2 Prints (albumen and photogravure, image 13 x 9.8 cm mounted on board 16.4 x 10.6 cm.; second image is 7 3/4 x 5 in. on a sheet approx. 14 x 11in.)
Container:
Box 275
Type:
Archival materials
Prints
Photographs
Portraits
Place:
England -- London -- London
Date:
ca. 1865-1870
Scope and Contents:
Head and shoulders portraits of Christina Spartali, taken by Julia Margaret Cameron circa 1865-1870. One albumen print, mounted on gold cardboard. The line "From life copyright Julia Margaret Cameron" is printed on the board below the photo, followed by a second and third line, written in ink, which read "Christina Spartali" and "now Countess Cahen D'Anvers" respectively. A second portrait is a photogravure printed from an original Cameron negative in 1891 for the publication "Sun & Shade" by the publisher New York Photo-Gravure Co.
Julia Margaret Cameron photographs of Christina Spartali
Arrangement:
Organized in one flat box.
Biographical / Historical:
Julia Margaret Cameron (1815-1879) was a British photographer noted for her portraits of celebrities of the day.
Christina Spartali, second daughter of Michael Spartali and Euphrosyne Varsini Spartali, was born in Middlesex, England, in the mid to late 1840s. Her father, a prosperous cotton merchant who resided in London, became Consul-General for Greece in 1866. From 1864, the family lived in London at "The Shrubbery" in Clapham Common, and through their relatives the Ionides, prominent patrons of the arts, became acquainted with members of the contemporary art world, including James McNeill Whistler. Julia Margaret Cameron was the Spartalis' neighbor at Sandford, the family's estate on the Isle of Wight. Christina and her sister Marie were extraordinarily well-educated for women of their generation, but they were equally well-known for their beauty. Marie Spartali was an artist who publicly exhibited her work until the end of her life, but she remains better known as a model for Dante Gabriel Rossetti and other Victorian artists. Christina, who pursued no profession, is remembered for only one work, Whistler's "La Princesse du pays de la porcelaine", for which she posed in 1864-1865. Although "La Princesse" was not intended as a portrait, Whistler exhibited it in 1892 as "Portrait of Miss S.---," confident that his contemporaries would recognize the reference.
Local Numbers:
FSA A.01 12.02.6
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Photographs
Portraits
Collection Citation:
Charles Lang Freer Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
In 2004, Hispanics were the largest minority group and the fastest-growing segment of the U.S. population, having more than doubled since 1980 and accounting for half the total population growth since 2001. In the preceding decade, the highest rates of Hispanic growth had been not in California, Texas, New York, Miami, Chicago, and other long-time Latino strongholds, but in states such as Arkansas, Indiana, Michigan, North Carolina, Virginia, and Wisconsin. Hand in hand with the burgeoning Latino population came an infusion of Latino music, usually called música latina in the windows and bins of record stores or entertainment venues.
In the United States, a "parallel universe" of Latino performance exists alongside the English-dominant mainstream. The Latin music and media industries are a powerful presence in American life, and their influence is increasing. The sounds of música latina and the voices of musicians themselves help us understand the struggles, aspirations, and joys of Latinos in the process of making the United States their home.
As with other cultural minority groups in the multicultural United States, Latino communities have often used music to express themselves in the public commons - civic celebrations, ethnic festivals, cultural education programs, and political events, for example. Many kinds of music that were historically intended for private occasions - such as for social dancing or for religious devotion - take on new meaning as they are moved into the public realm in order to send a message of identity: "We are Dominican" (or Mexican, or Cuban, or Puerto Rican, and so forth). Some musical styles, forms, and repertoires have deep, "core-culture" associations and/or "stage performance value" to please broad audiences with a strong stamp of cultural identity. These become symbols, aimed either at a new, broader audience or at the same community audience but with the new purpose of defining group identity.
