This collection includes eight photographic prints made by Ho-Chunk artist Tom Jones between 1998 and 2001. The majority of the prints are from the "Ho-Chunk People" series which document the contemporary life of members of the Ho Chunk Nation of Wisconsin. The prints are large format, black and white, silver gelatin prints.
Scope and Contents:
This collection includes eight signed photographic prints made by Ho-Chunk artist Tom Jones between 1998 and 2001. The prints are large format, black and white, silver gelatin prints either 18 x 22 inches or 16 x 20 inches.
The photographs from the "Ho-Chunk People" series, which documents the contemporary life of members of the Ho Chunk Nation of Wisconsin, include portraits of Nina Cleveland, Dorothy Crowfreather, James Hill, Jim Funmaker (Choka), Herb Goodbear, and Bill O'Brian. There is also a photographic print from the Tree Marker series and one that shows a ceremonial meal set up in front of a longhouse.
Catalog numbers: P28507-P28511, P32369-P32371.
Artist Statement on the "Ho-Chunk People" series:
"Inside The Ho-Chunk People. For the past three years I have been working on a body of work photographing the contemporary life of my tribe, the Ho Chunk Nation of Wisconsin. By doing so, I hope to give both the tribe and the outside world the perspective from someone who comes from within the Ho Chunk community. Traditionally, photographs of the Native American Indian are taken by outsiders. We have generally been represented with beads and feathers, widely known through the extraordinary photographic portrayals of Edward Curtis. While this has been an aspect of our life, like many Native American Indians the Ho Chunk People still adhere to traditional ways inspite of adapting to the white culture that surrounds them. The emphasis of my current body of work is focused on the members of my tribe and the environments in which they live, giving a name and face to the individuals and their way of life in our own time. First and foremost, I am ever mindful of my responsibility to the tribe by doing this work to help carry on a sense of pride about who and what we are as a people."
Tom Jones, Artist's statement for the Exhibition "The Ho-Chunk People Photographs by Tom Jones" Nov, 2001, Rochester Art Center.
Arrangement:
Arranged numerically by catalog number.
Biographical / Historical:
Tom Jones (Professor of Photography, University of Wisconsin-Madison) is an artist, curator, writer, and educator. He graduated with a Bachelor of Fine Arts in Painting from the University of Wisconsin-Madison, a Master of Fine Arts in Photography and a Master of Arts in Museum Studies from Columbia College in Chicago, Illinois.
Jones' artwork is a commentary on American Indian identity, experience and perception. He is examining how American Indian culture is represented through popular culture and raises questions about these depictions of identity by non-natives and Natives alike. He continues to work on an ongoing photographic essay on the contemporary life of his tribe, the Ho-Chunk Nation of Wisconsin.
Jones co-authored the book "People of the Big Voice, Photographs of Ho-Chunk Families by Charles Van Schaick, 1879-1943." He is the co-curator for the exhibition and contributing author to the book, "For a Love of His People: The Photography of Horace Poolaw" for the National Museum of the American Indian. His artwork is in numerous private and public collections, most notably: The National Museum of the American Indian, Polaroid Corporation, Sprint Corporation, The Nerman Museum, The Minneapolis Institute of Art, The Museum of Contemporary of Native Arts, The Museum of Contemporary Photography, and Microsoft.
https://www.tomjonesho-chunk.com/blank-1
Provenance:
Purchased from the photographer Tom Jones, 2002 and 2004.
Restrictions:
Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Genre/Form:
Photographs
Photographs -- Silver gelatin prints
Citation:
Identification of specific item; Date (if known); Tom Jones II photographic prints from "Ho-Chunk People" series, NMAI.AC.056; National Museum of the American Indian Archives Center, Smithsonian Institution.
Smithsonian American Art Museum, Museum purchase through the Frank K. Ribelin Endowment, in partnership with the Smithsonian Asian Pacific American Center
The collection is a set of twenty-four black-and-white silver gelatin prints entitled "Potomac: East and West," by Jan Faul, 1991. They include agricultural landscapes, cemeteries, industrial buildings commercial buildings in rural areas, etc., in the Potomac River region of Washington, D.C., Maryland, Virginia, and West Virginia. Each image contains a small area hand-colored by the photographer, providing a subtly mysterious, often whimsical or humorous effect.
