-language newspaper with his wife Emma, Ke Aloha Aina, which came to serve as a site of political dialogue and organization after the overthrow of January 1893. The paper fiercely challenged the legitimacy of the new government despite new censorship laws and the harassment of newspaper editors during the period. Joseph died in 1896 of tuberculosis thought to have been contracted during time spent in prison on a charge of treason. His wife Emma ran the paper – often publishing messages from the Queen to her people – with diligence and grace after his death.

Call Number: SP 77056

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Editor of Ahailono o Hawaii 1897

As a descendent on his maternal side of the great orator and counselor to Kamehameha from Moloka‘i, Kaiakea, William Pūnohu White was born into a kuleana (responsibility/privilage) that would thrust him into a role of leadership and service. He, like his ancestor, gained renown for his mastery of speech and rose to prominance as a Native lawyer and political leader. Derided and attacked by some in the foreign community through the English-language press, William was however very popular within the Native community and was elected to the Hawaiian Kingdom legislature in 1890 and 1892. On January 14, 1893 he was awarded the Knights’ Order of Kalākaua by Queen Lili‘uokalani for his work on a new constitution and deemed by her, a great patriot of the nation. In 1897 when the Hawaiian political group Hui Kalaiaina sought to create a newspaper for the purpose of fighting a renewed push towards annexation to the United States, William was chosen as its editor.

Call Number: SP 101255

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Lahainaluna seminary workshop, mechanical printing press and movable type in type case in background, ca. 1895.

Call Number: SP 77272
Accession Number: 1979.544

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Exterior view of Hale Pa‘i, Lahainalua School print shop, 1935.

Call Number: SP 77856
Accession Number: 1978.53

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Protect Kaho`olawe `Ohana approaching the Island of Kaho`olawe by boat, Hawai`i; George Helm holding a coconut to plant, 1977.

Collection: General Photograph Collection
Call Number: Geography. Kaho`olawe. Protect Kaho`olawe `Ohana.
Location: Bishop Museum Archives

Wao Kanaka > Kaulana Nā Pua >
Contemporary Land Issues Regarding Mauna Kea

A short video that looks at the issues surrounding Mauna Kea; as a Hawaiian sacred site and scientific research facility. Excerpts from PBS Doc “First Light”

Location: Hawai‘i ALIVE

Wao Kanaka > Kaulana Nā Pua >
Jr Coleman voyaging

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Hīna‘i (Basket) made of ‘ie‘ie and olonā. This hīna‘i originally had a gourd interior; Hawai‘i. [26.6 x 26.6 x 43.1 cm.]. Photo by David Franzen, June 13, 2011.

Collection: Hawaiian National Collection
Call Number: Q 205657
Artifact Number: 03882
Accession Number: 1891.001

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Three balls of olonā cordage; Hawai‘i. [Artifact no. 00772, Accession no. 1889.006, J.S. Emerson Collection; Artifact no. B.06853, Accession no. 1923.362, Kapi‘olani-Kalaniana‘ole Collection; Artifact no. B.06854, Accession no. 1923.362, Kapi‘olani-Kalaniana‘ole Collection, Bishop Museum]. Photo by David Franzen, June 13, 2011.

Collection: J.S. Emerson Collection, Kapi‘olani-Kalaniana‘ole Collec
Call Number: Q 205658
Artifact Number: 00772, B.06853, B.06854
Accession Number: 1889.006, 1923.362, 1923.362

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Swivel-headed adze made of wood, olonā, and polished stone used primarily for working on the interior of canoes; Hawai‘i. Photo by David Franzen, June 13, 2011

Collection: J.S. Emerson Collection
Call Number: Q 205653
Artifact Number: 03116
Accession Number: 1889.006

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

[6842] cordage of ‘ahu‘awa (Cyperus javanicus) fiber [1970.010.065] ‘aha, sennit cordage of niu (Cocos nucifera) fiber [C.06256] cordage of hau (Hibiscus tiliaceus) fiber

On display: Wao Kanaka, Hawaiian Hall

Artifact Number: 6842, 1970.010.065, C.06256

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Typical of the rushed construction of the war period, the Waipi‘o Amphibious Naval Base was constructed at very high speed. In less than one year, this site went from having no structures at all, to this functioning facility. The base was used to dock and load landing craft like the ones shown here on the left, which were utilized when American troops were sent ashore in different Pacific locations to fight the Japanese for control of the many islands they had occupied.

Call Number: 1975.113, folder 15
Artifact Number: CP_121958
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

During World War II, the Army and Navy were empowered to take control of whatever land they chose. This sometimes happened simply by men arriving with no warning to move in, but more frequently was handled by signing leases. In other cases, however, land was condemned and owners were compelled to sell. One example of this process was the Waipi‘o Peninsula in Pearl Harbor, shown in this photo. The U.S. Navy condemned this land from its owner, the John I‘i Estate, forcing the disinterment of the remains of this famous Hawaiian historian of the 19th century from the family cemeter

Call Number: 1975.113, folder 1
Artifact Number: CP_96432
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

‘Iolani Palace was the seat of government in 1941, containing the Governor’s office as well as the Legislature. When the military seized control of the government on Dec. 7, military officers moved in and the Palace grounds were quickly surrounded by barbed wire (as this photo shows). Martial law was in effect until 1944, in a takeover which was unprecedented in American history. During this period, laws were created simply by proclamations, and civilians were subject to military courts and legal punishments.

Collection: General Photograph Collection
Call Number: 1998.346, page 39
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Downtown Honolulu was crowded with uniformed personnel towards the end of World War II, and in small towns throughout the islands the military often outnumbered the civilians. Everyone felt the strain; residents were sometimes resentful of being ordered around, while the soldiers and sailors complained of few opportunities for recreation and of being overcharged for what little they could get.

Collection: General Photograph Collection
Call Number: 1991.196, folder 4
Artifact Number: CP 126177
Accession Number: 1991.196
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

This soldier posed for a snapshot with the King Kamehameha statue located in Kohala, Hawaiʻi Island. Seeing this combination of a man in a U.S. Army uniform with one of Hawaiʻi’s most prominent aliʻi is thought-provoking.

Collection: Ruth Oian Pratt
Call Number: 1978.227.01, page 33.
Artifact Number: CP_112243
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Before the war, Hollywood movies, magazine articles, and radio shows had created a fantasy image of Hawaiʻi for people throughout the country. Men in the military were often disappointed to find that the Hawaiian Islands didn’t resemble what they’d expected when they arrived. Unlike the scene on this comic postcard, few men ever got close to a hula dancer.

Collection: Postcard Collection
Call Number: Military. War.
Artifact Number: SP_126175
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Poison gas had been used on the European battlegrounds of World War I. It was considered such a horrific weapon that it had later been outlawed by international treaties. Even so, most countries prepared for possible poison gas attacks in World War II. In Hawaiʻi, every person was issued a gas mask, which was supposed to be carried at all times. Most people stopped doing so within a few months since the masks were heavy and awkward to carry. And fortunately, the masks were never needed.