At the same time that forms of music (and dance) have become vehicles for creating social identity, they have also become means for creating a new sense of community. Music in any society is a social magnet, a way of bringing people together, the major attraction at a myriad of social events. But among Latinos in the United States, this role has been expanded and its importance heightened. Music has become a primary vehicle for reuniting people who share a similar background and recreating their lost sense of community - especially for a dispersed immigrant Latino community, or for a Latino minority culture living among people of other cultural backgrounds who speak languages other than Spanish.
The 2004 Festival program was a signature component of a larger Latino Music Project conceived by the Smithsonian's Center for Folklife and Cultural Heritage. In 2001, the non-profit record label, Smithsonian Folkways Recordings, a division of the Center, launched its Latino Music Recording Initiative, entitled Tradiciones/Traditions, to expand Latino music holdings, to publish and disseminate new recordings, and to create a Web site offering bilingual educational materials. It was planned that the Festival component of the Latino Music Project would be sustained over an unprecedented four consecutive years, with each year's program shaped by a special theme highlighting a coherent constellation of issues in Latino music and culture. The program aimed to explore the historical roots and development of Latino cultures in the United States, contemporary social issues articulated in music and dance, and the role the music industry plays in the continuity and transformation of Latino musical tradition. The 2004 program laid out those themes and previewed what would follow in subsequent years (see also the 2005 2006 and 2009 programs).
Olivia Cadaval and Daniel Sheehy were Curators, with Russell Rodríguez as Guest Co-Curator; Nilda Villalta was Program Coordinator. An Advisory Committee included: Norma E. Cantú, G. Adriana Cruz Manjarrez García, Enrique Lamadrid, Steven J. Loza, Ana María Ochoa, Olga Nájera-Ramírez, and Carolina Santamaría.
This program was generously funded by the Smithsonian Latino Initiatives Fund and the National Endowment for the Arts. Additional funding came through Anheuser-Busch, Inc., with in-kind support through Delta Air Lines. Cooperating organizations included Arts of the Americas Institute - University of New Mexico, Radio Bilingüe, Univisión, and the Smithsonian Center for Latino Initiatives.
Presenters:
Enrique "Quique" Avilés, Geaner "DJ" Bruno, David Champion, Juan Dies, James Early, Joanne Flores, José Quetzal Flores, Martha González, Nancy Groce, Scout Mahler, Michael Mason, Olga Nájera-Ramírez, Danny Román, Eileen Torres, Cynthia Vidaurri
Participants:
Performance Traditions
Music
Chanchona San Simonense -- Chanchona San SimonenseWilmer Bladimir Díaz Hernández, 1987-, tumba, San Simon, El SalvadorLuciano "Chanita" Hernández, 1972-, violin, San Simon, El SalvadorEmilio Antonio Monteagudo Luna, 1980-, vihuela guitar, San Simon, El SalvadorHernán Moreno, 1954-, bass, San Simon, El SalvadorHector Antonio Moreno Hernán, 1963-, violin, San Simon, El SalvadorJosé Lucidio Sol Hernández, 1965-, guiro, tumba, San Simon, El Salvador
Emikeké -- EmikekéFelipe García Villamil, 1931-, batá, shékere, bells, güiro, conga, lead vocals, Los Angeles, CaliforniaValeria Esteba-García, shékere, bells, clave, chorus, dance, Los Angeles, CaliforniaTomasa Esteba-García, shékere, bells, clave, chorus, danceAtoyebi Esteba-García, 1985-, batá, shékere, conga, bells, chorus, Los Angeles, CaliforniaMiguel Esteba-García, 1984-, batá, shékere, bells, dance, Los Angeles, CaliforniaAjamu Smith-García, 1978-, batá, shékere, bells, clave, chorus, Los Angeles, California
