This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Yasuo Kuniyoshi papers, 1906-2016, bulk 1920-1990. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by Stephen Diamond, the Roy Lichtenstein Foundation, and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The collection is open for research. Use requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Howard Wise Gallery records, 1943-1969. Archives of American Art, Smithsonian Institution.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Brown Foundation. Funding for the digitization of this collection was provided by the Terra Foundation for American Art.
Permission to reproduce and publish an item from the Archives is coordinated through the Freer Gallery of Art and Arthur M. Sackler Gallery's Rights and Reproductions department. Please contact the Archives in order to initiate this process.
Collection Citation:
A.W. Bahr Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of Penelope Jane Bahr and Helen M. Bahr (Stewart), November 12th, 2001.
Restricted for 15 years, until Jan-01-2017; Transferring office; 11/7/2001 memorandum, Wright to Hennessey; Contact reference staff for details.
Collection Citation:
Smithsonian Institution Archives, Accession 09-108, Freer Gallery of Art and Arthur M. Sackler Gallery. Senior Research Scholar, Professional Activity Files
This series contains correspondence between Bahr and collectors of Chinese art and other figures in the art world, such as Lord Kitchener, Kenjiro Matsumoto and the King of Sweden. This series also has official correspondence between Bahr and museums, usually regarding donations of his pieces to their collections.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to reproduce and publish an item from the Archives is coordinated through the Freer Gallery of Art and Arthur M. Sackler Gallery's Rights and Reproductions department. Please contact the Archives in order to initiate this process.
Collection Citation:
A.W. Bahr Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of Penelope Jane Bahr and Helen M. Bahr (Stewart), November 12th, 2001.
Correspondence is with Asian art scholars and collectors, museums, galleries, universities, and art dealers, and includes letters, cards, and postcards received, as well as several outgoing letters from Singer. Topics of conversation include loan requests and viewings of Singer's collection; Chinese art object consultations; notices of items of interest up for auction; ongoing discussions of the disposition of Singer's collection upon his death; and publication of and edits to his collection catalog project.
The following list is selective and represents about seventy-five percent of the individuals who corresponded with Paul Singer.
Bahr, Edna H.
Barnard, Noel (The Australian National University)
Beach, Milo C. (Arthur M. Sackler Gallery)
Bernat, Paul
Brinker, Helmut H. (Fogg Art Museum)
Brundage, Avery
Bulling, Anneliese Gutkind
Bunker, Emma C.
Bush, George, President
Capon, Edmund (Victoria & Albert Museum)
Caro, Frank (C.T. Loo--gallery)
Chait, Ralph M.
Chang, Kwang-chih (Yale University)
Chase, Thomas W. (Freer Gallery of Art)
Cheung, Kwong-yue (The Australian National University)
Chow, Fang (Metropolitan Museum of Art)
Chu, Jen-hsing (National Palace Museum)
Cleveland, Richard S. (The Saint Louis Art Museum)
Cox, Warren E.
Crawford, John M., Jr.
D'Argence, Ivon (M.H. de Young Memorial Museum)
Dohrenwend, Doris J. (The Royal Ontario Museum)
du Boulay, Anthony (Christie's, New York)
Eskenazi, J.E.
Fontein, Jan (Museum of Fine Arts, Boston)
Fu, Marilyn (Princeton University)
Fu, Shen (Freer Gallery of Art)
Gettens, Rutherford J.
Getz, Joel
Gichner, Lawrence E.
Goepper, Roger (Museum fur Ostasiatische Kunst)
Gray, Basil (British Museum)
Grisdale, Dick and Marjorie
Gyllensvard, Bo
Hathaway, Calvin S. (The Cooper Union)
Hayashi, Minao (Kyoto University)
Higuchi, T. (Kyoto University
Hippen, Will, Jr. (Fine Arts Gallery of San Diego)
Huber, Louisa G. Fitzgerald
Hsu, F. Richard (China Institute in America)
Kahane, Andrew
Keene, Manuel D.
Kelley, Clarence W. (The Dayton Art Institute)
Kimpel, Ben (Drew University)
Kuwayama, George (L.A. County Museum of Art)
Lally, James (Sotheby Park Bernet)
Lee, Sammy Yukuan (Oriental House, Ltd.)
Lee, Sherman E. (The Cleveland Museum of Art)
Levitan, Kit Carson Bennett
Little, Stephen (The Cleveland Museum of Art; Asian Art Musuem of San Francisco)
Loehr, Max (Fogg Art Museum)
Loekl, Greta Schreyer
Loh, Pichon P.Y. (Upsala College)
Maeda, Robert J. (Brandeis University)
Mackay, Colin J. D. (Sotheby's, London)
Marumoto, Shinichi (Kadansha Publishers)
Matsumoto, Helen L.
Mino, Yutaka
Mowry, Robert D. (The Asia Society)
Neill, Mary Gardner (Yale University Art Gallery)
Poor, Richard (University of Minnesota)
Proctor, Patty (Royal Ontario Museum)
Ravenal, Richard S. (Asian Gallery)
Rawson, Jessica (The British Museum)
Reynolds, Valrae (The Newark Museum)
Riddell, Sheila
Rockefeller, John D., 3rd
Rockefeller, Mrs. John D. (Blanchette)
Sackler, Arthur M.
Sackler, Jill
Sackler, Marietta Lutze
Scott, Hugh (U.S. Senate)
Schloss, Ezekiel
Shangraw, Clarence F. (Asian Art Museum of San Francisco)
Shen, Yusen
Sickman, Laurence (Nelson-Atkins Museum of Art)
Singer, Erwin
So, Jenny
Spelman, Ruth (C.W. Post Center)
Sullivan, Michael (Univ. Of Malaya in Singapore)
Swann, Peter C. (Museum of Eastern Art, Oxford)
Thote, Alain
Trousdale, William (U.S. National Museum)
Trubner, Henry (The Royal Ontario Museum)
Tsang, Shu-ping Teng (National Palace Museum)
Tsiang, Katherine R.