Collection: General Photograph Collection
Call Number: Military. War. WWII. folder 1.
Artifact Number: SP_201222
Accession Number: 2002.165.006
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

One of the largest explosions of the Dec. 7th attack at Pearl Harbor was that of the U.S.S. Shaw. This spectacular but horrifying picture of the blast is one of the most famous images taken that day.

Collection: General Photograph Collection
Call Number: Military. WWII. December 7, 1941.
Accession Number: 2005.043
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Just after the Dec. 7th attack, barbed wire was hurriedly strung along many miles of Hawaiian coastlines and around important buildings. Beachside residents found themselves cut off from access to the ocean. In some locations, access was even more restricted by military maneuvers like what is shown in this photo taken in Kīhei, Maui. Landing craft line the beach as men practice coming ashore, in preparation for fighting to retake Pacific islands held by the Japanese. Meanwhile, two women watch from a home’s front yard.

Collection: General Photograph Collection
Call Number: Military. War. WWII. Amphibious Training.
Artifact Number: SP 96137
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

The interactions between the military and civilian residents of Hawaiʻi varied a great deal. Entertainers like this hula troupe were always welcomed by men who missed the sight of women, and many local people were hospitable and friendly to men who were far from home. At other times, however, friction developed. Cultural misunderstandings sometimes led to attitude problems, anger, and fights.

Call Number: Military. War. WWII. Entertainment.
Artifact Number: SP_86706
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Damaging explosions and fires occurred in multiple locations in Honolulu during the attack on Dec. 7. This photograph shows the area of greatest civilian damage, which was on King Street (in the foreground) at McCully Street. Both stores and houses were destroyed here, and one woman was killed. People naturally believed that bombs from Japanese planes were responsible, but in fact, U.S. Navy anti-aircraft shells that had been fired against the enemy airplanes were the real cause. The shells had not detonated high in the air as they were supposed to, but instead had fallen intact to the ground, where they then blew up. Approximately 60 civilians died on Dec. 7, along with over 3,000 military personnel.

Collection: General Photograph Collection
Call Number: Military. War. WWII. December 7, 1941
Artifact Number: SP 98512
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

October 22, 1944

A unique part of Hawai‘i during World War II was the formation of quasi-military militias. These men wore uniforms and trained with weapons, but were not actually part of any branch of the U.S. military forces. The group in this photo, the Kaua‘i Volunteers, were all Filipino agricultural workers. While the general intention of the militias was to assist with war activities as required, in this particular case the additional benefit was to channel the anger that Filipino men felt about the invasion and occupation of their homeland by Japan. This defused possible conflicts between these men and their Japanese coworkers and neighbors on Kaua‘i.

Collection: General Photograph Collection
Call Number: Military. War. WWII. folder 1.
Artifact Number: SP 96451
Accession Number: 1977.446
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

The Kau Kau Korner drive-in restaurant was located at the intersection of Kapi‘olani Boulevard and Kalākaua Avenue in Honolulu. Its famous neon sign, shown here on this souvenir sticker, was considered a landmark which visitors often photographed. During World War II tourists were not allowed to travel to Hawai‘i for pleasure trips, but military personnel patronized the restaurant instead. Because of the strict blackout, which prohibited any kind of lights showing after sunset at the beginning of the war, this sign’s electricity was disconnected and it was only visible during the day.

Collection: Memorabilia
Call Number: MS Memorabilia Box 3.6
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

This paper sticker, sold as part of a souvenir set with Hawaiian motifs, uses a very common symbol of World War II: “V for Victory”. This had first been popularized by Winston Churchill, the Prime Minister of Great Britain, who was often photographed holding his fingers up in a V shape. The 3 dots and the longer line above the word “Hawaii” on this sticker stand for the letter V in Morse Code, which used what were called “dots” and “dashes” like these to transmit messages.

Collection: Memorabilia
Call Number: MS Memorabilia Box 3.6
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

The phrase “Remember Pearl Harbor!” immediately became popular throughout the U.S.A. as a rallying cry to support the war effort in whatever was considered necessary. There were at least two songs written with this title, and additionally, there were pins, fabric, posters, and stickers like this one to express patriotism

Collection: Memorabilia
Call Number: MS Memorabilia Box 3.6

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Portraits of two young Japanese U.S. Army service members inscribed, ‘To Dad & Mom, your son Tokuichi,’ and ‘Love, Fumiko.’. February 1945.

Call Number: Ethnic Culture. Japanese. People, folder 2.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

War headline of Honolulu Star-Bulletin, Honolulu, Hawai‘i, December 7, 1941.

The Honolulu Star-Bulletin normally did not publish on Sundays in 1941, but the Japanese attack was reason enough for special editions to be printed that day. This was the first of at least 4 different editions that the newspaper published on Dec. 7, and it’s the most famous one. The huge headline immediately became a symbol of this momentous event. Many thousands of replicas of this front page have been sold as souvenirs since at least the 1960s

Call Number: Military. WWII. December 7, 1941.
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

‘Aha‘aina at Pualeilani, home of Prince and Princess Kalaniana‘ole; Waikīkī, Hawai‘i. ca. 1905.

Collection: General Photograph Collection
Call Number: Domestic Life. Homes. Kalaniana‘ole. Pualeilani I.
Artifact Number: SP 46025
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Mules hauling taro, possibly Waipi‘o, Hawai‘i. ca. 1936.

Call Number: Agriculture. Taro. Cultivation.
Artifact Number: SP_103128

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Hāloa denies that.
An open poi bowl meant that no business or ill will was to be discussed lest Hāloa, the taro plant, be offended.*

As the hiapo (first-born child) of the deities Wākea and Ho‘ohōkūkalani, Hāloa-naka, the kalo plant, holds important kuleana (responsibility/privilege) in the relationship between Kānaka Maoli and the land that surrounds them. The second born to these gods, named Hāloa in honor of his elder brother, is ancestor to all Hawaiian people. In Hawaiian knowledge, it is the duty of this younger sibling to honor and serve the elder and in turn the elder sibling will provide for them. This inter-dependant relationship between man and the land serves to connect the fate of both.

Kalo (Colocasia esculenta), a representation of the land, was consumed by Kānaka Maoli as the primary food in traditional society. The partaking of foods, as kinolau (myriad bodies) of the gods, was one way of getting nearer to the gods. The planting, harvesting and consumption of kalo were all treated with great respect, shown through the many protocol that surrounded these practices.

