

An artist with a government job, he used a meticulous eye to document a vanishing, workaday Washington that grand painters overlooked.
DeLancey W. Gill was a civil servant with an artist's soul. For decades, he worked at the U.S. Census Bureau and later the Smithsonian, where his official duty was to create anthropological illustrations of Native American delegates. But his true passion was found on the streets of the capital itself. While other artists focused on monuments, Gill turned his precise, unsentimental gaze to the city's back alleys, modest row houses, and rural fringes. His watercolors and photographs form an invaluable counter-archive of Washington, D.C., capturing the texture of everyday life before modernization swept it away. He was a teacher at the Corcoran School and a relentless painter, proving that bureaucratic work and artistic integrity could coexist, and that the most profound subjects are often the most ordinary.
The biggest hits of 1859
The world at every milestone
Edison patents the incandescent light bulb
Eiffel Tower opens in Paris
Robert Peary claims to reach the North Pole
Treaty of Versailles signed; Prohibition ratified
Wall Street crashes, triggering the Great Depression
World War II begins; The Wizard of Oz premieres
The Blitz: Germany bombs London
He was the primary photographer for the Smithsonian's massive collection of Native American portraits taken between 1898 and the 1930s.
Many of his Washington scenes were painted on small wooden panels, often no larger than a postcard.
Despite his significant photographic output, he considered himself first and foremost a painter and draftsman.
“I paint the faces of the city, the ones the monuments ignore.”