H x W x D: 207 x 88 x 15.9 cm (81 1/2 x 34 5/8 x 6 1/4 in.)
Ise, Ekiti region, Nigeria
Olowe of Ise is considered by many art historians and art collectors to be the most important Yoruba artist of the 20th century. Active in the first quarter of the century, he designed and carved architectural sculptures for several palaces in the Ekiti region of Yorubaland. His work first became known in Europe when an elaborately carved and painted door and lintel ensemble he had created for the palace of the Ogoga (king) of Ikere was displayed at the 1924 British Empire Exhibition in London. Considered by experts in the British Museum to be "the finest piece of West African carving that has ever reached England," the door and its lintel were acquired for that museum's collection in exchange for a British-made throne.
Olowe's innovative approach to carving the palace doors stands apart from Yoruba low relief work, which typically is flat and even. Olowe, however, carved in exceedingly high and uneven relief. The figures on this panel, the right side of a door, project in profile from the background by as much as 10 centimeters (approximately 4 inches), and the upper bodies of some figures are carved completely in the round. Instead of using static, frontal poses, Olowe turned the heads of the figures in opposition to their bodies to face the viewer. He crossed their legs to suggest walking or dancing motions.
The panel shown here commemorates an actual event. At the end of the 19th century the Arinjale (king) of Ise received the first British traveling commissioners for the Ondo Province. The left side of the door (in a private collection) depicts Major W. R. Reeve-Tucker, the first traveling commissioner, and Captain W. G. Ambrose, his successor, and their entourage of African porters, soldiers, prisoners and British missionaries.
This right panel depicts the Yoruba king and his entourage. The Arinjale, who is mounted on a horse and wears a conical crown surmounted by a bird, is seen in the second register. He is accompanied by a court messenger and a musician. Royal wives and children, guards, priests and others from the palace appear in successive registers. The decapitated female figure in the lowest register is a human sacrifice, an act committed on the rarest occasions to ensure the survival of the community. Originally three vultures pecked at the female's eyes, abdomen and feet; now only the feet of the birds remain. The faces carved on two columns along the length of the door may represent war captives or royal ancestors.
Olowe carved the palace door from iroko, an iron-hard wood highly valued in his time and still used in modern building construction and furniture making. No photograph of Olowe has been located, but his oriki, or chanted attributes, claims that he was handsome and so strong that he could carve iroko wood "as though it were as soft as a calabash."
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1029."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "Nasr ed Din + Court." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 16.8: Nasr ud Din and court." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Myron Bement Smith Collection: Antoin Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Katherine Dennis Smith, 1973-1985
Clothing and dress
Rites and ceremonies
FSA A.4 2.12.GN.16.08
Access is by appointment only, Monday through Thursday 10:00 a.m. to 5:00 p.m. Please contact the Archives to make an appointment: AVRreference@si.edu
Blackwater, Gila River Reservation; Pinal County; Arizona; USA
January 07, 1919
Edward H. Davis owned a ranch outside San Diego, California, and became fascinated with local Indian people. The collection of Native objects he developed attracted the attention of George Heye, who purchased many items from Davis and hired him as a field collector in 1916. Photographs by Davis from southern California and northern Mexico probably accompanied the objects he sold to or collected for MAI.
Sitting outside an adobe house, Paul Jones plays the love flute. He wears a cloth shirt with buttons, kerchief, and trousers.
Ales Hrdlicka photograph collection relating to the Panama-California Exposition, 1912-1917
Hrdlička, Aleš 1869-1943
United States National Museum
Royal College of Surgeons in London
American Museum of Natural History
Panama-California Exposition (1915-1916 : San Diego, Calif.)
circa 595 negatives : glass and nitrate
Teton Indians depicted
Hopi Indians depicted
Jicarilla Indians depicted
Navajo Indians depicted
Osage Indians depicted
Pueblo Indians depicted
Omaha Indians depicted
Indians of North America Great Plains
Indians of North America Southwest, New
Ales Hrdlicka (1869-1943) was born in Czechoslovakia and came to the United States at the age of thirteen. Originally trained in medicine, he developed interest in physical anthropology while working with the New York State hospitals and researching with the Department of Anthropology in the Pathological Institute of the New York State hospitals. Hrdlicka joined the Hyde Expeditions to the American Southwest and made his own expeditions to study physical characteristics of Southwest tribes. In 1903, he was appointed head of the United States National Museum's newly formed Division of Physical Anthropology.