Scope and Contents:
The collection is a set of twenty-four black-and-white silver gelatin prints entitled "Potomac: East and West," and is number six in an edition of forty five. The photographs all were taken in 1991 and the prints were made shortly thereafter. The photographs are basically somewhat romantic documentary images of locales in Washington, D.C., Virginia, Maryland, and West Virginia, including landscapes and industrial settings, interiors and exteriors, some of which are apparently abandoned. Human figures are seen only incidentally in several images. Each print has a small area hand colored by the artist, usually adding subtle humor and/or a hint of mystery. The titles are brief and geographical, and the set is numbered I to XII and XIV to XXV; there is no number XIII, the artist was careful to point out.
Arrangement:
The collection is arranged into one series. Sequence arranged by artist: numbered I-XII, XIV-XXV (no number XIII).
Biographical / Historical:
Jan Faul was born in Port Chester, New York in 1945. His family moved frequently, living in Washington, D.C., New York, Boston, Denver, Toronto, Strasbourg, and Bern, Switzerland. In Bern he received his first camera as a gift for his fourteenth birthday. He returned to the United States and completed high school in Washington.
In his late teens Faul met Roy Stryker, legendary director of the Farm Security Administration documentary photography project, who suggested that he spend time looking at photographs in the Library of Congress which he did, concentrating on the F.S.A. files. Influenced by his artist parents, Faul studied art history and graphics in college, hoping to become a printmaker, but had begun to support himself with photography by the time he graduated from The George Washington University in 1969.
The "immediacy" of photography and other aesthetic considerations in addition to the financial ones finally led to Faul's abandonment of printmaking and commitment to photography. Since 1970 he has been a self employed photographer, working in landscape, still life, and portraiture. He documented the lives of poor people in the U.S. from July 1970 to March 1971 for the Office of Economic Opportunity. In summer 1971 he photographed scenes of rural poverty for the Appalachian Regional Commission. A grant from the Upjohn Institute for American Labor Studies in 1974 supported his photographic documentation of American workers and changing work habits. In the summer of 1975 he worked for the Smithsonian, portraying the locksmen and pilots of the St. Lawrence Seaway. Further grants and contracts for documentary photography followed, including the 1976 Smithsonian Festival of American Folklife.
Faul moved to Copenhagen, Denmark, in 1979, and there worked on commercial accounts for Esso, Polaroid, and others, while continuing to pursue a variety of personal photographic projects. He returned to the Washington, D.C., area a decade later.
The photographer's career has included commercial work and contractual documentary projects, as well as the sale of photographic prints as art to private collectors and sales and donations to institutions. Fourteen photographs were donated to the Division of Photographic History of this Museum in 1970, and his work is in the collections of the Royal Museum of Art in Denmark, The Library of Congress, the San Francisco Museum of Modern Art, George Eastman House, the Toledo Museum of Art, the Corcoran Gallery of Art, the Oakland Museum, and others. He has received a number of awards, and has been included in a number of group and solo exhibitions. He has received an artist's residency at Yaddo for 1992 1993.
Additional biographical information, including a bibliography, is on file in the Archives Center.
Provenance:
Collection donated by Jan Faul, November 13, 1991.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Use and copyright restrictions: all rights retained by the artist. The Museum may exhibit and reproduce photographs in its publications, but cannot make copies or authorize reproduction by others. Contact artist for reproduction arrangements.
A large print, showing a group of men, women and children standing before a Western-style building. On the back, captioned originally in pencil is "Photograph taken in Front of American Legation Peking China of the ladies and children of the Diplomatic Corps in January 1902 before going to the Audience of the Emperor and Empress Dowager of China." The rest of the caption is a complete list of the individuals.
北京
Arrangement:
Single item
Biographical / Historical:
The Legations women first visited the palace on January 1st, following the return of the Empress and Empress Dowager from exile. Pictured in the first row at center is Sarah Pike Conger, the wife of the American Minister to Beijing, and doyen of the legation women. This print was likely a gift to family members from the wife of the Italian ambassador, the Baroness Romano Avezzana (pictured in the front row, far left),
Local Numbers:
FSA A2010.06
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Photograph of Ladies of the Beijing Legations, FSA.A2010.06. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Dr. Thomas Lawton, 2010.