Eva Ybarra y su Conjunto -- Eva Ybarra y su ConjuntoEva Ybarra, 1945-, accordion, San Antonio, TexasMax Baca, 1967-, bajo sexto, San Antonio, TexasGloria García, 1947-, vocals, San Antonio, TexasOscar García, bass, San Antonio, TexasAaron Holler, 1985-, drums, Pontiac, Michigan
Franklyn Hernández y sus Tipican Brothers -- Franklyn Hernández y sus Tipican BrothersFranklyn Hernández, 1959-, leader, lead vocals, accordion, Philadelphia, PennsylvaniaJesús Bonilla, güiro, Philadelphia, PennsylvaniaMiguel Gelmán, saxophone, Philadelphia, PennsylvaniaNino Hernández, electric bass, Philadelphia, PennsylvaniaRafael Tineo, tambora, Philadelphia, Pennsylvania
José Gutiérrez y Los Hermanos Ochoa -- José Gutiérrez y Los Hermanos OchoaJosé Gutiérrez, 1942-, requinto, Veracruz, MexicoMarcos Ochoa, 1944-, jarana, Veracruz, MexicoFelipe Ochoa, 1950-, harp, Veracruz, Mexico
Lorenzo Martínez y Reflexiones -- Lorenzo Martínez y ReflexionesLorenzo Martínez, Sr., 1954-, violin, Albuquerque, New MexicoRamona Martínez, danceRoberto Martínez, Sr., 1929-, vihuela, Albuquerque, New MexicoRoberto Martínez, Jr., 1963-, guitar, Albuquerque, New MexicoRoberto "Robby" Martínez, 1945-, bass, Albuquerque, New Mexico
Mariachi Los Camperos de Nati Cano -- Mariachi Los Camperos de Nati CanoNatividad "Nati" Cano, 1933-, director, vihuela, Fillmore, CaliforniaSergio Alonso, 1975-, harp, Sylmar, CaliforniaJesús Guzmán, 1964-, violin, Pico Rivera, CaliforniaIsmael Hernández, 1969-, violin, Whittier, CaliforniaPedro Hernández, 1976-, guitarrón, La Puente, CaliforniaMartín C. Padilla, 1979-, violin, San Fernando, CaliforniaArturo Palacios, 1941-, guitar, Whittier, CaliforniaJavier Rodríguez, 1969-, trumpet, Los Angeles, CaliforniaJosé M. Ramirez, West Covina, CaliforniaJimmy Kyle Cuellar, Bakersfield, California
Viento de Agua -- Viento de AguaHector "Tito" Matos, 1968-, director, lead singer, requinto, tumbandero, barriles de bomba,Santruce, Puerto RicoJuan Gutiérrez, 1951-, seguidor, barriles de bomba, chorus, Bronx, New YorkRoberto Cepeda, 1954-, seguidor, punteador, singer, dance, Bronx, New YorkSammy Tanco, 1941-, maracas, güiro, singer, New York, New YorkJoksan Ramos, 1970-, cuá, punteador, requinto, singer, Astoria, New York
SPECIAL CONCERT
Son de Aquí, Washington, D.C. metropolitan area -- Son de Aquí, Washington, D.C. metropolitan areaMarco Antonio Alzamora, 1970-Jhonny Miguel Ayquipa Caycho, 1981-Andy Javier Caceda Angulo, 1976-Wilfred O. Garcia Gallardo, 1967-Christian Gonzales, 1979-Marciano Gonzalez, 1953-Gustavo Joel Hurtado Hernandez, 1969-Yuan Loyola, 1979-Adrian Reyes, leader, Chantilly, VirginiaCarlos Rubio, 1974-, bongosAlberto Tirado, 1970-Julio Cesar Torrejon, 1976-
DANCE ENSEMBLES
Fraternidad Sangre Boliviana, Arlington, Virginia -- Fraternidad Sangre Boliviana, Arlington, VirginiaMelissa Almaraz, Jancaria Alvarez, Andrea Ampuero, Erick Bacarreza, Sergio Canelas, Isabel Cardenas, Adriana Carrillo, Letcia Carrillo, Ronald Choque, Vivian Gillen, Gonzalo Gutiérrez, Aurora Gutlerrez, Daniela Lameles, Nelson Lameles, Pablo Lijeron, Ariel Lisarazu, Diego Lopez, Jasmin Mendoza, Maribel Meruvia, Marcelo Molina, Marvin Monterosa, Alex Navia, Gabriela Peredo, Juan Carlos Peredo, Mauricio Peredo, Michelle Peredo, Ximena Peredo, Rosas Roger, Claudia Siles, Dante Suarez, Maria Tapia, Hector Tolentino, Ricardo Tolentino, Tatiana Tolentino, Lizeth Torrico, Mauricio Torrico, Raul Torrico, Roxana Torrico, Claudia Urrutla, Leo Vallejos, Kattya Via, Ivan Villanueva, Edward Viscarra, Enrique Viscarra
