Volume 22 is a bound scrapbook that features numbered pages and consists mostly of newspaper clippings and handwritten notes.
Articles prominently featured in Volume 22 concernthe Pension Building, the Statue of Liberty, and the issue of water supplies. There are illustrations of the Pension Building, including a detailed illustration and many accounts and illustrations relating to the construction of the Statue of Liberty. There are numerous articles related to water supply concerns, water pollution, and water prices. Meigs's interest in yachts includes illustrations of designs and dramatic boating scenes.
Some of the publications featured in Volume 22 includeThe Philadephia Inquirer, The Evening Star, The Daily Graphic, the The New-York Daily Tribune, and The Metal Worker.
Collection Restrictions:
The collection is open for research.
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.
Collection Citation:
Montgomery C. Meigs Papers, Archives Center, National Museum of American History.
An interview of Richard Thomas conducted 1978 May 5-17, by Dennis Barrie, for the Archives of American Art.
Biographical / Historical:
Richard Thomas (1917-1988) is a metalsmith and educator from Cranbrook Academy, Bloomfield Hills, Michigan.
General:
Originally recorded on 2 sound tape reels. Reformatted in 2010 as 2 digital wav files. Duration is 2 hr., 3 min.
Provenance:
These interviews are part of the Archives' 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 others.
The records of the Fendrick Gallery measure 106.4 linear feet and 0.008 GB and span the years 1952 to 2001. The bulk of the collection is comprised of artist's files that document the gallery's relations with and representation of over 300 contemporary artists and sculptors, including Robert Arneson, William Bailey, Daniel Brush, Wendell Castle, Robert Cottingham, James Drake, John Dreyfuss, Walter Dusenbury, Roger Essley, Helen Frankenthaler , Sam Gilliam, Jasper Johns, Raymond Kaskey, Claude and Francois Lalanne, Albert Paley, Joseph Raffael, Carol Summer, and numerous other artists. Also found are subject, exhibition, commission, administrative, and financial files, as well as files documenting the gallery's relationship with other museums and galleries.
Scope and Content Note:
The records of the Fendrick Gallery measure 106.4 linear feet and 0.008 GB and span the years 1952 to 2001. The bulk of the collection is comprised of artist's files that document the gallery's relationships with and representation of over 300 contemporary artists, including Robert Arneson, William Bailey, Daniel Brush, Wendell Castle, Robert Cottingham, James Drake, John Dreyfuss, Walter Dusenbury, Roger Essley, Helen Frankenthaler, Sam Gilliam, Jasper Johns, Raymond Kaskey, Claude and Francois Lalanne, Albert Paley, Joseph Raffael, Carol Summer, and numerous other artists. Also found are subject, exhibition, commission, administrative, and financial files, as well as files documenting the gallery's relationship with other museums and galleries.
Series 1, Artist's Files, measures almost 42 linear feet and dates from 1962-2001. Found here are files documenting the gallery's relationship with over 300 contemporary artists. Files typically contain correspondence, sales receipts, printed materials, exhibition catalogs and announcements, commission information, photographs, slides, and other materials.
Series 2, Albert Paley, 1970-2001, and undated, provides detailed documentation (14.5 linear feet) of the Fendrick gallery's representation of prominent American metal sculptor Albert Paley. The gallery represented Paley from the early 1980s through the early 1990s and devoted a great deal of its resources promoting Paley's work through exhibitions and commissioned sales. Correspondence between the Fendrick Galleries and Paley Studios is found in this series, along with publicity materials, commission proposals and sketches, exhibition materials, and audio-visual and photographic documentation of Paley's work. Researchers should also consult Series 3 for additional documentation of Paley's commissioned projects.
Series 3, Commissioned Works and Projects, 1972-2000, and undated, documents the variety of commissions and special projects the gallery arranged and managed on behalf of its represented artists. Because privately commissioned work and government-sponsored public art projects represented a significant source of revenue for the Fendrick galleries, the gallery devoted a substantial amount of time and resources towards securing these projects. These files contain applications, proposals, sketches, correspondence, photographs and other material arranged by name of project.
