Did you know that the building that houses the Peabody Institute was built between 1901 and 1903? Designed by well-known Boston architect Guy Lowell, the building was designed to be the home of the Phillips Academy Department of Archaeology. Over the past 120 years, the department has transitioned into the Peabody Institute.
As anyone who has lived in the same house for a long time can attest – it is really easy to accumulate stuff (both valuable items and less-than-helpful clutter). Like a well-loved home, the Peabody certainly had its fair share of stuff that needed to be sorted and rehomed before the current building project could get underway. The best stuff had been kept in the attic.
Attics always have a reputation (you know what I mean) and the Peabody’s attic is a special one. If you are over 5’6”, you better watch your head. The corners are as dark as you imagine. And yes, sometimes there are bats. However, there are also piles of old archaeological field equipment, a dumb-waiter, traveling trunks and some incredible pieces of institutional history that needed to be preserved before the building project.
Everything was lovingly wrapped in plastic – it wasn’t always pretty (you try wrapping a pickaxe!) – and clearly labeled for the future. Who knows what future Peabody staff will do with these items, but I am relieved that they will have the opportunity to engage with these echoes of history.
With construction in our building slated to start this month we have been busy packing up the Peabody. The collections are staying onsite in the recently renovated basement, but everything else that isn’t nailed down from the first floor through the attic has been moved to our temporary office in George Washington Hall (known on campus as “GW”) or to an offsite storage facility.
In addition to packing, we have taken steps to protect the collections during construction. Though very little construction is planned in the basement, renovations in the rest of the building will inevitably result in dust and small bits of debris in the collections areas. To keep everything clean, and avoid weeks of post construction cleaning, we have covered the metal shelving in plastic sheeting. The library has been prepared in a similar fashion.
This week, we made the move to our temporary office in the former Dean of Student’s Office in GW Hall. We’re thankful to have been welcomed by many of our new neighbors. Stop by and say hi if you are in the area.
My name is Jack Angelo and I am a board member and Blog Lead in Andover’s Anthropological Society, a student club we created here at Phillips Academy last year. I first became interested in Anthropology because of the many different topics it could cover, allowing someone to perform curiosity-based research about whatever subject matter interests them. When the other board members and I created the club, we knew most of our members’ research and curiosity would be directed towards our more major projects working in tandem with the Peabody Institute. But, understanding that the larger, focused research projects did not allow total intellectual freedom for the whole club, and that it did not spread our club’s messaging to the whole campus, we decided to create the Andover Anthropological Society Blog Site.
Our blog has now run for almost nine months and has served as an amazing display of the various topics our members are interested in, such as Corporate Consumerism in America, The Rise of Digital Tribalism, and the History of Art in Quarantine. Each post reflects what genuinely interests our writers, allowing people to contribute to the club without having to take part in our larger projects. In this way, the blog has developed into exactly the kind of free representational space we hoped for.
Additionally, the blog is a public source for anybody to read to understand our club’s messaging or to just further their interest in anthropology. We wanted to make sure that what we’re doing in AAS isn’t limited to the people who show up to meetings. By putting our work online, we’re giving the whole Andover community access to the topics we’re exploring and the research our members are doing. If someone’s curious about anthropology but doesn’t know where to start, or if they just want to read about a specific topic, the blog is there for them.
Ultimately, the AAS Blog is about making anthropology accessible. We wanted to create something that anyone could engage with, regardless of whether they’re in the club or have any background in the field. By keeping our work public and covering topics that connect to everyday life, we’ve built a resource that’s open to the entire Andover community.
Sometimes it’s hard to be an archaeologist. You tell people what you do and watch their excitement dim as you say “No. Not dinosaurs.” Sometimes people think you’re Indiana Jones, so that’s a little better, but then you have to explain that actually looting’s not ok, and maybe we should discuss the ethics of collecting? Plus, you’ve never once fought a Nazi. (You do, however, wear an awesome hat.)
Not an archaeologist. (Via ChatGPT. I didn’t even need to prompt the pyramid.)
Some would argue this is the greatest real-world problem archaeologists today face. Incredibly, hope for the field has finally arrived – and it’s all thanks to LEGO.