Kalo could be grown in either lo‘i (wetland patches), or in the case of areas with much less rain, mala (dryland gardens). Wetland taro gardens were an integral part of an inter-dependent system that often stretched from mountain to sea. Entire communities worked together to keep kahawai (streams) and ‘auwai (ditches) clean and running so that all farmers within the system could benefit from the clean, cool waters of the main streams. A land that was full with taro patches was considered ‘āina momona (fattened land).

Kalo was baked or steamed and then often pounded into ‘ai pa‘a (firm food) or poi. Poi was eaten with the fingers and was often described as one-finger or two-finger poi depending on the thickness. Cultural understandings displayed in the protocol surrounding the eating of poi are mentioned by Mary Kawena Pukui in Native Planters,“My own people, among whom I grew up, never used three fingers…there was an etiquette involved: I was taught as a small child never to separate the fingers…never to insert the fingers above the first joint.”** These things were all considered piggish, greedy.

The kalo was pounded into pa‘i ‘ai (pounded food) and poi on papa ku‘i ‘ai (kalo pounding boards) with pōhaku ku‘i ‘ai (food pounding stones). These pōhaku were most often carved from basalt stones and formed with a rounded base and knobbed head. One derivation often found on the island of Kaua’i is a stirrup, handle shape. Bishop Museum’s ethnology collection contains hundreds of pōhaku ku‘i ‘ai in a number of styles, sizes and materials.

* Pukui, Mary Kawena. ‘Olelo No‘eau: Hawaiian Proverbs & Poetical Sayings. Bernice P. Bishop Museum special publication 71. no.1700, p.182. Honolulu. Bishop Museum Press, 1983.

**Handy, E.S. Craighill and Elizabeth Green Handy with the collaboration of Mary Kawena Pukui. Native Planters in Old Hawaii: their Life, Lore, and Environment. Bernice P. Bishop Museum bulletin 233. Honolulu: Bishop Museum Press, 1991. pp 115.

Location: Bishop Museum

Wao Kanaka > Mary Pukui Pounding Kalo >
Mary Kawena Pukui pounding kalo

Mary Kawena Pukui pounding kalo.

From: Poi, Imu, Lauhala, Tahitian Dancing by Margaret Titcomb. 1936,1937.

Call Number: 1977.0182.0014

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Japanese man and women sugar workers in canefield, Hawai‘i,ca. 1910.

Call Number: Agriculture. Sugar. Workers. Japanese Women.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Bagged sugar being loaded onto a vessel for shipping; Hawai‘i. ca. 1935.

Collection: General Photograph Collection
Call Number: Agriculture. Sugar. Shipping.
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Montage of Hawai‘i’s first pineapple plantation, Captain John Kidwell, and the Mansion of the first pine plantation in Mānoa Valley, ca. 1885.

Call Number: Agriculture. Pineapples.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Houses built by Japanese sugar plantation workers in Wainaku, Hawai‘i. These homes were used by the immigrant group arriving in June of 1885.

Photograph taken by Charles Furneaux ca. 1890.

Call Number: SP 3715
Location: E.C. Japanese. Domestic Life.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Workers loading sugar cane onto train cars at Ewa Plantation; Hawai‘i. ca. 1905.

Collection: General Photograph Collection
Call Number: Agriculture. Sugar. Harvest. Hand Loading.
Artifact Number: SP 86446
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Harvesting Sugar Cane; Pu‘unēnē, Maui. ca. 1915

Photograph by Ray Jerome Baker

Call Number: SCD 25676
Location: Agriculture. Sugar. Workers.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Sugar plantation worker’s home in Wainaku, Hawaii. ca. 1890.

Photograph by Charles Furneaux

Call Number: SP 3710
Location: E.C. Japanese. Domestic Life.

Wao Kanaka > Immigrant Passports >
The Plantation System in Hawai‘i

A short history of the plantation system of agriculture as it existed in Hawai‘i. This video has interviews with the children of plantation workers and archival footage of workers on the plantation.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Pawehe makaloa patterns from Arts and Crafts of Hawaii by Te Rangi Hiroa (Sir Peter Buck)

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Makaloa – Umbrella Sedge – Cyperus laevigatus

Photograph by H. Lennstrom

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Photo by Ray Jerome Baker, 1900-1915.

Collection: General Photograph Collection
Call Number: E.C. Hawaiian. Art. Weaving. Hats.
Artifact Number: SP 26315
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Lauhala weavers sponsored by the University of Hawaii extension service; (Lt. to rt.: Mrs. Helen Kekalia, Mrs. Louisa Laumana, Mrs. Daisy Moore, Aunt Alice Kaulili, Mrs. Louise Caster and Mrs. Ellen Smith); Hoolehua, Molokai, 1949.

Call Number: E.C. Hawaiian. Art. Weaving.

Wao Kanaka > Makaloa Protest Mat >
Protest Mat Video

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

‘Ohe Kāpala (Bamboo stamp) for kapa design.

Collection: General Photograph Collection
Call Number: E.C. Hawaiian. Art. Kapa.
Artifact Number: I 102674_21
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Hawaiian fisherman in a malo and ‘ahu lā‘ī, Mauna Kea in background; Hawai‘i. ca. 1900.

Call Number: E.C. Hawaiian. People. Men, folder 1.
Artifact Number: SP 20706
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Hawaiian women at Kaliuwa‘a (Sacred Falls); Hau‘ula, O‘ahu, Hawai‘i. Photo by Severin and Bolster.

Call Number: E.C. Hawaiian. People. Women.
Artifact Number: CLS 92157

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Femme des iles sandwich; 1882 by Louis Choris. Published in Voyage Pittoresque Autour du Monde 1820-1822.

Collection: Art Collection
Call Number: Art. Ethnic Culture. Hawaiian. People. Women.
Artifact Number: XC 101782
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

 

The tropic bird that soars to the cliff of Līloa
Said of a chief of high rank*

Hawaiian society under the ‘Aikapu system was stratified according to rank. An individual’s rank was not determined by wealth or gender, but by genealogy. Those of the highest rank could trace their genealogy all the way back to the beginning of time, to the very first organism to inhabit the earth, even to the primordial darkness preceding all life. These genealogies were recorded in chants called ko‘ihonua that glorified Ali‘i bloodlines, ancestors, and their decedents.

Ali‘i, like other strata of Hawaiian society, were not all of similar rank. The highest Ali‘i were the Mō‘ī, or supreme rulers. They were often nī‘aupi‘o chiefs, having being conceived through the union of high ranking siblings. These nī‘aupi‘o chiefs were considered to be Akua (Gods) on earth, and as such, they had to keep strict kapu, or taboos, least the welfare of their people and lands be compromised. Also, because ruling was a kuleana (responsibility, right), many chiefs would go to great lengths to ensure their kapu were kept. For example, for those whose kapu forbade their shadow falling on another human, they would often leave their kauhale (housing complex) only after the sun had gone down so that their shadow could not be cast. Ruling in Hawai‘i was not just about luxury, as the Mō‘ī had an inter-dependent relationship with the maka‘āinana. The commoners provided the resources that the Mō‘ī would use to mālama their people and the Gods.