Tung, Tom Wu (Museum of Fine Arts, Boston)
Umehara, Sueji
Vannotti, Franco
Veit, Willibald
Wardwell, Allen (The Asia Society)
Washburn, Gordon B. (The Asia Society)
Waterbury, Florance
Watson, William (Percival David Foundation of Chinese Art, Univ. Of London)
Whitfield, Roderick (Princeton University)
Wilson, Marc F. (Nelson-Atkins Museum of Art)
Wu, Tung (Museum of Fine Arts, Boston)
Ziebold, Thomas O. (Braddock Services Inc.)
Woodward, Hiram W., Jr. (The Walters Art Gallery)
Yuey, Joe
Arrangement:
The bulk of the files are arranged alphabetically by correspondent or corresponding institution. Numerous copies made after the receipt of the collection are of select letters and postcards and have not been further sorted.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
The Paul Singer Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Introduction:
In the 1970s, more than 90 percent of all Americans recognized themselves as heirs to cultural traditions brought to this country from other parts of the world. The 1975 Old Ways program featured six of the many ethnic groups that have enriched the American mosaic of culture. In the Bicentennial celebration in 1976, more than 30 were expected to participate.
The central theme of the 1975 presentations was celebration. Individuals and groups who serve their communities through singing, dancing, playing music, telling stories, or preparing food for these gatherings were brought to the Festival from ethnic communities in the United States and from their parent nations overseas. The 1975 presentations featured German and Lebanese traditions (June 25-29), and Japanese, Mexican, and Italian traditions (July 2-6).
The German presentation focused on the music, dance and foodways associated with weddings - a celebration that involves whole communities in customs that have been practiced for hundreds of years. German American musicians played traditional wedding music on a combination of instruments: a hammered dulcimer, accordion, trombone, and bass guitar. Other wedding music was performed by a German American brass band from Wisconsin and another from Texas. From Schleswig-Holstein a six-piece band performed wedding dance music, and Bavarian wedding music was played by three musicians from Munich. A brass band and dancers from Baden-Wurtemburg performed wedding music from their region, and wedding foods were demonstrated.
The Lebanese program reflected the diversity of traditional music and dance, urban and village, sacred and secular. An urban cabaret orchestra from Beirut was joined by another from the United States. Each day's activities portrayed a haflah, or Lebanese party with music, song, food, and dance. Dancers from Marjayoun and Mtein, Lebanon, and Springfield, Massachusetts taught Festival visitors the dabke and other village group dances, and the sacred dimension of Lebanese music was shown by vocalists singing choral songs sacred to Lebanese Christians.
A Natsu Matsuri, or summer festival, provided the frame within which Japanese music, dance, crafts and foods were presented. Japanese Americans from communities in Seabrook, New Jersey, New York, Philadelphia, Chicago, and Washington, D.C., together with folk artists from Tokyo and Mihara, a small seacoast city in Hiroshima Prefecture, created festive celebrations daily, culminating in a major Bon Odori in the Plaza on July 5. Crafts related to festivities such as flower arranging and origami were demonstrated, as were calligraphy, kimono-making, cushion-making and kite-making.
In the Italian area, Italian Americans from neighborhoods in the New York metropolitan area joined counterpart participants from Italy in activities traditionally associated with saint's day celebrations, scampagnate, carnivale and other special occasions. Music was of special importance in these presentations, as it has been in the immigration experience. Visitors also heard the cries of street vendors and the sounds of tambourines, bagpipes, scrapers and accordions, instruments native to many regions of Italy. They enjoyed a Sicilian American marionette show and watched and played Italian games.
Mexicans and Mexican Americans shared the stage the second week of the Festival in a program that attempted to trace the roots of those music traditions most popular among Mexican Americans in the United States. Visitors could compare the styles of the mariachi music that now thrives in Mexico and in the United States. The norteño style, a lively, rustic sound that flourished in Texas and spread through parts of the Southwest, was performed by Mexican American musicians and dancers. An ensemble of five performers from southern Veracruz played the harp-dominated jarocho music and executed the complex footwork of the dances.
Program Coordinator for the Old Ways in the New World was Shirley Cherkasky, assisted by Sandra Tussing and Suzanne Cox. Thomas Vennum was ethnomusicologist. An advisory group included Conrad Arensberg, Svatava Pirkova Jakobson, Alan Lomax, and David McAIIester.
The 1975 program was made possible by the American Revolution Bicentennial Administration, Government of Germany, Government of Japan, Japan Foundation, Government of Lebanon, and Government of Mexico.
Fieldworkers:
Anna Lomax, Anthony Shay, Miiko Toelken, Roger Welsch, Ernestine Perrie, Elizabeth Mathias, Ronald Smith, Philip Sonnichsen
Participants:
German
Gretel Gross Trio:
Hans Eibl, 1941-, zither player
Margarete Gross, 1932-, hackbrett player
Gottfried Keck, 1929-, guitar player
Die Holsteiner -- Die HolsteinerGregor Otto, 1928-, leaderKarl-Heinz Kler, 1937-, musicianHans-Joachim Knoof, 1957-, musicianRüdiger König, 1943-, musicianWalter Siwek, 1919-, musicianPaul Gottfried Zulauf, 1943-, musician
Bob Schmer's Polka Play Boys -- Bob Schmer's Polka Play BoysAlbert Fahlbusch, 1925-2005, hammered dulcimer playerRoger Fahlbusch, 1958-, bass guitar playerAndrew M. Gentry, trombone playerRobert H. Schmer, accordion player
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: 1975 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