Los Tecuanes, Manassas, Virginia -- Los Tecuanes, Manassas, VirginiaAdriana Burgoa, Iliana Burgoa, Masiel Burgoa, Carlos Cordero, Julio Cordero, Sadie Cordero, Halmar Guerrero, Isaac Guerrero, Vicente Guerrero, Guadalupe Muñiz, Blanca Navarro, Luis Ramírez, Ana Reyes, Armando Reyes, Jose Luis Reyes, Lorena Reyes, Luis Reyes, Luz Rodríguez, Nil Vargas, Inés Velasco
Felipe García Villamil, 1931-, sacred drums and ritual objects, Los Angeles, California
Francisco González, 1953-, strings, Goleta, California
José Gutiérrez, 1942-, -- jarocho -- instruments, Veracruz, Mexico
Carlos Molina Saénz, 1961-, -- llanero -- traditional instruments, Meta, Colombia
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2004 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
These letters are clues to a secret life. This is a series of letters and addressed envelopes sent to Philip St. George (?-1997) of New York City who, from all indications, identified as being a closeted gay man. George's correspondents, who may have also have been gay or bisexual, tell of their experiences in the armed forces after World War II and their life after the war, 1945-1953.
Arrangement:
In Box 84, Folders 1 - 10.
Local Numbers:
AC1146-0000117-01 to AC1146-0000273 (AC Scan)
Restrictions:
Unrestricted research use on site by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Names:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America Search this
Extent:
103 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2003 July 30-August 5
Scope and Contents:
An interview of Marvin Lipofsky conducted 2003 July 30-August 5, by Paul Karlstrom, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Berkeley, California.
Lipofsky speaks of growing up in the retail clothing trade; relating immediately in his early career to artists Peter Voulkos and John Mason; studying industrial design at the University of Illinois and sculpture at the University of Madison, Wisconsin, where Harvey Littleton introduced him to glass blowing; traveling to Europe to learn about glass; his desire to share education experiences with others; setting up education programs at Berkeley and the California College of Arts and Crafts; establishing the Great California Glass Symposium and creating a sense of community of glass art; artists versus artisans and craftsmen; studio glass as an American phenomenon; functional versus non-functional glass art; spirituality in his work; glassblowing associated with the breath of life; the Bay Area art scene; symbolic forms and organic quality of works; influences from working in factories and other countries; his experience working at the Venini Factory in Murano, Italy; his involvement in the California College of Arts and Crafts, Glass Arts Society, and National Council on Education for the Ceramic Arts; abstraction as his main subject of works; inspirations of colorful clothing and color in nature; and the "American Glass Now" exhibition at the Toledo Museum of Art, the first major glass exhibit in the United States. Lipfosky also recalls Dante Marioni, Paul Marioni, Beatrice Wood, Christopher Wilmarth, Ken Holston, Dale Chihuly, and others.
Biographical / Historical:
Marvin Bentley Lipofsky (1938- ) is a glass artist and educator from Berkeley, California. Paul Karlstrom (1941- ) is an art historian from San Marino, California.
General:
Originally recorded on 6 sound discs. Reformatted in 2010 as 11 digital wav files. Duration is 6 hrs., 31 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript available on the Archives of American Art website.
An interview of Richard Marquis conducted 2006 September 16, by Mija Riedel, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the artist's home and studio, in Freeland, Washington.