There might be one Ali‘i Nui ruling over an entire island, or several each with their own moku (large land division within an island). Lesser Ali‘i, known as kaukau ali‘i might rule over an ahupua‘a, smaller land division, or an ‘ili, an even smaller land division within an ahupua‘a. Unlike the Ali‘i Nui, the Kaukau Ali‘i often did not have strict kapu. In fact, many Kaukau Ali‘i were not of much higher rank than the konohiki, or resource managers, who dealt directly with the maka‘āinana (common people).

One important symbol of rank for the highest Ali‘i was the lei niho palaoa, a whale tooth pendant. The carved hook pendant is strung on thousands of finely braided strands of human hair. These significant lei were worn by Ali‘i of both genders. These whale teeth were collected from carcass that would wash ashore at specific places in the islands. Theses wahi pana (sacred places) were considered important areas to control in order to have access to the mana that these items brought. Control over these spots, like Kualoa on O‘ahu, might mean control over the entire island.

* Pukui, Mary Kawena. `Olelo no`eau: Hawaiian Proverbs & Poetical Sayings. Bernice P. Bishop Museum special publication 71. no.1750, p188. Honolulu. Bishop Museum Press, 1983.

Location: Bishop Museum

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Man From the Sandwich Islands with Feathered Helmet, Helmet Band and Cape. Ink and Watercolor by John Webber, 1778.

Call Number: Art. Ethnic Culture. Hawaiian. People. Men.
Location: Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Princess Lili‘uokalani (standing) and Queen Kapi‘olani in London, England, for Queen Victoria’s Jubilee, 1887. Photograph by Walery.

Call Number: People. Kapiolani. Queen Victoria’s Jubilee 1887.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Tamehamalu, Her Majesty the Queen of the Sandwich Islands [Hawai’i]. Lithograph by John Hayter, June 1824.

Call Number: Art. People. Kamāmalu.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Drawing by J.W. Grear of Kamehameha II, Queen Kamāmalu, and party at the New Theater Royal, London, England. June 4, 1824

Collection: Art Collection
Call Number: Art. People. Kamehameha II.
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Court Uniform of Col. Curtis P. Iaukea, made for Queen Victoria’s Jubilee, 1887.

Wool, cotton, silk, silver braid, brass.

Photographer: Seth Joel

From: Rose, Roger. “Hawai‘i: The Royal Isles.” Honolulu: Bishop Museum Press, 1980, page 48, no. 273.

Artifact Number: B. 1818
Accession Number: 1919 (B.1818)
Location: Bishop Museum

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

I‘e kuku (kapa beaters)

Call Number: BK. 7:55
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Bark cloth [wauke fiber] “Mother Hubbard” dress, Hawai‘i. Early 19th century.

Photographer: Seth Joel

From: Roger G. Rose, Hawaii: The Royal Isles, Bernice P. Bishop Museum Special Publication 67 (Honolulu: Bishop Museum Press, 1980), pg. 94.

Call Number: E.C. Hawaiian. Art. Kapa.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Gown worn by Princess Lili`uokalani to King Kalakaua’s Coronation. This gown was one of two ordered by Princess Lili`uokalani in 1883 from a Parisian dressmaker.

Silk, velvet, glass and metalic beads.

Photographer: Seth Joel

From: Rose, Roger. Hawai‘i: The Royal Isles. Honolulu: Bishop Museum Press, 1980, page 49, no. 278.

Collection: Lili`uokalani Collection
Artifact Number: 1917.19.01

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Watercolor and charcoal drawing by an anonymous artist, ca. 1890.

Call Number: Art. People. Kamehamea II.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Games and sport have always been an integral part of Hawaiian life. In traditional society pa‘ani kahiko (ancient games) were numerous and extremely popular. These games actually came to the forefront of everyday life during the yearly makahiki festival that spanned approximately three to four months. The time of makahiki meant the arrival of the god Lono and the setting aside of the god Kū. Warfare and other activities of Kū ceased and the land, and its inhabitants, were allowed to regenerate, procreate and grow anew. This was a time of le‘ale‘a (pleasure) when many games and contests were held.

 

Physical Sport

Some of these games that were played were physical sports. These contests were not only used as arenas where the strong and swift could attain recognition and fame, but they also served to train the many warriors who might need to be called upon later in battle. Ancient mo‘olelo record many contests of sport ranging from kūkini (running), he’e hōlua (sledding), he‘e nalu (surfing), lele kawa (cliff jumping) to hākōkō (wrestling), mokomoko (boxing) and many others. Games such as ‘ulumaika (rolling disks), moa pahe‘e (dart throwing) and ‘ō‘ō ihe (spear throwing) required a steady hand and a trained eye. The more formal of these contests during the makahiki would take place at a designated kahua pa‘ani (sporting area) with the wooden staff Lonomakua watching over the contestants. Not only was a contestant being judged, but the glory or dishonor of the family name was on the line. The victors of these contests were heralded throughout the islands. Many of the most heroic stories of the gods involve these battles of strength and speed.

 

Games of the Mind

Kānaka Maoli were also passionate about games of the mind that rewarded the player with the quickest and sharpest wit. Recitation of genealogies, proverbial sayings and knowledge of hidden meanings in phrases were some of the most admired of Hawaiian skills. Word games and ‘ōlelo nane (riddles) were favorites. Another verbal type of duel ho‘opa‘apa‘a, could be seen as an extreme verbal sport as a loss in a contest could mean death. Kōnane, a form of checkers, was another game that challenged the mind. This was often played on boards of stone with alternate sets of black and white pebbles. Some more elaborate sets contained carved figures as men.

 

Procreative Games

Procreation was the basis for the earth itself and was considered a natural gift of the gods. Games to encourage procreation were especially prevalent during the makahiki. ‘Ume (to draw towards or attract) and kilu were two varieties of this sort of game. Like the other games and sports mentioned, accounts of ‘ume and kilu can be found throughout the ancient mo‘olelo. One well-known incident is the game of kilu played by Hi‘iaka, sister of Pele, and Lohi‘au, an ali‘i of Kaua‘i.


Boxing match before Captain Cook. Ink and watercolor by John Webber, ca. 1779 [the actual event took place on January 28, 1779]. (56×98.5 cm)

Collection: Art Collection
Call Number: Webber
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Sketch by Henry Kekahuna of “The Famous Royal Holua, or Slide, at Keauhou, North Kona, Hawaii.” November 15, 1953.