In 1912, Hrdlicka planned and directed seven expeditions as part of the preparation of physical anthropology exhibits for the Panama-California Exposition at San Diego, California (1915). Part of his plans for exhibition included casts and busts of people from around the world and he hired sculptor Frank Micka to make many of the busts for the exposition. While in the field to make his casts, Micka also took front and profile photographs of subjects. Hrdlicka made his own trip to photograph the people in Urga, Mongolia, making 360 images of Mongolians and some Tibetans in preparation for busts to be displayed at the exposition.
The bulk of the collection consists of photographs commissioned by Ales Hrdlicka for the Panama-California Exposition in San Diego, collected 1912-1914. They include front and profile portraits of Mongols in Urga, Mongolia, as well as Apache, Teton, Hopi, Navajo, Omaha, Osage, and Pueblo Indians. There are some full-length portraits of Apaches and views of Southwest Indian dwellings, activities, and a dance. The collection also includes some images of United States National Museum exhibits and items from the USNM, American Museum of Natural History, and the Royal College of Surgeons in London, some of which were made by Hrdlicka in 1917.
Photo lot 73-26B, Ales Hrdlicka photograph collection relating to the Panama-California Exposition, National Anthropological Archives, Smithsonian Institution
1 photographic print : hand coloring ; image 19.4 x 24.3 cm., on mount 20.7 x 25.7 cm
ca 1880 - 1890
Ca. 1880 - 1890
Title taken from print.
The photographer's original identification number, 224, and original title, Jinriki, are printed in the bottom right corner.
Two young women, one with an umbrella, are seated in a jinriki-sha (rickshaw) pulled by a jinriki (rickshaw driver). An assistant brings up the rear of the jinriki-sha. Outdoor setting in leafy area.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Partial purchase and gift of Henry and Nancy Rosin, 1999-2001
Photo shows Smith standing on the walkway in front of a house with a porch. Penciled on verso: Alaska; V. Smith. Stamped on verso: July 13, 1937. Separate stamp on verso (smudged): M. Motte Studio 3 [or M. Hotte Studio 3?]
One of the earliest known photographs of Ulysses S. Grant, this tintype likely depicts him after his graduation from West Point Military Academy in 1843. Known for his distaste for military garb, Grant is atypically pictured clean-shaven and in stiff, ornamented military attire. Grant, who wished to end his military career after graduation, planned to become a mathematics professor and marry his sweetheart, Julia Dent. However, in 1844, as war with Mexico became inevitable, he was forced to relinquish his dream of a quiet, professorial life and postpone his marriage. Grant was anxious throughout the conflict to return home. This unaffected image portrays Grant simply as a young lieutenant, more concerned with the toils of love than of military and war.
Ulysses S. Grant
Una de las primeras fotografías conocidas de Ulysses S. Grant, este ferrotipo probablemente lo muestra después de su graduación de West Point Military Academy en 1843. Conocido por su rechazo a los atuendos militares, es raro observar a Grant recién afeitado y tieso en sus decorados atavíos militares. Grant, quien deseaba terminar su carrera militar después de la graduación, planeaba ser profesor de matemáticas y casarse con su novia, Julia Dent. Sin embargo, en 1844, cuando la guerra contra México se volvió inevitable, fue obligado a abandonar su sueño de una calma vida profesional y postergar su matrimonio. Durante todo el conflicto, Grant estaba ansioso por volver a su hogar. Esta imagen espontanea muestra a Grant como un joven teniente, más interesado por los problemas del amor que por los de los militares y la guerra.