Series 4, Exhibition Files, 1961, 1970-1996, and undated, houses files relating to exhibitions organized by Fendrick Gallery. Found here are exhibition announcements, invitations, and catalogs; specific named exhibition files; and files concerning special projects or exhibitions, often jointly curated with other galleries or institutions. The Fendrick gallery was also actively involved in various governmental programs, such as Art in the Embassies Program, and organized traveling exhibits or loaned artwork to them.
The gallery's relationships with other galleries, museums, institutions, and art organizations is documented in Series 5, Museums and Galleries Files, 1952-2000, and undated. Many of the files concern loans, exhibition venues, and joint exhibitions or projects.
Series 6, Subject Files, 1952, 1960-2001, and undated contain numerous files arranged by subject heading. Here, researchers will find information collected and maintained by the gallery on various art medium, artists of interest, exhibition catalogs from museums and other galleries, information about small and fine art presses. Of particular interest are several folders entitled "Fine Art Printers & Publishers." Barbara Fendrick's early years in the art business centered upon exhibiting, promoting, and selling prints produced by young, emerging American artists. The information found here documents her growing personal relationships with some of the most prominent artists and printmakers of this era.
Records documenting administrative, business, operating, and financial affairs are arranged in Series 7, Administrative and Financial Files, 1960-2001, and undated. Found here are records of both the Barbara Fendrick Gallery (New York) and the Fendrick Gallery (Washington, D.C.), as well as files that document Barbara Fendrick's role as art consultant, appraiser, lecturer, exhibition juror, and guest curator. Found are numerous inventory cards, insurance records, consignment files, general correspondence, lists, loan files, notebooks, real estate files, card files on artists and clients, and history files. Of particular interest are the Day Books/Dailies maintained by the New York gallery staff consisting of entries and notes regarding prospective clients and their interests. The Telephone Log Books contain details of telephone conversations with artists, clients, dealers, and other art professionals. Series 7 also houses the financial records of both galleries, including invoices, financial statements, expenses, accounts, and tax records.
Arrangement:
The Fendrick Gallery records were processed to the series, subseries, and folder level. The collection is arranged into seven series. Items within folders, for the most part, were not fully sorted or preserved. When possible, materials were generally arranged at least by year. Within Series 1, Artists' Files, each set of folders for a particular artist are only given span dates. Due to the amount and complexity of material compiled on the artist Albert Paley, his files are arranged into a separate series of their own.
Series 1: Artists Files, 1962-2001, undated (Box 1-42, OV 108-110; 41.5 linear ft.)
Series 2: Albert Paley, 1970-2001, undated (Box 42-54; Box 107, OV 111-113, 117-118, FC 119; 14.6 linear ft., ER01; 0.001 GB)
Series 3: Commissioned Works and Projects, 1972- 2000, undated (Box 54-57; 3.5 linear ft.)
Series 4: Exhibition Files, 1961, 1970-1996, undated (Box 58-63; 5.5 linear feet)
Series 5: Museums and Galleries Files, 1952-200, undated (Box 64-73; 9.25 linear feet)
Series 6: Subject Files, 1952, 1960-2001, undated (Box 73-88, OV 115-116, FC 120; 15.6 linear ft.)
Series 7: Administrative and Financial Files, undated (Box 88-106; OV, ER02-ER03; 0.008 GB)
Historical Note:
The Fendrick Gallery was established in 1960 as a "by appointment only" gallery out of Barbara Fendrick's Washington, D.C., area home. Initially the gallery promoted contemporary American and European prints by emerging artists and also commissioned print editions by nationally-known artists. During the mid 1960s, the Fendrick Gallery also coordinated and produced art exhibitions on a contract basis for the United States Information Agency. The gallery was responsible for organizing the first large American art exhibition at the Department of State and the Federal Reserve.