Collection: MS Group 312: Henry E.P. Kekahuna
Call Number: Map: 50-HA-D3: 5

Wao Kanaka > Lonoikamakahiki > Hōlua

A short video that follows Tom Pōhaku Stone in his reconstruction of a hōlua sled and his reintroduction of the sport to Hawai‘i’s children.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

‘Ukulele made in the 1930’s by David Mahelona of koa, mother-of-pearl, brass, plastic, metal, wood, and cat gut. Photograph by Seth Joel. From: Roger Rose, Hawai‘i: The Royal Isles (Honolulu: Bishop Museum Press, 1980), pg.17, no. 164.

Call Number: Hawaii: The Royal Isles
Accession Number: 1976.129
Location: Bishop Museum

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Mrs. Mary Kawena Pukui playing the ‘ūkēkē with Mrs. Timothy (Rosalie) Montgomery; Hawai‘i, 1950.

Collection: General Photograph Collection
Call Number: E.C. Hawaiian. Music. Musicians. Instruments.
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Pair of ‘ulī‘ulī (coconut dance rattles); Hawai‘i. These ‘ulī‘ulī were probablly exhibited by the Hawaiian government at the Paris Exposition Universelle, 1889. Coconut shell, chicken feathers, cotton and silk, leaf stems, wire, trade cordage, thread, ali‘ipoe. ca. 1885.

Photo: ca. 1980 by Seth Joel.

From: Roger Rose, Hawai‘i: The Royal Isles. (Honolulu: Bishop Museum Press, 1980), pg. 16, no. 153.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Man playing the nose flute and hula dancer in front of hale pili (grass house), Hawai‘i. ca. 1890-1905. Hand-colored lantern slide. Photographer: Henry W. Henshaw.

Call Number: E.C. Hawaiian. Music. Instruments.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Left to right: ‘Iolani Luahine, Malia Kau (standing) and Mary Kawena Pukui at Hānaiakamalama (Queen Emma’s Summer Palace)Nu‘uanu, Honolulu, Hawai‘i.

Call Number: People. Bishop Museum Staff. Pukui. [SP 86368]
Accession Number: 1983.245

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Pen, pencil and wash image by John Webber, ca. 1780.

Collection: Art Collection
Call Number: Art. E.C. Hawaiian. Hula.
Artifact Number: SXC 39933
Accession Number: 1922.129 (189a)
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Hula dancers at the Royal Hawaiian Hotel; right: Lily Padeken Wai, member of the Royal Hawaiian Hula Girls; left: Leolani Blasidell. ca. 1950.

Call Number: E.C. Hawaiian. Hula, 1900-, Folder 6.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Kuluwaimaka, Hawaiian Chanter. ca. 1930.

Photograph by Ray Jerome Baker.

Collection: Ray Jerome Baker
Call Number: E.C. Hawaiian. Music. Musicians. Chanters.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Studio portrait of Hula master Ioane and family eating poi, ca. 1885.

Call Number: E.C. Hawaiian. Domestic Life. Foods. Poi, folder 2
Artifact Number: SP 44724

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

William Kalani, an expert farmer, showing the proper cut for kalo cultivation, 1940.

Call Number: Agriculture. Taro. Plants.
Artifact Number: SP 127200

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Lo‘i at Honokōhau, Maui, 1940. Huli planted in lines.

Call Number: Agriculture. Taro. Cultivation.
Artifact Number: SP 103628

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Hawaiian couple pounding kalo; Hawai‘i, photo by Davey, ca. 1900.

Call Number: E.C. Hawaiian. Domestic Life. Foods. Poi, folder 2
Artifact Number: SP 203905

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Hawaiian women eating poi, photo by J.A. Gonsalves, ca. 1920.

Call Number: E.C. Hawaiian. Domestic Life. Foods. Poi, folder 1
Artifact Number: CP 103159

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Hawaiian boys pounding kalo, photo by P.L. Lord, ca. 1889.

Call Number: E.C. Hawaiian. Domestic Life. Foods. Poi, folder 1
Artifact Number: CP 73671

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Hawaiian men pounding kalo.

Call Number: E.C. Hawaiian. Domestic Life. Foods. Poi, folder 2

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Hawaiian people working in taro patch, Waiākea, Hawai‘i, ca. 1890-1905.

Photographer: Henry W. Henshaw (?)

Collection: General Photograph Collection
Call Number: Agriculture. Taro. Cultivating.
Location: Bishop Museum Archives

Wao Kanaka > Pōhaku ku‘i ‘ai Collection >
Pōhaku ku‘i ‘ai Collection

Mary Kawena Pukui pounding kalo.

From: Poi, Imu, Lauhala, Tahitian Dancing by Margaret Titcomb. 1936,1937.

Call Number: 1977.0182.0014

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Man demonstrating the use of a Hawaiian Hōlua sled.

Pan Pacific Press Photograph

Collection: General Photograph Collection
Call Number: E.C. Hawaiian. Recreation. Sledding.
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Konane game stone, used for playing konane, a game similar to checkers using black and white stones placed in depressions where two players proceed by jumping stones, Hawai‘i. n.d. Photographer: University of Hawai‘i Committee for the Preservation of Hawaiian Language and Culture.

Call Number: Hawaiian Cultural Photos, book 7, pg. 5.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Cache in house platform at Kēōkea, Hawai‘i, photo by Stokes, ca. 1920.

Collection: General Photograph Collection
Call Number: E.C. Hawaiian. Domestic Life. Homes. folder 1.
Artifact Number: SP 2045
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Hale pili of Princess Ruth Ke‘elikōlani in Kailua, Kona, Hawai‘i. ca. 1883.

Call Number: Domestic Life. Homes. Princess Ruth.
Artifact Number: SP 53525

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Hale pili, mauka of Kalihiwai, ca. 1890.

Call Number: E.C. Hawaiian. Domestic Life. Homes. folder 2.
Artifact Number: SP 96542
Accession Number: 1957.60

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Hale pili in Puna, Hawai‘i. Photo by William T. Brigham, 1889.

Call Number: E.C. Hawaiian. Domestic Life. Homes. folder 1.
Artifact Number: SP 5861

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Lū‘au at Moalalua Gardens; Moanalua, O‘ahu, Hawai‘i. 1883.

Call Number: E.C. Hawaiian. Domestic Life. Dining.
Artifact Number: SP_96216

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Homes in ‘Ōla‘a, Hawai‘i; “The New and the Old.” ca. 1889. Photograph by P. L. Lord.

Collection: General Photograph Collection
Call Number: E.C. Hawaiian. Domestic Life. Homes. folder 4.
Artifact Number: SP 201237
Accession Number: 1986.153.02
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Une Vue de l’Interieur de l’Isle d’Atooi [Kaua‘i], 1785.

Hand-colored engraving by Bernard.

From: James Cook. Troisieme Voyage de Cook. Paris: Hotel de Thou, 1785. pl. 35.