FIRST® LEGO® League (FLL) is a global program designed to encourage children in hands-on STEM learning. Among its major activities is the FIRST LEGO League Challenge, an annual competition for students aged 9-16 that has them working in teams to design, build, and code their own LEGO robot and complete a research-driven Innovation Project that identifies and solves a real-world problem related to a specific scientific theme. This year, the Challenge theme was UNEARTHED, inviting FLL teams to learn about the field of archaeology, identify a real-world problem faced by archaeologists, and propose an innovative solution.
Never have archaeologists been so popular! As soon as the Challenge kicked off, the Peabody began receiving requests from teams hoping to meet with an archaeologist and find out what challenges they’d want to see solved. And, of course, we weren’t remotely alone in this. I had a lot of fun this fall checking in with colleagues at other institutions, as we collectively realized how big the FLL Challenge is. The Society of American Archaeologists (SAA) even convened a panel of experts (including our own Ryan Wheeler!) for a webinar specifically designed for participants in the UNEARTHED season, just to help manage all the requests people were receiving. Exploring Archaeological Challenges: A Webinar for FIRST® LEGO® League and Robotics Teams was recorded and posted on the SAA’s YouTube channel, massively eclipsing in viewership all the channel’s other recordings combined.
We also heard from teams once they had their projects and were ready for feedback on the problems they’d selected and the solutions they’d proposed. Projects broadly sought either to help archaeologists do their jobs more easily with sustainable solutions, or to help non-archaeologists better understand the field and access archaeological information. Ideas included such products as a Swiss Army trowel, and an artifact cleaning and processing machine with residue-testing capabilities. They sought to help people grasp the size of ancient monuments through comparison with a football stadium for scale, and harnessed the sun to power absolutely anything you could imagine. They ranged in size, scope, and ambition, and all were far more sophisticated than I have represented here.
We might have initially been both a little concerned and a little amused when we first learned about this competition (an FLL reel Ryan found on Instagram had a lot more fire and explosions than we generally like to associate with archaeology!), but the projects that teams have come up with have truly been impressive. Most impressive of all has been the amount of thought and attention these young students have put into learning about the field of archaeology, and the care they have put into making it better for the future. I can only imagine what might be the long-term impacts of this program on the next generation of archaeologists.
Though perhaps their biggest problem will be convincing people that, no. Usually they do have thumbs.
Flyer for a dance at Phillips Academy capitalized on the Louvre heist, November 2025.
The brazen theft of crown jewels from the Louvre on October 19, 2025 fed the ongoing public fascination with museum heists. From details like which mobile work platform was used to access the museum to issues with security, there was almost endless interest and speculation. Even the dapper high school student mistaken for a French detective captured the world’s attention. Not surprisingly, the museum heist is a classic movie and tv trope from the recent The Mastermind (2025) to How to Steal a Million (1966) to the multiple versions of The Thomas Crown Affair (1968, 1999—and apparently a new one in production!), and many others. Fictional literature about heists could occupy a library. Even students here at Phillips Academy hosted a Louvre heist-themed dance! The exciting and glittery portrayals of museum heists, however, often veer far from the real blend of cunning, avarice, ineptitude, and the real mess that museum thefts leave in their wake. Just a few days before the Louvre heist, thieves gained access to the Oakland Museum’s storage spaces, taking over 1,000 objects, including many Native American items.
Plan of the Louvre from Phillips Academy student trip, 2015.
When I joined the Peabody Institute in 2012, former director Jim Bradley told me to be on alert for missing items, presumed stolen at some unknown point in the museum’s past. Early in Jim’s tenure as director, he had been involved in the recovery of a shell gorget from the Etowah site in Georgia. Since that time several collectors have returned items from Etowah and Maine, and others have been tracked down with the aid of the FBI art crimes team. What we now understand is that the Peabody Institute experienced two thefts—one in late 1970 or early 1971, and another in 1986.
Eagle-Tribune article from 1986 recounts George McLaughlin’s theft of artifacts from the Peabody Museum.
Marla Taylor and John Bergman-McCool recount the theft by George McLaughlin in 1986 in their 2020 blog post. McLaughlin gained access to the Peabody’s collection housing areas at a time when the institution lacked professional staff. That made it easier, but he also stole from other museums across New England and several private collectors. He was ultimately caught by the FBI and prosecuted, but not before removing most of the catalog numbers from the thousands of stone tools that he had taken. It was unclear what McLaughlin’s plans were, but it seems he was readying items for sale. And while the FBI arrest prevented that, to this day we have a large number of items that have lost their original provenience—in other words, a big mess.