In May, 1970 the Fendrick Gallery moved into a three-story townhouse in Georgetown and began presenting regular exhibitions open to the public. The gallery offered many prominent American artists, such as Robert Arneson, Jim Dine, Helen Frankenthaler, Jasper Johns, Louise Nevelson, and Robert Rauschenberg their first solo shows in the nation's capital. The Fendrick Gallery also represented many nationally known sculptors, such as John Dreyfuss, Walter Dusenbery, Raymond Kaskey, and Albert Paley.
Over the years, Fendrick Gallery promoted many emerging artists who were breaking down the barriers between art and craft in the areas of clay, furniture, metal, and book arts. The gallery held the first major show of contemporary ceramics on the East Coast, with the 1976 exhibition, Clay USA. The gallery also received critical acclaim for its exhibitions in the area of "book arts" and held four shows featuring the works of prominent American and international book artists.
In 1987 and 1988, the gallery expanded and opened the Barbara Fendrick Gallery in the Soho section of New York City. The New York location operated as both a gallery space and storage area and was often referred to as "The Warehouse." Both the Fendrick Gallery and the Barbara Fendrick Gallery closed in the summer of 1991, but Barbara Fendrick continues to work as an art consultant, appraiser, exhibition juror, lecturer, and guest curator.
Provenance:
The records of the Fendrick Gallery were donated to the Archives of American Art by Barbara Fendrick in 1999, with an addition to the records in 2001.
Restrictions:
The collection is open for research. Use of unmicrofilmed material requires an appointment.
Rights:
The Fendrick Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Photoprints:,fibre-base paper,,8" x 10".,Silver gelatin on
Type:
Collection descriptions
Archival materials
Motion picture films
Theses
Photographs
Articles
Motion pictures (visual works)
Place:
Pennsylvania
Singing Tower (Mountain Lake, Fla.)
Date:
circa 1971-1975
circa 1928 -1930
Summary:
Samuel Yellin was an American master blacksmith. In 1910, he built the Arch Street Metalworker's studio.
Scope and Contents:
The collection is divided into three series: (1) Motion pictures; (2) Documents; and (3) Photographs. There are two 16mm silent black-and-white films, one showing Yellin working; a master's thesis on Yellin and an article about him, both by Myra Tolmach Davis; and 86 photographs of Yellin's studio, factory, and home.
The films are: (1) "The Making of Wrought Iron", produced by the Metropolitan Museum of Art, shows an artist sketching a grille and Yellin shaping a grille for a chair. (2) "The Florida Film" shows examples of Yellin's first work as used in the Singing Tower, Mountain Lake, Florida. Both are distributed by Southern Illinois University at Carbondale.
The documents are two items by Myra Tolmach Davis: "Sketches in Iron: Samuel Yellin," a copy of a typescript addressed to George Washington University (Washington, D.C.), for Master of Museology degree, June 6, 1971. 67 pp. The article, "Samuel Yellin's Sketches in Iron," published in Historic Preservation, vol. 23, no. 4 (Oct. Dec.), 1971, pp. 4 13, is virtually identical to the text of her thesis.
The photographs (Series 3) are 86 prints from 35mm negatives by Richard Hofmeister, Office of Printing and Photographic Services, Smithsonian Institution, April 1, 1975, with an itemized checklist, "The Samuel Yellin Metal Working Building & Collection, Philadelphia..." These photographs show Smithsonian curator Richard Ahlborn during his visit to the Yellin shop on April 1, 1975, and the exterior of the building, library, factory, study, and collection rooms. The original 35mm negatives by Richard Hofmeister, who accompanied Ahlborn on this research trip, are in the Office of Imaging, Printing and Photographic Services (OIPP) negative library, nos. 75 4495 to 75 4499.
The photographs were made by Richard Hofmeister on a visit with curator Richard Ahlborn to the Samuel Yellin Metalworkers factory, Philadelphia, 1 April 1975. The master's thesis and article by Davis relate to an exhibition of Yellin's work at the Dimock Gallery, George Washington University.
Arrangement:
Collection divided into three series.