Call Number: Art. Geography. Kaua‘i.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Interieur d’un Maison d’un Chef dans les Iles Sandwich [Hawai‘i]. [1822]. Hand-colored lithograph. Artist: Louis Choris, after. Lithographers: Franquelin, and Langlume. From: Louis Choris, Voyage Pittoresque Autour du Mond… (Paris: Imprime de Firmin Didot, 1820, [Iles Sandwich], pl. XIX. ff DU12 C55.

Call Number: Art. E.C. Hawaiian. Domestic Life. Homes.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Hale pili (grass house).

Call Number: E.C. Hawaiian. Domestic Life. Homes.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Iles Sandwich [Hawai‘i]: Maisons de Karimokou, Premier Ministre du Roi; Fabrication des Etoffes. 1825. Engraving. Artist: Villeroy, after A. Pellion.

Call Number: E.C. Hawaiian. Domestic Life. Homes.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Image Number: SP 201097 (no negative) Lū‘au at Moanalua Gardens, Honolulu, Hawai‘i; (left, front to back): unidentified, unidentified, Princess Likelike, unidentified, unidentified, Ha‘alaku, Kamaia, Luka, Malia Kau (child, later chanter from Moanalua); (right, front to back): four unidentified, Namakahelu (chanter from Moanalua), Nohoanu Li‘i Li‘i, Nohoanu Nui, Loka; center, Kapahi Helemano. ca. 1883 Hand-tinted photograph.

Call Number: E.C. Hawaiian. Domestic Life. Dining. Lū‘au.

Wao Kanaka > Hale Pili > Kauhale system

A short video that looks at the different types of hale in Hawai‘i and the kauhale system.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

“Guerrier Sandwichien.” ca. 1822. Lithograph. Artist: A. Maurin, after Jaques Arago. Engraver: Kaeppelin & Co. From: Jaques Arago, Promenade Autour du Monde…1817…1820. Paris: 1822.

Call Number: Art. Ethnic Culture. Hawaiian. People. Men.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

“Guerrier/Iles Sandwich.” Lithograph. From: Jacques Arago, Promenade Autour du Monde Pendant les Annees 1817, 1818, 1819 et 1820, sur Arago, Dessinateur de l’expedition. Paris: Leblanc, 1822.

Call Number: Art. Ethnic Culture. Hawaiian. People. Men.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

“Iles Sandwich [Hawai’i]: Femme de L’ile Mowi Dansant.” Engraving.

Artist: Jacques Arago. Engraver: Augrand.

Call Number: Art. Ethnic Culture. Hawaiian. Dance. Hula.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

“Makoa [Hawai‘i],” 1834. Hand-colored etching. Artist: M. De Sainson. From: Jules Sebastien Cesar Dumont d’Urville, Voyage Pittoresque Autour du Monde, Resume General des Voyages de Decouvertes…(Paris: Chez L. Tenre, 1834) vol. I, pl. opp. pg. 427.

Call Number: Art. Ethnic Culture. Hawaiin. People. Men.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

“Iles Sandwich [Hawai‘i], Un Officer Du Roi En Grand Costume.” 1825. S. Leroy-after drawing by Jacques Arago, engraving by Lerouge & Forge. Hand-colored stipple engraving. From: Louis Desaulses de Freycinet, Voyage Autour du Monde, Entrepris par Ordre du Roi, Exécuté sur les Corvettes “L’Uranie” et “La Physicienne”, Pendant les Années 1817 à 1820 : Navigation et Hydrographie (Paris: Pillet ainé, 1826), Atlas historique, pl. 85.

Call Number: Art. Ethnic Culture. Hawaiian. People. Men.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Portrait of Captain George Vancouver (1757-1798), original in the National Portrait Gallery, London.

Call Number: SP 96774

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

U.S. Consulate. Detail of the lithograph “View of Honolulu. From the Catholic Church. No. 2.” Lithograph by G.H. Burgess after a drawing from nature by Paul Emmert, 1854.

Call Number: SP 99506

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Detail of the House of Nobles listing from the composite ballots, 1874 election.

Artifact Number: QM 204345

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Detail of the House of Representatives listing from the composite ballots, 1874 election.

Call Number: QM 204345

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Hīna‘i (Basket) made of ‘ie‘ie and olonā. This hīna‘i originally had a gourd interior; Hawai‘i. [26.6 x 26.6 x 43.1 cm.]. Photo by David Franzen, June 13, 2011.

Collection: Hawaiian National Collection
Call Number: Q 205657
Artifact Number: 03882
Accession Number: 1891.001

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Possible wedding portrait of Princess Bernice Pauahi Bishop and Charles Reed Bishop; Hawai‘i. Daguerreotype by an unknown photographer, ca. 1850.

Call Number: SP 21660
Accession Number: 1981.486

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Portrait of Queen Emma with throne and the silver christening cup gifted by Queen Victoria of England to the Prince of Hawai‘i; Honolulu, Hawai‘i. Photo by J.J. Williams, 1870-1888.

Call Number: SP_38913

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Portrait of Princess Ruth Ke‘elikōlani; Hawai‘i. Photograph by Charles Weed, 1865.

Call Number: Q 204074
Accession Number: 1979.24

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Portrait of Emma Kaili Metcalf Beckley Nakuina (1847-1929), Curator of the Hawaiian National Museum. Unknown Photographer, n.d.

Call Number: SP 74114

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Photo by David Franzen, June 13, 2011.

Collection: Bernice Pauahi Bishop Collection
Call Number: Q 205649
Artifact Number: 6727
Accession Number: 1894.001

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Photo by David Franzen, June 13, 2011.

Collection: Queen Emma Collection
Call Number: Q 205654
Artifact Number: 00515
Accession Number: 1889.004

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Photograph by David Franzen, June 13, 2011.

Collection: Ke‘elikōlani Collection and J.S. Emerson Collection
Call Number: Q 205660
Artifact Number: 03174; 03116
Accession Number: 1889.016; 1889.006

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Bishop Museum in 1891 (Bishop Hall on left with main hall on right); Honolulu, Hawai‘i. Unknown photographer, December 28, 1891.

Call Number: SP 377

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Library in Hawaiian Hall at the Bishop Museum; Honolulu, Hawai‘i. Unknown photographer, pre-1915.

Call Number: SP 398

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Interior view of Polynesian Hall from the west end of gallery at Bishop Museum; Honolulu, Hawai‘i.

Call Number: SP 401

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Group portrait in Bishop Museum’s Hawaiian Hall, (from left to right) Allen Walcott, Alvine Seale, John J. Greene, W.T. Brigham, W.A. Bryan and J.F.G. Stokes; Honolulu, Hawai‘i. Unknown photographer, n.d.

Call Number: SP 511

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Call Number: SP 18538

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Diorama of kapa making in Hawaiian Hall; Bishop Museum, Honolulu, Hawai‘i. Unknown photographer, ca. 1960.

Call Number: SP 204616

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Interior view of Hawaiian Hall, Bishop Museum; Honolulu, Hawai‘i. Photo by Charles Myers, 2006.