Boston Sunday Globe article recounts the return of the Etowah shell gorget (December 27, 1992).
I’ve shared before about an earlier theft at the Peabody Institute (also, see my article in the April 2018 SEAC newsletter). Based on correspondence, we are confident that items from Georgia and Maine were stolen in late 1970 or early 1971 while exhibits were being refreshed and updated. These items had been on display when they were photographed to illustrate Dean Snow’s 1976 book The Archaeology of North America. It seems like they were taken while awaiting reinstallation in the exhibits. As I mentioned above, a number of these items have been returned, either by conscientious collectors or through an investigation by the FBI art crimes team, begun in January 2018 when one of the Etowah items was returned to us. Many of these items are funerary objects and subject to repatriation under the Native American Graves Protection & Repatriation Act (NAGPRA). Their continued absence complicates those repatriation efforts.
The Indian River Press Journal sought reader opinions about the 1980 theft of Spanish shipwreck treasure from the McLarty Museum and if treasure items should continue to be exhibited (Friday, March 8, 1980, page 8).
Unlike the glamourous (or humorous) fictional depictions of museum heists, these are often crimes of opportunity, driven by greed or misguided ideas about the role of museums in caring for and sharing art and culture. I think one example from my past career as Florida’s state archaeologist aptly captures the stupidity of the museum heist. Our collections in Florida included impressive holdings recovered from the shipwrecks of Spanish treasure galleons. Loans to the McLarty Museum near the survivor’s camp of the 1715 fleet wreck included gold coins and gold bars. In 1980, thieves defeated locks and security systems, but when confronted with the reality of disposing of a gold bar, things took a weird turn. They used a hack saw to begin cutting a gold bar into more saleable (or tradeable) pieces before being apprehended. The gold bar was recovered, but the saw cut end remains at large. During our annual 100% inventory of precious metals and coins our outside auditor frequently questioned what was going on with the clearly chopped up gold, so much so that we finally tucked some of the paperwork and news coverage with the piece to allay fears that we were helping ourselves. The thief in that case ultimately criticized press coverage, telling the court that he was “by no means a professional burglar” and that the theft was just a “reckless impulse.” So, enjoy that museum heist movie or book, but remember, it’s a far cry from the real mess made by these thefts.
Our Peabody annual report for academic year 2024-2025 has just been released online! This report features educational participation at the Peabody, including over 1,600 students and 30 Phillips Academy instructors. In addition, our report features institutional highlights, updates on our collections and NAGPRA work, collaborations with students and researchers, and more!
Thank you to everyone who supported the completion of another wonderful year at the Peabody!
In a past blog post, I shared that we regularly monitor glue traps for signs of insect activity around our building. The traps are not a method for controlling insect populations, rather, they alert us to the presence of unwanted pests that pose a danger to the collections. When unwanted bugs are found we have a set of tools we can employ to remove them while minimizing risk to the health of our collection and colleagues. These tools include vacuuming and freezing collections.
Now, I imagine that many readers (probably most of you) are not excited by pictures of bugs, but earlier this fall, we trapped an unknown insect that I felt was worthy of the spotlight.
Unknown Beetle removed from glue trap for easier identification
This remarkable beetle is the largest insect that I’ve seen in our traps. Beyond it’s massive size, any new or unknown bug is cause for excitement for a few reasons. First, we typically see the same three or four insects throughout the year. Second, we need to find out whether the insect is cause for alarm.
I snapped a few pictures and loaded them into Google’s ‘search by image’ function. Pretty quickly I learned that this guy is a Hermit Flower Beetle (or that is my best guess). They pose no danger to the collection. The larva live inside dead or rotting logs and play an important role in recycling wood and the nutrient cycle. The adults are frequently found around flowers. Somehow this one wandered into our building and ended up in one of our traps.
The University of Minnesota Extension webpage is a helpful identification resource
Unfortunately, once in our trap, the beetle died and became a food source for a carpet beetle, an insect we absolutely do not want in our collection. Even if an insect is not actively detrimental, it can always pose a risk.