Series 1, Motion Picture Films,
Series 2, Documents,
Series 3, Photoprints
Biographical / Historical:
Yellin, born in Poland, began learning ironwork at seven. He migrated to America in 1906 and taught at the Pennsylvania Museum and the school of Industrial Art. In 1910, he built the Arch Street Metalworker's studio, which eventually employed more than 200 craftsmen. Yellin was also an avid collector of fine examples of ironwork.
Provenance:
The collection was donated Harvey Z. Yellin in 1975.
Restrictions:
reference copies do not exist. Special arrangements must be made with the Archives Center to view the motion picture films.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees regarding intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Date:
June 30-July 8, 1973
Introduction:
The 1973 Festival saw the inauguration of a new theme presentation entitled "Working Americans". The presentation of working peoples' skills, crafts, and lore began in 1971 and continued in 1972 when the Union Workers programs featured ten member unions of the AFL-CIO. Working Americans differed from these earlier efforts in numerous ways, most substantially in the consideration of how working people serve human needs and how their skills and expressions have shaped a major national festival to celebrate the nation's 200th birthday.
Working Americans in 1973 featured "Workers Who Build Our Shelter", to be followed in future years by exploration of those workers who provide our food and other needs. Nine unions of the building and construction trades demonstrated their skills, complemented by a full musical program that presented various traditions enjoyed by urban and rural working people, from labor songs to urban blues and a Cajun band. On July 7 and 8, a gospel stage was dedicated to presentations of diverse traditions of African American sacred music. Narrative workshops on the Working Americans stage focused attention on the oral traditions of each of the building trades, as well as on the customs and practices that spanned several trades.
The Working Americans Program Coordinator was Shirley Askew, assisted by Denis Lachman. Major sponsors included the AFL-CIO, its Building and Construction Trades Department, and the U.S. Department of Labor.
Participants:
Bricklayers, Masons, and Plasterers International Union
Thomas Murphy, President
Exhibit Chairman: Edward Royston
Ronald Bennett
James Chellemi
Michael Crowley
Ray Fischer
Thomas Fonte
Charles Poss
and other craftsmen
Operative Plasterers' and Cement Masons' International Association of the U.S. and Canada
Joseph T. Power, President
Exhibit Chairman: Gilbert Wolfe
Charles Breen
Harry W. Furr
Rufus Jones
Benson Marble
Archie Neal
Carl O. Peterson
B. Lynn Romesberg
Joseph Vittone
Gilbert Wolfe
United Brotherhood of Carpenters and Joiners of America
William Sidell, President
Exhibit Chairmen: Charles L. Allen, James E. Tinkcom
Carpenters
Mill-cabinet makers
Millwrights
Apprentices
International Union of Operating Engineers
Hunter P. Wharton, President
Exhibit Chairmen: Delbert Allen, J. C. Turner
Charles Davidson
Charles Monroe
Ernest Motta
Donald Nolan
Charles Stover
and other craftsmen
International Union of Wood, Wire, and Metal Lathers
Kenneth M. Edwards, General President
Exhibit Chairman: G. C. Carter
J. V. Briguglio
Anthony Byrd
Robert Chatman
Frank Eastman
Tom Evans
Rick L. Talglador
Laborers' International Union of North America
Peter Fosco, President
Exhibit Chairmen:
Ben Bostic (Laborers' Joint Training Fund of Washington, D.C. and Vicinity)
Jack Wilkinson
Participants: Laborers District Council
International Brotherhood of Electrical Workers
Charles H. Pillard, President
Exhibit Chairman: Thomas B. Noone
Clinton L. Bearor
Edmund Berry
Harry W. Creamer
William J. Creamer
Robert Crosby
Joseph Dollarton
Jack R. Donahue
Lawrence C. Hogan
Ralph H. Kemp
Richard L. Martin
Daniel J. McQuaid, Jr.
Frederick M. Noone
Thomas B. Noone
Francis J. O'Neill
Paul Parker
Wade H. Sheriff
Walter E. Shoemaker, Jr.