Call Number: Q 201111

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

P. Christiaan Klieger’s Reconstruction from Moku‘ula; Maui’s Sacred Island.

Collection: Art Collection
Call Number: Art. Geography. Maui.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Hale Pa‘i, Commemorative Plaque, Lahainaluna School; Photo by J.W. Wright, March 1974.

Call Number: Education. Schools. Maui. Lahainaluna.
Artifact Number: Sp 107336_3

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Lahainaluna Glee Club of 1908; Lahainaluna School, Maui.

Collection: “Jazz” Belknap Collection
Call Number: Education. Schools. Maui. Lahainaluna.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Call Number: Education. Schools. Maui. Lahainaluna.
Artifact Number: CP_77266

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

David Malo; Lahainaluna student and author.

Collection: General Photograph Collection
Call Number: People. Maj-Mam.
Artifact Number: CP 126565
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Samuel M. Kamakau, Lahainaluna student and author.

Call Number: People. Kamakau.
Artifact Number: SP_21929

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Joseph Nawahi, Lahainaluna student, lawyer, artist and politician.

Call Number: People. Na-Nd.
Artifact Number: SP_77056

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Lorrin Andrews; by an unknown photographer, n.d.

Call Number: Book 8 page 3
Artifact Number: SP_120959

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Hale Pa‘i [Print shop] on the campus of Lahainaluna School, Maui. ca. 1915. Photo by Ray Jerome Baker.

Call Number: Education. Schools. Maui. Lahainaluna.
Artifact Number: SCN 25592
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Mission Seminary [Lahainaluna], Maui, Hawai‘i. Engraving. Artist: Momona

Call Number: Art. Education. Schools. Maui. Lahainaluna.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

‘Iolani Palace; Honolulu, Hawai‘i. ca. 1885.

Call Number: Album: 1995.308.018
Accession Number: 1995.308
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

King Kalākaua and staff on ‘Iolani Palace steps, Hawai‘i, ca. 1890. L to R: James Boyd, Col.Curtis Iaukea, Chas. H. Judd, E.W. Purvis, King Kalākaua, Geo. McFarlane, Governor J.O. Dominis, A.B. Hally, John D. Holt and Antone Rosa.

Photograph by J.J. Williams.

Call Number: G. & P. Monarchy. Kalākaua, 1874-1891

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Queen Kapi’olani enroute to Queen Victoria’s Jubilee, 1887.

Call Number: People. Kapiolani. Queen Victoria’s Jubilee 1887.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Ho‘okupu (gifts or offerings) presented on King Kalākaua’s 50th birthday, ‘Iolani Palace Throne Room; Honolulu, Hawai‘i. November 1886.

Call Number: Government & Politics. Monarchy. Kalākaua. Jubile

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Collage showing King Kalākaua and family. Left to right from top: Queen Kapi‘olani, King Kalākaua, Princess Likelike, Princess Lili‘uokalani, Princess Kai‘ulani, Prince Leleiohoku.

Call Number: [SP 96955] People. Kalākaua. Folder 2.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Reception line for King Kalākaua’s Jubilee celebration, ‘Iolani Palace, Honolulu, Hawai‘i. November 1886.

Call Number: Government & Politics. Monarchy. Kalākaua. Jubile

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Coronation of King Kalākaua at ‘Iolani Palace; Honolulu, Hawai‘i, February 12, 1883.

Collection: C.J. Hedemann Photographic Collection
Call Number: Album: 1981.254.04 #57
Accession Number: 1981.254.04
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

King David Kalakaua of Hawai‘i, ca. 1885

Call Number: People. Kalākaua, folder 4.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Queen Kapi‘olani of Hawai‘i.

Call Number: People. Kapi`olani, folder 1.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

One of two crowns ordered from England in 1882 by King Kalākaua and Queen Kapi`olani.

Gold, diamonds, opals, emeralds, rubies, pearls, carbuncle, enamel, kukui nut, velvet, silk.

Photographer: Seth Joel

From: Rose, Roger. Hawai‘i: The Royal Isles. Honolulu: Bishop Museum Press, 1980, frontispiece, no. 252.

Artifact Number: HH 101

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Robert Wilcox

Call Number: People. Wilcox, Robert. [SP 41237]

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Claus Spreckles as puppeteer of the Hawaiian Commissioner and Commission (originally a three person commission: L.A. Thurston, W.R. Castle, and W.C. Wilder. These commissioners were joined by W.N. Armstrong, C.R. Bishop, Archibald Hopkins, W.A. Kinney, Dr. John Mott Smith, and Special Commissioner Charles M. Cooke).

From: Judge. February 18, 1893, vol. 24, # 592.

Collection: Art Collection
Call Number: Art. G.& P. Political Cartoons.
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

“His Little Hawaiian Game Checkmated,” referring to President Cleveland’s desire to restore Queen Lili`uokalani (to the throne after the overthrow), being prevented by a congressional resolution not to intervene in Hawai`i politics in May 1894 and/or the declaration of the Republic of Hawai`i on July 4, 1894. From left: Uncle Sam, Secretary of State Walter Gresham (standing), President Grover Cleveland (seated). Chess pieces on chessboard: Senator David B. Hill, Representative Charles A. Boutelle, generic “Senator”, Queen Lili`uokalani, James H. Blount (Minister to Hawai`i opposed to the overthrow), Albert S. Willis (Minister to Hawai`i after Blount). Chess pieces on table: Senator Daniel W. Voorhees (lying down), Senator John T. Morgan, Senator John Sherman.

Call Number: Art. G.&P. Political Cartoons.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Statehood! A young girl (Dodie Bacon) with newspaper; Hawai‘i. 1959.

Call Number: G. & P. State of Hawai‘i.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Republic of Hawai‘i Stamps.

Collection: Thrum Collection
Call Number: ox 1 6381 #7, pg. 9.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Provisional Government in Red Ink Over the Hawaiian Kingdom Stamp of Queen Lili‘uokalani.

Collection: Thrum Collection
Call Number: Box 1 6381 #7, pg. 7.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Hawaiian Kingdom Stamp of Queen Lili‘uokalani.

Collection: Thrum Collection
Call Number: Box 1 6381 #7, pg. 6.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

U.S. Commissioner J.H. Blount (on right) with Mrs. Blount and Sec. Ellis Mills; Hawai‘i. 1893.

Photographer: Severin and Bolster.

Call Number: People. B.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Sanford Dole, as President, proclaiming the Republic of Hawai‘i at ‘Iolani Palace, Honolulu, Hawai‘i, July 4, 1894.

Photographer: Joaquin A. Gonsalves.

Call Number: G. & P. Republic of Hawai‘i.

Wao Lani > The Pardon of Queen Lili‘uokalani > Wilcox Rebellion of 1895

A short video that recounts the history of Robert Wilcox’s rebellion against the newly formed Republic of Hawai’i.