Previously unknown Hermit Flower Beetle still in glue trap with carpet beetle outlined in red
As we prepare updated Native American Graves Protection & Repatriation Act (NAGPRA) summaries and the required notices following claims and decisions about affiliation we are frequently confronted with the names of collectors. Some of these are quite familiar to us, Warren K. Moorehead, for example, who was our first curator and then our director. We recognize that the names of collectors often hold significant clues that may help make connections between now widely distributed holdings—what we refer to as “split and shared collections,” or aid in understanding localities or other entanglements. I’ve started developing short biographies of some of the collectors, with the hope that knowing when and where they were active might inform some of these other considerations. To develop the biographies, I usually rely on genealogical information to fill in birth and death dates, geography, personal and professional connections, and other details. Many of these collectors were in contact with Warren Moorehead and their names appear in his correspondence files or in his books, especially those volumes that highlight collectors and collections. In other cases, the collectors have some connection to our parent organization, Phillips Academy—either as students, alumni, or faculty. Here are a few recent biographies:
Byington’s advertisement in The Philatelic West, 1928.
Edward Spencer Byington (often styled as E.S. Byington) was a civil engineer in DeQueen, Sevier County, Arkansas (1866-1941). He worked for several railroad companies, including DeQueen & Eastern. Byington often bought and sold artifacts, and his ads can be found in several publications—see for example, The Philatelic West (1926), and Hobbies, the Magazine (1931). One of Byington’s ancestors was Cyrus Byington, an early settler and missionary to the region, who had traveled to the area with Choctaw people being forced from their homes in Mississippi. E.S. Byington was an affiliate of Warren K. Moorehead and advocated for establishment of an “Association of Indian Relic Collectors & Dealers.” Correspondence with Moorehead indicates he was collecting artifacts during railroad construction and maintenance. Byington is listed as the source of at least 131 items in the Peabody Institute holdings.
McWhorter (far right) with interpreter Thomas Hart (far left) and Yellow Wolf, October 1908–from McWhorter’s book Yellow Wolf: His Own Story (1940)
Lucullus Virgil McWhorter (often styled as L.V. McWhorter) was an American farmer and rancher, frontiersman, and writer who was a regular source of Native American material heritage for Warren K. Moorehead at the Peabody Institute (1860-1944). McWhorter compiled information on Indigenous communities and history of the Pacific Northwest, and is generally regarded as an advocate and ally of the Native American individuals and tribes that he worked with, including Yellow Wolf and the Nez Perce. See Washington State University for the McWhorter papers and finding aid, which frequently mention Moorehead: https://archiveswest.orbiscascade.org/ark:80444/xv98497. McWhorter is listed as the source of at least 507 items in the Peabody Institute holdings.
Diné silverwork illustrated in Enduring Visions, the exhibit catalog co-authored by Donnelley Erdman.
Donnelley Erdman (1938-2024) was a graduate of Phillips Academy (Class of 1956), an architect and instructor at Rice University. In 1978-79 he was involved in an exhibition of Southwestern material culture at the Aspen Center for the Visual Arts, Aspen, Colorado. See Philip M. Holstein and Donnelley Erdman (1979) Enduring Visions: One Thousand Years of Southwestern Indian Art, Aspen Art Museum (exhibit catalog). Erdman is listed as the source of at least 195 items in the Peabody Institute holdings.
The cover of Stilwell’s 1911 catalog.
Lucien White Stilwell (often styled as L.W. Stilwell) was born in New York and grew up in Wisconsin (1843-1932). Following graduation from Ripon College, Stilwell moved to Cairo, Illinois and engaged in the grocery business. Throughout the 1860s and 1870s he was engaged in the grocery business via several partnerships, briefly worked for the Elgin Watch Company before relocating to Deadwood, South Dakota in 1879. In Deadwood, Stilwell was involved in banking, but it was here that he began to develop and expand his business in buying and selling Native American and natural history items. Throughout the 1880s he frequently advertised in collecting magazines, including Young Oologist, Mason’s Coin Collectors Magazine, The Agassiz Association Journal, The Museum, Hoosier Naturalist, The Philatelic West, and others, as well as short publications on geology. In the early 1900s he published catalogs advertising his “Indian Relic and Curio” establishment. He sold his business to Kenneth J. Crawford Company in 1928. Condensed from a longer biography by John N. Lupia III: https://www.numismaticmall.com/encyclopedic-dictionary-of-numismatic-philatelic-biographies/stilwell-lucien-white Stilwell is listed as the source of at least 18 items in the Peabody Institute holdings.