Paul J. Webb
Robert Wines
Sheet Metal Workers International Association
Edward J. Carlough, President
Exhibit Chairmen: James A. Bettis, Bernie McMonigle,
William I. Stewart
Raymond F. Cook
Thomas E. Fitzgerald
Herb Griffith
Francis Hines
Mark Rosenbaum
Frank Santora
William I. Stewart
United Association of Journeymen and Apprentices of the Plumbing and Pipe Fitting Industry of the U.S. and Canada
Martin J. Ward, President
Exhibit Chairmen: Joseph Corcoran, George Bliss, Samuel Armstrong, Frank Blanch, Marion E. Moore, James Sullivan
Alexander B. Bell
Denvert Boney
Zigmund Charney
Timothy Christian
Mike Richards
Bernard Thornberg
Department of Labor
Peter J. Brennan, Secretary
Log Cabin Exhibit:
Claude and Billy Phillips, Berryville, Arkansas
Tipi painting:
Kevin Red Star, Crow Agency, Montana
Tipi maker:
Tom Heavy Runner, Browning, Montana
American Federation of Musicians
Hal C. Davis, President
in cooperation with
The Music Performance Trust Funds
Kenneth E. Raine, Trustee
and
Department of Labor
(Funding performances on the Working Americans, Gospel and Memorial stages)
Jimmy Dawkins (1936-2013) Band with Carey Bell (1936-2007), Big Mojo Elem (1928-1997), Clifton James (1936-2006), Willie James Lyons (1938-1980), blues band, Chicago, Illinois
Lefty Dizz (1937-1993) Band with Bill Warren, Bob Simmons, blues band, Chicago, Illinois
Dr. Thomas A. Dorsey, 1899-1993, gospel songwriter, Chicago, Illinois
Eastern High School Gospel Choir, gospel choir, Washington, D.C.
John Edmonds Gospel Truth, gospel group, Bowling Green, Kentucky
John Estes, 1899-1977, with Hammie Nixon, 1908-1984, Memphis bluesman, Brownsville, Tennessee
Ed Gerald Sounds, gospel group, Washington, D.C.
Gospel Music Workshop of America, gospel group, Washington, D.C.
Institutional Church of God in Christ, gospel choir, New York, New York
Cousin Joe, 1907-1989, blues pianist New Orleans, Louisiana
National Gospel Symposium Ensemble, gospel choir, Washington, D.C.
New York Community Choir, gospel choir, New York, New York
Utah Phillips, 1935-2008, labor singer, Saratoga Springs, New York
James Williams with Lefty Dizz Band, blues band, Chicago, Illinois
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: 1973 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Series Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
This series contains Bishop's unpublished typed manuscript entitled Archaeological Research in China 1923-1934—Washington, D.C.: Freer Gallery of Art, [n.d.] 2v. : some ill.; 27cm., a field report that chronicled the two Gallery-sponsored expeditions; various drafts and research notes in Box 2, which are organized according to their original order from their envelopes and notecards based on subject.
The papers concern Bishop's Gallery-sponsored travels to China, 1923 to 1927 and from 1929-1934, while acting as Associate Curator at the Freer Gallery of Art. The collection includes a large collection of still prints and maps.The earliest still photographic prints in the Bishop Papers date from his employ at the University of Pennsylvania Museum, where he conducted archaeological reconnaissance from 1915 to 1918 in China, Korea, and Japan. All subsequent images were created or collected by Bishop and his assistant Kwang-zung Tung during the Freer Gallery-sponsored expeditions of 1923-1934. This selection of digitized prints showcase prints which are not reflected in the Bishop manuscript or the photograph books. These selected images include place views of various excavations that featured prominently in the Bishop manuscript as well as the writings of A.G. Wenley and Dr Li Chi, who accompanied Bishop during his archaeological excavations in China. These include place views of Shansi, Shensi, Hsi-yin-Ts'un, Yu Ho Chen, Yun Kang and Peitaiho. In addition, images from Bishop's photographs of Mongolia, Manchuria and Nanjing, which are focused less on the excavation activities and depict more of the social and physical landscape of the areas Bishop visited, were chosen to reflect the comprehensive nature of Bishop's still print collection.