Identifier:
FSA.A2010.06
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Smithsonian American Art Museum, Museum purchase through the Frank K. Ribelin Endowment, in partnership with the Smithsonian Asian Pacific American Center
52 Photographs (black and white silver gelatin prints)
Type:
Collection descriptions
Archival materials
Photographs
Photographic prints
Black-and-white photographic prints
Place:
France
Paris (France)
Beijing (China)
France -- Ile-de-France -- Paris
Date:
undated
Scope and Contents:
Fifty two photographic prints relating to the Asian art dealer C.T. Loo. Photographs feature interior and exterior views of Loo's Paris gallery, showing important works of art, many of which were later acquired by museums and private collections of Europe and the US. Also included are formal portraits and informal snapshots of Loo, his family and associates in Paris and Beijing.
北京
Arrangement:
Photographs are numbered individually with no attempt to organize by subject.
Biographical / Historical:
The photographs document the gallery, C.T. Loo et Cie, known as the Pagoda (renovated 1926-1928, currently a designated historical site in Paris) of the leading internateal dealer of Chinese art C.T. Loo (1880-1957). Well known to art experts around the world, the gallery attracted the attention of the renowned art historian Osvald Siren, who wrote an article in 1928 on this gallery, focusing on the murals. Many of the objects shown in the gallery can be identified as important pieces in major American and European museums, including the Metropolitan Museum of Art, New York, Nelson-Atkins Gallery, Kansas City, and the Musee Guimet, Paris. Loo was instrumental in introducing some of the most important bronzes, jades, and stone sculptures to the Freer Gallery of Art between 1915 and 1951. This collection holds an added significance because it comes from Janine Loo Pierre-Emmanuel (1920-2013), daughter of C. T. Loo, and ex-wife of Jean-Pierre Dubosc, the prominent Sinologist, collector and dealer of Chinese art. Mme. Pierre-Emmanuel, a well-known dealer in the post-war era, was in contact with important scholars, collectors and dealers, such as Pierre Teillard de Chardin, Laurence Sickman, Grenville L. Winthrop, Arthur M. Sackler, Mr. and Mrs. John D. Rockefeller, 3rd, and J. T. Tai. In addition to Chinese art, the gallery interior views show pieces from South and Southeast Asia
Local Numbers:
FSA A2010.07
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Black-and-white photographic prints -- Silver gelatin -- 1900-1950
Citation:
Loo Family Photographs. FSA.A2010.07. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Janine Loo Pierre-Emmanuel, 2010.
Identifier:
FSA.A2010.07
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Hammer, William J. (William Joseph), 1858-1934 (electrical engineer) Search this
Type:
Archival materials
Scope and Contents:
This section consists of a group of 127 borderless matte silver gelatin print photographic enlargements, each mounted on a sheet of heavy gray 24 x 36 inch cardboard. These enlargements, created from photographs taken by William J. Hammer or from Hammer's personal collection, were displayed as part of the aeronautical exhibits at the Automobile and Aero Clubs of America Joint Show held in January 13-21, 1906, in the third-floor gymnasium of the 69th Regiment Armory, New York City.
Most of the prints carry a "Hammer number" on very small typed white square of paper affixed to the emulsion at the top left corner of each photograph. Handwritten (cursive) annotations on the prints and mounts are believed to be in William J. Hammer's hand. Note that Hammer numbered prints 81-90 and 98-100 were not found in the collection at time of processing. Print numbers 91-97 are smaller-format prints located in Box 6, Folder 26; these are photographs believed to have been taken in 1892 of Sir Hiram S. Maxim's Flying-Machine House and experimental equipment at Baldwyns Park, Bexley, Kent, England. Print number 7 (a view from behind of A. Lawrence Rotch and Samuel P. Langley watching an airship in flight) was also not found in the collection at time of processing, but copies of the image show up in other NASM Archives collections (see NAM A-450-A).
Arrangement:
Digital photographs of the original prints, created by the Smithsonian National Air and Space Museum Archives in April 2013, are attached to this online finding aid, and have been presented in Hammer number order, with the unnumbered prints appearing at the end of the sequence.
Collection Restrictions:
No restrictions on access
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
William J. Hammer Collection, Acc. NASM.XXXX.0074, National Air and Space Museum, Smithsonian Institution.