The New England Museum Association (NEMA) held their annual meeting in November in Manchester, New Hampshire. Billed as a Wellness Check: A Holistic View of Museums in the First Quarter Century, topics ranged from how climate change can affect collections to telling LGBTQ stories to supporting mental health for museum staff. It was illuminating and validating to hear so many colleagues exploring how to make their museums as welcoming, financially sustainable, and diverse as possible.
John Bergman-McCool, the Peabody’s Collections Coordinator, and I had the opportunity to share about the collections move that was part of the recent building project. Our session, Barcodes and Graph Paper, was well attended and we hope people were able to take away a nugget of advice or experience that will help them. It was a pleasure to be able to share this information alongside an amazing colleague who was invaluable to the process.
I was also a part of a session that focused on resources for museum professionals who are interested in engaging with best practices for stewarding Indigenous collections. Along with several incredible colleagues, I shared information about the Indigenous Collections Care (ICC) Guide and the Northeast NAGPRA Community of Practice (NECP).
Local Contexts was also a part of our panel. If you are in the museum world and don’t know about Local Contexts and their work – you should. “Local Contexts is a global initiative that supports Indigenous communities with tools that can reassert cultural authority in heritage collections and data. By focusing on Indigenous Cultural and Intellectual Property and Indigenous Data Sovereignty, Local Contexts helps Indigenous communities repatriate knowledge and gain control over how data is collected, managed, displayed, accessed, and used in the future.” (https://localcontexts.org/)
I am proud to be a part of the ICC Guide and NECP. Both of those communities are valuable resources to museum professionals and NAGPRA practitioners.
It was an honor to be a part of both of these sessions!
It was really fun to encounter Peter Toth’s monumental wood carving of Sequoyah outside the Museum of the Cherokee People. Toth created over 70 of these sculptures as part of his Trail of the Whispering Giants project. I met the artist in 1983 when he was carving a tribute to the Seminole on Fort Lauderdale beach.
Four members of the Peabody Institute team attended the 2025 Association of Tribal Archives, Libraries, and Museums (ATALM) conference held in Cherokee, North Carolina this October, continuing our tradition of sending personnel that goes back about a decade. This year’s conference saw over 1,000 museum, archive, and library professionals convene at the meeting facilities of the Eastern Band of Cherokee Indians, coinciding with the festivities of the 113th Cherokee Indian Fair. The fair featured a parade, agricultural and cultural events, stick ball, an art show, and more.
The Cherokee Day parade featured contestants in the Miss Cherokee pageant, lots of agriculture themed floats, marching bands, a drum line. And candy. So. Much. Candy!
Back at the conference, attendees had lots of opportunities to network and learn at expert sessions and demonstrations. Highlights for the Peabody team were visits to the Museum of Cherokee People, Qualla Arts & Crafts Mutual Co-op, the Oconaluftee Indian Village, the informal NAGPRA networking session, the Repatriation Talking Circle, and One Square Inch of Ceremony (and additional workshops with Lily Hope, Tlingit artist, educator, and community facilitator). Marla Taylor, Peabody curator of collections, participated in the session Institutional Approaches to NAGPRA Duty of Care, along with colleagues from museums, universities, and the Muscogee (Creek) Nation.
Canoes are everywhere! Exciting to see this dugout canoe at the Museum of the Cherokee People. The museum, one of the earliest Tribal museums in the US, has a series of great interpretive panels questioning how best to tell the Cherokee story. For example, why do museums always begin with PaleoIndians? Back to the canoe–this great example of a dugout is about 200 years old and was found in the 1970s on the Chattahoochee River near Helen, Georgia.
Many great meals were shared as well, but the best part was reconnecting with old friends, meeting colleagues regularly seen on Zoom in person, and making new friends. If you haven’t attended an ATALM conference, we highly recommend it!
The Peabody 