This series contains Bishop's unpublished typed manuscript entitled Archaeological Research in China 1923-1934. it is a field report that chronicled the two Freer Sackler Gallery sponsored expeditions. There are various drafts and research notes in box two.
Carl Whiting Bishop, Series 1: Manuscript and Research Material
Biographical / Historical:
Carl Whiting Bishop was an Associate Curator and Associate in Archaeology at the Freer Gallery of Art from 1922 to 1942.
Local Numbers:
FSA A.02 1
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.
This unpublished manuscript constituted a field report that chronicled Bishop's Gallery-sponsored expeditions in northern and central China during the period 1923 to 1934. The reader is provided with a record of the day-to-day operations completed, of obstacles and opposition encountered, and the results obtained from their work. Key diplomatic and scientific representatives from the West and China are recorded who aided and contributed to the investigations. Moreover, there are descriptions of the academic, social and political climate in China during a period of civil war and economic strife. Against this background, Bishop also discussed their efforts in view of the history of China, with commentary on the country's geography, topography, climate, flora and fauna, mineral products, and ancient customs and legends.The manuscript consists of an introduction, 19 numbered chapters, 3 appendices and a series of plates and figures related to his text.
Archaeological Research in China (Appendices)
Biographical / Historical:
Carl Whiting Bishop was an Associate Curator and Associate in Archaeology at the Freer Gallery of Art from 1922 to 1942.
Local Numbers:
FSA A.02 1.01.02
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.
This photograph was taken by Dr. Simon Ottenberg while conducting field research in northern Sierra Leone within Bafodea Town, the capital of Wara Wara Bafodea Chiefdom, while on an Art Historical and Anthropological Field Research from October of 1978 through July of 1980.
Original title reads, "At Bafodea Town. Pa Sori Barrie making two kubala for me. These are women's hair pieces, not used much anymore at Bafodea. He makes it out of aluminum, generally called casia. He is a metal worker." [Ottenberg field research notes, Limba Slides and Photographs, October 1978-July 1980].
Local Numbers:
1173/1978-1980
General:
Title source: Dr. Simon Ottenberg, Professor Emeritus of Anthropology, University of Washington, Seattle, WA.
Other Archival Materials:
Simon Ottenberg Papers are located at the National Anthropological Archives, National Museum of Natural History, Smithsonian Institution.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Photographs by Pa Huff, Hamaidu Mansaray, and Labelle Prussin are restricted. In these cases, the photographer's permission is required for access and publication of images.
This photograph was taken by Dr. Simon Ottenberg while conducting field research in northern Sierra Leone within Bafodea Town, the capital of Wara Wara Bafodea Chiefdom, while on an Art Historical and Anthropological Field Research from October of 1978 through July of 1980.
Original title reads, "At Bafodea Town. Pa Sori Barrie making two kubala for me. These are women's hair pieces, not used much anymore at Bafodea. He makes it out of aluminum, generally called casia. He is a metal worker. Pa Sori Barrie working in his shed." [Ottenberg field research notes, Limba Slides and Photographs, October 1978-July 1980].
Local Numbers:
1174/1978-1980
General:
Title source: Dr. Simon Ottenberg, Professor Emeritus of Anthropology, University of Washington, Seattle, WA.
Other Archival Materials:
Simon Ottenberg Papers are located at the National Anthropological Archives, National Museum of Natural History, Smithsonian Institution.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Photographs by Pa Huff, Hamaidu Mansaray, and Labelle Prussin are restricted. In these cases, the photographer's permission is required for access and publication of images.
This photograph was taken by Dr. Simon Ottenberg while conducting field research in northern Sierra Leone within Bafodea Town, the capital of Wara Wara Bafodea Chiefdom, while on an Art Historical and Anthropological Field Research from October of 1978 through July of 1980.