Fotógrafo no identificado
Ferrotipo, c. 1847–51
National Portrait Gallery, Smithsonian Institution; donación del señor Ralph Connor y su señora
Andrew Wyeth, American, b. Chadds Ford, Pennsylvania, 1917–2009
Watercolor and pencil on paper
15 1/16 X 22 IN. (38.2 X 55.8 CM.)
M. Knoedler & Co., Inc., New York, to 21 June 1962
Joseph H. Hirshhorn, New York, 21 June 1962-17 May 1966
Gift of Joseph H. HIrshhorn, 1966
ALBRIGHT-KNOX ART GALLERY, Buffalo, New York. Andrew Wyeth: Temperas, Watercolors, and Drawings, 2 November-9 December 1962, no. 98.
TEMPLE B'NAI SHOLOM, Rockville Center, New York. Fourth Annual Exhibition, 31 March-3 April 1963, no. 39.
THE PENNYSLVANIA ACADEMY OF THE FINE ARTS, Philadelphia, Pennsylvania. Andrew Wyeth Retrospective, 8 October-27 November 1966, no. 181. Tour: BALTIMORE MUSEUM OF ART, Baltimore, Maryland, 13 December 1966-22 January 1967; WHITNEY MUSEUM OF AMERICAN ART, New York. 14 February-2 April 1967; THE ART INSTITUTE OF CHICAGO, 21 April-June.
HIRSHHORN MUSEUM AND SCULPTURE GARDEN, SMITHSONIAN INSTITUTION, Washington, DC. "Inaugural Exhibition," 4 October 1974-15 September 1975, fig. 878, pp. 573, 759.
GREENVILLE COUNTY MUSEUM OF ART, Greenville, South Carolina. Andrew Wyeth in Southern Collections, 1 February-31 May 1978, no. 30.
CANTON ART INSTITUTE, Canton, Ohio. Andrew Wyeth from Public and Private Collections, 15 September-3 November 1985.
MISSISSIPPI MUSEUM OF ART, "Andrew Wyeth: Close Friends" 3 February 2001 - 13 May 2001. TOUR: GREENVILLE COUNTY MUSEUM OF ART, SC. 2 June 2001 - 27 August 2001.
NAPLES MUSEUM OF ART, Naples, Florida. "Andrew Wyeth & Family" 21 January 2006 - 14 May 2006.
LERNER, ABRAM, et al. The Hirshhorn Museum and Sculpture Garden (New York: Harry N. Abrams, 1974): 573, 759, fig. 878.
GOLDSTEIN, NATHAN. Painting: Visual and Technical Fundamentals (Englewood Cliffs, New Jersey: Prentice-Hall, 1979): 68.
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966
Portrait painter and teacher. Born in England, Freeman studied at the Art Students League, at the Grand Chaumière, and at the Cooper Union Art School. Lived in New York, N.Y. and Pigeon Cove, Mass. Died in Park Ridge, N.J.
Biographical material; letters received from sitters, admirers, and others, including illustrated letters from Frederick Stuart Church and Walter Clifton; a scrapbook of photographs and reproductions of Freeman's portraits; clippings; printed material; typescripts of lectures by Freeman on women in art and portrait painting; and photographs of Freeman.
[Photograph marked "Regal" in a scrapbook : black and white photoprint]
Flores Yo-yo Corporation
Duncan Yo-Yo Company
Silver gelatin on paper
1 item, 1.5" x 1"
Filipino Americans 1920-1940
In Box 27, Folder 1.
"Regal" may be Pedro Flores, a Filipino American largely responsible for the popularity of the yo-yo in the United States beginning in the 1920s; founded Flores Yo-yo Company; photographer unidentified.
Duncan Family Yo-yo Collection, Archives Center, National Museum of American History