overall: 20.7 cm x 11.1 cm x 10.8 cm; 8 1/8 in x 4 3/8 in x 4 1/4 in
The Rolleiflex or “Rollei” twin lens camera was originally introduced in 1929 by Rollei-Werke, a German company. This 2.8 lens model, was popular in the 1960s. The construction and design of this 6x6cm medium format camera with its superior optics, mechanics, bright viewfinder, and exposure controls allowed for its quick acceptance by prominent professional photographers. Today, the digital versions of this camera are available.
From its invention in 1839, the camera has evolved to fit many needs, from aerial to underwater photography and everything in between. Cameras allow both amateur and professional photographers to capture the world around us. The Smithsonian’s historic camera collection includes rare and unique examples of equipment, and popular models, related to the history of the science, technology, and art of photography.
Sheet (irregular left edge): 34.2 × 21.7 cm (13 7/16 × 8 9/16")
Chang Bunker: American\Asian American
Chang Bunker: Asian\Thai
Eng Bunker: American\Asian American
Eng Bunker: Asian\Thai
The outdated term “Siamese twins” originates from brothers Chang and Eng Bunker (both 1811–1874), born in Siam (now Thailand) with a shared liver and joined at the sternum. Discovered in their teens by a Scottish merchant and put on tour, the conjoined twins became sensations. For most of their career, they acted as their own managers, and so were neither exploited as curiosities nor exiled for their unusual anatomy. With their commercial success, they settled on a North Carolina plantation, became slaveholders, married two sisters, and fathered twenty-one children. They died within hours of each other. Their story has been interpreted by many, from Mark Twain to a current film in the works by Gary Oldman.
This broadside shows the twins in a tropical scene as both Eastern and Western subjects, wearing suits and cloth headdresses and highlighting their connecting tissue. It shrewdly offers for sale autobiographical pamphlets and portraits, “suitable for framing.”
El término ya en desuso de “gemelos siameses” se originó con los hermanos Chang y Eng Bunker (ambos 1811–1874), naturales de Siam (hoy Tailandia), quienes compartían un hígado y estaban unidos por el esternón. Descubiertos en su adolescencia por un comerciante escocés que los llevó de gira, se convirtieron en una sensación. Los gemelos manejaron ellos mismos la mayor parte de su carrera, de modo que no fueron explotados como curiosidades ni tampoco se les relegó por su inusual anatomía. Su éxito comercial les permitió establecerse en una plantación de North Carolina, donde compraron esclavos, se casaron con dos hermanas y procrearon veintiún hijos. Murieron con solo horas de diferencia. Muchos han interpretado su historia, desde el escritor Mark Twain hasta el actor Gary Oldman en una película que se filma actualmente.
En esta hoja publicitaria, los gemelos aparecen en un escenario tropical como personajes a la vez orientales y occidentales, con trajes de chaqueta y turbantes, mientras el diseño enfatiza la parte por donde están conectados. El hábil texto indica que se venderán panfletos biográficos y retratos “adecuados para enmarcarse”.
Nature & Environment\Plant
Chang Bunker: Male
Chang Bunker: Performing Arts\Performer
Eng Bunker: Male
Eng Bunker: Performing Arts\Performer
National Portrait Gallery, Smithsonian Institution
Eddy Mumma, born Milton, OH 1908-died Gainesville, FL 1986
oil on board
24 × 24 in. (61.0 × 61.0 cm)
ca. 1978 - 1986
Eddy Mumma was named in honor of Mary Baker Eddy, the founder of the Church of Christian Science, whom his parents admired. He began painting in 1969 following his wife’s premature death and at a time when his own physical health was deteriorating. His increasing interest in art may have marked a flagging faith. Around 1980, his style and output exploded. Regal, flamboyant, and colorful characters crowd within their rectangular frames, most often featuring large eyes and upraised hands. Mumma’s paintings seem to redirect a character that was once larger-than-life; as Mumma’s physical presence faded, his work came increasingly alive.
Smithsonian American Art Museum, Gift of Josh Feldstein