Original title reads, "At Bafodea Town. Pa Sori Barrie making two kubala for me. These are women's hair pieces, not used much anymore at Bafodea. He makes it out of aluminum, generally called casia. He is a metal worker. Heating metal in a pan." [Ottenberg field research notes, Limba Slides and Photographs, October 1978-July 1980].
Local Numbers:
1175/1978-1980
General:
Title source: Dr. Simon Ottenberg, Professor Emeritus of Anthropology, University of Washington, Seattle, WA.
Other Archival Materials:
Simon Ottenberg Papers are located at the National Anthropological Archives, National Museum of Natural History, Smithsonian Institution.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Photographs by Pa Huff, Hamaidu Mansaray, and Labelle Prussin are restricted. In these cases, the photographer's permission is required for access and publication of images.
This photograph was taken by Dr. Simon Ottenberg while conducting field research in northern Sierra Leone within Bafodea Town, the capital of Wara Wara Bafodea Chiefdom, while on an Art Historical and Anthropological Field Research from October of 1978 through July of 1980.
Original title reads, "At Bafodea Town. Pa Sori Barrie making two kubala for me. These are women's hair pieces, not used much anymore at Bafodea. He makes it out of aluminum, generally called casia. He is a metal worker. Working on the kubala." [Ottenberg field research notes, Limba Slides and Photographs, October 1978-July 1980].
Local Numbers:
1176/1978-1980
General:
Title source: Dr. Simon Ottenberg, Professor Emeritus of Anthropology, University of Washington, Seattle, WA.
Other Archival Materials:
Simon Ottenberg Papers are located at the National Anthropological Archives, National Museum of Natural History, Smithsonian Institution.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Photographs by Pa Huff, Hamaidu Mansaray, and Labelle Prussin are restricted. In these cases, the photographer's permission is required for access and publication of images.
This photograph was taken by Dr. Simon Ottenberg while conducting field research in northern Sierra Leone within Bafodea Town, the capital of Wara Wara Bafodea Chiefdom, while on an Art Historical and Anthropological Field Research from October of 1978 through July of 1980.
Original title reads, "At Bafodea Town. Pa Sori Barrie making two kubala for me. These are women's hair pieces, not used much anymore at Bafodea. He makes it out of aluminum, generally called casia. He is a metal worker. Working on the kubala." [Ottenberg field research notes, Limba Slides and Photographs, October 1978-July 1980].
Local Numbers:
1177/1978-1980
General:
Title source: Dr. Simon Ottenberg, Professor Emeritus of Anthropology, University of Washington, Seattle, WA.
Other Archival Materials:
Simon Ottenberg Papers are located at the National Anthropological Archives, National Museum of Natural History, Smithsonian Institution.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Photographs by Pa Huff, Hamaidu Mansaray, and Labelle Prussin are restricted. In these cases, the photographer's permission is required for access and publication of images.
This photograph was taken by Dr. Simon Ottenberg while conducting field research in northern Sierra Leone within Bafodea Town, the capital of Wara Wara Bafodea Chiefdom, while on an Art Historical and Anthropological Field Research from October of 1978 through July of 1980.
Original title reads, "At Bafodea Town. Pa Sori Barrie making two kubala for me. These are women's hair pieces, not used much anymore at Bafodea. He makes it out of aluminum, generally called casia. He is a metal worker. Working on the kubala." [Ottenberg field research notes, Limba Slides and Photographs, October 1978-July 1980].
Local Numbers:
1178/1978-1980
General:
Title source: Dr. Simon Ottenberg, Professor Emeritus of Anthropology, University of Washington, Seattle, WA.
Other Archival Materials:
Simon Ottenberg Papers are located at the National Anthropological Archives, National Museum of Natural History, Smithsonian Institution.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Photographs by Pa Huff, Hamaidu Mansaray, and Labelle Prussin are restricted. In these cases, the photographer's permission is required for access and publication of images.
This photograph was taken by Dr. Simon Ottenberg while conducting field research in northern Sierra Leone within Bafodea Town, the capital of Wara Wara Bafodea Chiefdom, while on an Art Historical and Anthropological Field Research from October of 1978 through July of 1980.