Marquis speaks of his childhood spent moving around Arizona, Colorado, and California; his lifelong affinity for collecting objects; attending University of California, Berkeley; the influence of seeing the shows "Abstract Expressionist Ceramics" at the University of California at Irvine in 1966 and "American Sculpture of the Sixties" at Los Angeles County Museum of Art in 1967; receiving a Fulbright grant to study glassblowing in Murano, Italy; experiences at Venini Fabbrica Glass Factory in Murano; teaching experiences at University of Washington, Seattle and UCLA; traveling throughout Australia to set up glass workshops; working as artist-in-residence at Tasmanian School of Art in Hobart, Tasmania, Australia; establishing Marquis Deluxe Studios; large-scale installation collaborations with Therman Statom; the importance of teaching and sharing knowledge; the cyclical progression and diversity of his work; future plans to work less with glass and focus instead on daguerrotypes. Marquis also recalls Peter Voulkos, Ron Nagle, Marvin Lipofsky, James Melchert, Harvey K. Littleton, John Eubanks, John Pearson, Ludovico de Santillana, Lino Tagliapietra, Bob Naess, Fred Bauer, Nick Mount, Les Blakebrough, Jack Wax, Jody Fine, Therman Statom, Kenneth Price, Dante Marioni, Jerry Spagnoli, and Bill Concannon, among others.
Biographical / Historical:
Richard Marquis (1945- ) is glass artist and educator from Freeland, Washington. Mija Riedel (1958- ) is a curator and writer from San Francisco, California.
General:
Originally recorded on 4 sound discs. Reformatted in 2010 as 9 digital wav files. Duration is 4 hrs., 57 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
An interview of Fritz Dreisbach conducted 2004 April 21-22, by Susanne Frantz, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Tucson, Arizona.
Dreisbach speaks of growing up in Ohio, in a family of educators and deciding at an early age to become a teacher; taking high school art; pursuing a BA in art and mathematics at Hiram College; getting his MAT and teaching high school math; attending the University of Iowa to study painting; the impact of taking a summer class in glassblowing; visiting Dominick Labino at his studio; researching colored glass and glass chemistry; becoming Harvey K. Littleton's teaching assistant at the University of Wisconsin, Madison; building a hot shop and teaching at the Toledo Museum of Art; teaching at Penland School of Crafts; creating the Glass Art Society with Mark Peiser after attending a NCECA conference; moving to Seattle to make glass colors for The Glass Eye; and working for Spectrum Glass Company. Dreisbach also speaks of the importance of community among glass artists; taking part in glass symposia in Frauenau, Germany; traveling around the country to teach workshops, known as his "Road Show"; making representational pop-style pieces as well as historical reference pieces; collaborating on a stained glass window with Gary Noffke; developing techniques for making goblets; working with Dante Marioni on a series of goblets; his commissioned pieces, including the Corning Pokal; engraving glass; his Mongo series; selling works through galleries; the influence of the Italian glass artists; teaching at Pilchuck Glass School; Dominick Labino's career and innovations in glass technology; being invited to give the Samuel R. Scholes lecture at the New York State College of Ceramics at Alfred University; serving twice as Glass Art Society president; inaccuracies in the history of American studio glass; taking part in GAS conferences at Fenton Glass Factory; the importance of the rise of the university-trained glass artist in the 1960s; going to Pilchuck for the first time; meeting international glass artists; attending symposia at Novy Bor, Czech Republic; and his plans for the future. Dreisbach also recalls Tom McGlauchlin, Clayton Bailey, Erwin Eisch, Dale Chihuly, Bill Brown, Marvin Lipofsky, Joel Myers, Billy Bernstein, Dan Dailey, Dudley Giberson, Harvey Leafgreen, Bill Boysen, Henry Halem, Peter Voulkos, Ruth Tamura, and others.
Biographical / Historical:
Fritz Dreisbach (1941- ) is a glass artist from Tucson, Arizona. Susanne Frantz is a writer and curator from Paradise Valley, Arizona.
General:
Originally recorded on 8 sound discs. Reformatted in 2010 as 21 digital wav files. Duration is 8 hr., 41 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
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