Location: Hawai‘i ALIVE

Wao Lani > The Pardon of Queen Lili‘uokalani >
The Bayonet Constitution

This video explores the causes and effects of the Bayonet Constitution.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

King Kalākaua (seated, center) in Hong Kong during trip around the world, 1881.

Call Number: People. Kalākaua, folder 3.
Artifact Number: CP_58960

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

(left to right) Charles H. Judd, King Kalākaua and William Armstrong during trip around the world. 1881.

Call Number: People. Kalākaua, folder 3.
Artifact Number: SP_58992

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

King Kalākaua (top deck, center) and crew aboard the Hawaiian Navy Ship Ka‘imiloa; Hawaii. ca. 1885

Collection: Ray Jerome Baker Collection
Call Number: Honolulu Then & Now
Artifact Number: SCB_31099
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

King Kalākaua during trip to Japan; (seated, lt.-rt.): Prince Yoshiaki, Kalākaua, Tsunetami Sano (Minister of Finance); (standing, lt.-rt.): Charles H. Judd, Ryosuke Tokuno (First Secretary of Finance), William N. Armstrong (Foreign Minister and Head of the Bureau of Immigration of Hawai‘i). 1881.

Photographer: (original photo copied by) Norman Hill.

Call Number: [SP 111657] People. Kalalakaua, 1874-1881, folder 2.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

King Kalākaua lying in state, with the pā‘ū of Nāhi‘ena‘ena visible. Queen Kapi‘olani kneeling next to the casket in the Throne Room of ‘Iolani Palace; Honolulu, Hawai‘i. 1891.

Collection: General Photograph Collection
Call Number: Death. Funerals. Kalākaua, David, 1891.
Artifact Number: SP 115953
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

From P. Christiaan Klieger’s Moku‘ula; Maui’s Sacred Island.

Call Number: DU 629.L33 K55 1998
Location: Bishop Museum Library

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

A reconstructed image of the pā‘ū of Nāhi‘ena‘ena, as it would have originally appeared, prior to being cut and refastened into a funeral pall.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Kiaukiauli [Kauikeaouli], King of the Sandwich Islands, King of the Sandwich Islands; Hawai‘i. ca. 1826. Engraving by Edward Finden after a painting by Robert Dampier; Published December 1826 by John Murry, London.

Library: Voyage of H.M.S. Blonde to the Sandwich Islands in the Years 1824-1825. Captain The Right Hon. Lord Byron, Commander, plate facing page 113. DU 623.B99. copy 1, l.c.

Call Number: SP 201998
Location: Library: Voyage of H.M.S. Blonde

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Halekamani; residence of Gorham D. Gilman (formerly the home of Princess Nāhi‘ena‘ena); Lāhainā, Maui. After S. Bishop.

Call Number: SP 201996
Location: Art Collection: Bishop, S.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

“Funeral Procession for Keopuolani [1823]; 1.Foreigners 2.Missionaries 3.Attendants 4.Casket (pall bearers: 4 queens of Rihoriho and 2 principal women) 5.Prince & Princess 6.King & Hoapili 7.Karaimoku & Boki 8.Taumuarii & Kaahumanu 9.Kuakini & Kalakua 10.Piia & Wahinepio 11.Kaikioeva & Keaveamahi 12.Naihi & Kapiolani.”

From: Memoir of Keopuolani, Late Queen of the Sandwich Islands. Boston: Crocker and Brewster, 1825, page 43.

Call Number: Art. People. K.
Artifact Number: SP 201922
Location: Bishop Museum Library

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Lamentations for Keopuolani [1823]; 1.Kuakini, Governor of Hawaii 2.Hoapiri, husband of Keopuolani 3.Kauikeouli, prince 4.Nahienaena, princess 5.Kamehamaru, favorite queen of Rihoriho 6.Wahinepio, sister of Karaimoku 7.Kalakua, mother of Kamehamaru 8.Kaiko, near relative of Keopuolani 9.Keoua, wife of Kuakini.

From: Memoir of Keopuolani, Late Queen of the Sandwich Islands. Boston: Crocker and Brewster, 1825, page 37.

Call Number: SP 201921
Location: Art. People. K.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Halekamani, built for Princess Nāhi‘ena‘ena; Lāhainā, Maui. Later the residence of Gorham D. Gilman. Watercolor. after 1861. Unknown Russian artist.

Call Number: Art Collection: Bishop, S.
Location: Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Engraving of Princess Nāhi‘ena‘ena by Edward Finden after a painting by Robert Dampier; Published December 1826 by John Murry, London.

From: Voyage of H.M.S. Blonde to the Sandwich Islands in the Years 1824-1825. Captain The Right Hon. Lord Byron, Commander, plate facing page 105. DU 623.B99. copy 1, l.c.

Call Number: DU 623.B99. copy 1, l.c.
Location: Library: Voyage of H.M.S. Blonde to the Sandwich Islands in

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Expedition de la Bonite / Kauikeaouli ou Tamehameha III, Roi des Iles Sandwich [Hawai‘i]. by Barthelemy Lauvergne, ca. October 9, 1836.

Watercolor, pencil and wash on paper.

Call Number: Art. People. Kamehameha III.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Expedition de la Bonite / Nahienaena Soeur germaine du Roi des iles Sandwich Tamehameha III [Hawai‘i]. ca. October 9, 1836 by Barthelemy Lauvergne. Watercolor, pencil and wash on paper.

Call Number: Art. People. N.

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Hawaiian flag quilt with coat-of-arms and maile pattern.

Call Number: E.C. Hawaiian. Art. Quilting.
Artifact Number: SXH 126211.7

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

“Kuu Hae Aloha” a Hawaiian flag quilt made by Wilhemina Eichinger and Mrs. Enos of Maui. 1918.

Call Number: E.C. Hawaiian. Art. Quilting.
Artifact Number: SXH 126210.4

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

“Kuu Hae Hawaii” Hawaiian flag quilt housed at the Bishop Museum.

Call Number: E.C. Hawaiian. Art. Quilting.
Artifact Number: SXH 126211.1
Location: Bishop Museum

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

Quilting instruction with Auntie Debbie Kepola Kakalia at Atherton Hālau, Bishop Museum. 1981. Photo by Ben Patnoi.

Collection: General Photograph Collection
Call Number: E.C. Hawaiian. Art. Quilting.
Artifact Number: CF 75148
Location: Bishop Museum Archives

Image from Bishop Museum Archives, Honolulu, Hawaii. Images are not to be re-used without permission.

View of Lāhainā with banner in honor of Queen Lili‘uokalani; “LONG LIVE THE QUEEN” ca. 1891.

Call Number: Government & Politics. Monarchy. Lili‘uokalani.
Accession Number: 1976.330
Location: Bishop Museum Archives