Original title reads, "At Bafodea Town. Pa Sori Barrie making two kubala for me. These are women's hair pieces, not used much anymore at Bafodea. He makes it out of aluminum, generally called casia. He is a metal worker. Working on the kubala." [Ottenberg field research notes, Limba Slides and Photographs, October 1978-July 1980].
Local Numbers:
1179/1978-1980
General:
Title source: Dr. Simon Ottenberg, Professor Emeritus of Anthropology, University of Washington, Seattle, WA.
Other Archival Materials:
Simon Ottenberg Papers are located at the National Anthropological Archives, National Museum of Natural History, Smithsonian Institution.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Photographs by Pa Huff, Hamaidu Mansaray, and Labelle Prussin are restricted. In these cases, the photographer's permission is required for access and publication of images.
This photograph was taken by Dr. Simon Ottenberg while conducting field research in northern Sierra Leone within Bafodea Town, the capital of Wara Wara Bafodea Chiefdom, while on an Art Historical and Anthropological Field Research from October of 1978 through July of 1980.
Original title reads, "At Bafodea Town. Pa Sori Barrie making two kubala for me. These are women's hair pieces, not used much anymore at Bafodea. He makes it out of aluminum, generally called casia. He is a metal worker. Working on the kubala." [Ottenberg field research notes, Limba Slides and Photographs, October 1978-July 1980].
Local Numbers:
1180/1978-1980
General:
Title source: Dr. Simon Ottenberg, Professor Emeritus of Anthropology, University of Washington, Seattle, WA.
Other Archival Materials:
Simon Ottenberg Papers are located at the National Anthropological Archives, National Museum of Natural History, Smithsonian Institution.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Photographs by Pa Huff, Hamaidu Mansaray, and Labelle Prussin are restricted. In these cases, the photographer's permission is required for access and publication of images.
This photograph was taken by Dr. Simon Ottenberg while conducting field research in northern Sierra Leone within Bafodea Town, the capital of Wara Wara Bafodea Chiefdom, while on an Art Historical and Anthropological Field Research from October of 1978 through July of 1980.
Original title reads, "At Bafodea Town. Pa Sori Barrie making two kubala for me. These are women's hair pieces, not used much anymore at Bafodea. He makes it out of aluminum, generally called casia. He is a metal worker. Working on the kubala." [Ottenberg field research notes, Limba Slides and Photographs, October 1978-July 1980].
Local Numbers:
1181/1978-1980
General:
Title source: Dr. Simon Ottenberg, Professor Emeritus of Anthropology, University of Washington, Seattle, WA.
Other Archival Materials:
Simon Ottenberg Papers are located at the National Anthropological Archives, National Museum of Natural History, Smithsonian Institution.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Photographs by Pa Huff, Hamaidu Mansaray, and Labelle Prussin are restricted. In these cases, the photographer's permission is required for access and publication of images.
This photograph was taken by Dr. Simon Ottenberg while conducting field research in northern Sierra Leone within Bafodea Town, the capital of Wara Wara Bafodea Chiefdom, while on an Art Historical and Anthropological Field Research from October of 1978 through July of 1980.
Original title reads, "At Bafodea Town. Pa Sori Barrie making two kubala for me. These are women's hair pieces, not used much anymore at Bafodea. He makes it out of aluminum, generally called casia. He is a metal worker. Working on the kubala." [Ottenberg field research notes, Limba Slides and Photographs, October 1978-July 1980].
Local Numbers:
1182/1978-1980
General:
Title source: Dr. Simon Ottenberg, Professor Emeritus of Anthropology, University of Washington, Seattle, WA.
Other Archival Materials:
Simon Ottenberg Papers are located at the National Anthropological Archives, National Museum of Natural History, Smithsonian Institution.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Photographs by Pa Huff, Hamaidu Mansaray, and Labelle Prussin are restricted. In these cases, the photographer's permission is required for access and publication of images.
