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Productions, 1967, 1976, 1982, 1988, 1991, 1994-1995, 1998, 2001, undated

Creator:
Smithsonian Productions  Search this
Uniform title:
As They Really Are (Video recording : 1991)  Search this
Bengal Tiger (Documentary film: 1976)  Search this
Big Cats and How They Came to Be (Motion picture : 1976)  Search this
Changes: The Story of Evolution and Speciation (Motion picture : circa 1979)  Search this
Enormous Egg (Television program : 1967)  Search this
First Look at Kumari (Video recording)  Search this
National Zoo: Think Tank (Video recording : 1995)  Search this
National Zoo: Think Tank (Video recording : 2001)  Search this
Subject:
Council on International Nontheatrical Events  Search this
Film Polski  Search this
Friends of the National Zoo (U.S.)  Search this
National Broadcasting Company  Search this
National Museum of Natural History (U.S.)  Search this
National Zoological Park (U.S.) Office of Education  Search this
National Zoological Park (U.S.)  Search this
National Zoological Park (U.S.) Think Tank  Search this
Human Attitudes Toward Animals (Exhibition) (1991: Washington, D.C.)  Search this
Physical description:
1.5 cu. ft. (1 record storage box) (1 document box)
Type:
Motion pictures (visual works)
Collection descriptions
Videotapes
Date:
1994
1994-1995
1967, 1976, 1982, 1988, 1991, 1994-1995, 1998, 2001, undated
Topic:
Endangered species  Search this
Evolution  Search this
Pandas  Search this
Panthera  Search this
Tigers  Search this
Wildlife conservation  Search this
Zoo animals  Search this
Zoos--Educational aspects  Search this
Zoos  Search this
Kumari (Elephant)  Search this
Species  Search this
Elephants  Search this
Museum exhibits  Search this
Local number:
SIA Acc. 09-082
Restrictions & Rights:
Restrictions pertaining to the use of these materials may apply (based on contracts/copyright). Access restrictions may also apply if viewing copies are not currently available. Viewing copies can be made for a fee. Contact reference staff for details
See more items in:
Productions 1938-2009 and undated [Smithsonian Productions]
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_282591

Max Bohm papers

Creator:
Bohm, Max, 1868-1923  Search this
Names:
Beachcombers (Organization)  Search this
Salmagundi Club  Search this
Bohm, Zella Newcomb  Search this
Hunt, Clyde du Vernet  Search this
Locke, Esther Bohm, d. 1913  Search this
Longyear, Mary Beecher, 1851-1931  Search this
Macbeth, Robert W. (Robert Walker), 1884-1940  Search this
Macbeth, William, 1851-1917  Search this
Extent:
5.6 Linear feet
Type:
Collection descriptions
Archival materials
Motion pictures (visual works)
Sketchbooks
Sketches
Paintings
Photographs
Drawings
Diaries
Place:
France -- description and travel
Date:
1873-1970
bulk 1880-1959
Summary:
The papers of painter Max Bohm measure 5.6 linear feet and date from 1873-1970, with the bulk of the material dating from 1880-1959. Biographical material includes a file concerning the Provincetown artist's club The Beachcombers. Also found is detailed family correspondence, as well as general correspondence that includes exchanges with patron Mary Beecher Longyear and dealer William Macbeth. The papers contain scattered business records; five diaries written by Bohm's wife Zella; other notes and writings; art work including fifteen sketchbooks, loose drawings, and oil paintings; printed material; and photographs of Bohm, his family, and colleagues including artists attending a Salmagundi dinner. There is also a motion picture film Six Foot Art, in Which Max Bohm, Member of the National Academy Tells How He Does It.
Scope and Contents:
The papers of painter Max Bohm measure 5.6 linear feet and date from 1873-1970, with the bulk of the material dating from 1880-1959. Biographical material includes a file concerning the Provincetown artist's club The Beachcombers. Also found within the papers is detailed family correspondence, as well as general correspondence that includes exchanges with patron Mary Beecher Longyear and dealer William Macbeth. Also found are scattered business records; five diaries written by Bohm's wife Zella; other notes and writings; art work including sketchbooks, loose drawings, and oil paintings; printed material; and photographs of Bohm, his family, and colleagues including artists attending a Salmagundi dinner. There is also a motion picture film Six Foot Art, in Which Max Bohm, Member of the National Academy Tells How He Does It.

Family correspondence consists of letters exchanged between various Bohm family members during their long periods of separation. Decades of almost daily exchanges of letters offer detailed descriptions of Bohm's activities in pursuit of notoriety as an artist including his frequent travels in Europe and the United States, attendance of art-related and other cultural events, and his thoughts about art, philosophy, and his strong opposition to German aggression in World War I. The often affectionate letters from Bohm's wife Zella describe her concerns over finances and raising the children during Bohm's frequent absences, but also include descriptions of their summers in coastal France.

Professional correspondence consists of scattered letters discussing art-related business with colleagues including Bohm's longtime patron and Christian Science advocate, Mary Beecher Longyear, and Macbeth Gallery owners Robert and William Macbeth.

Scattered business records include price lists for art work, banking records, and miscellaneous receipts.

Five diaries and loose diary pages written by Bohm's wife Zella contain detailed descriptions of daily activities and her observations and thoughts, some drawings, notes, and financial notations. Some of the diaries contain annotations by her daughter, Esther.

Notes and writings include notebooks containing original short stories and miscellaneous sketches by Bohm, lists of art work, miscellaneous notes including several written by Esther Bohm, and miscellaneous writings by and about Bohm including his typescript "An Artist's Philosophy."

Art work consists of fifteen sketchbooks, miscellaneous drawings including a self-portrait, and oil paintings on board and on unstretched canvases including Bohm's studies of works by Titian and Van Dyke, and a painting of a young Esther Bohm looking at the sea. Works by others include a batik design on silk by Zella Bohm, a watercolor by Bohm's aunt, Anna Stuhr Weitz, and an oil portrait of Zella by her granddaughter.

Printed material primarily consists of clippings generated by Bohm's participation in the Paris Salons, in addition to several exhibition announcements and catalogs for Bohm and for others, and reproductions of art work by Bohm and others. There are also 2 copies of a silent, black and white Pathé newsreel titled Six Foot Art, in Which Max Bohm, Member of the National Academy Tells How He Does It on 16mm and 35mm film reels.

Photographs are of Bohm and his family, colleagues including Clyde du Vernet Hunt in his studio and a Salmagundi Club "Get Together" dinner, views of the town of Etaples, France, and of works of art by Bohm and others.
Arrangement:
The papers have been organized into 8 series.

Series 1: Biographical Material, 1898-1970 (0.1 linear feet; Box 1, OV 8)

Series 2: Correspondence, 1880-1955 (3.3 linear feet; Boxes 1-4, 7)

Series 3: Business Records, 1910-1930 (0.2 linear feet; Box 4)

Series 4: Diaries, 1887-1916 (0.2 linear feet; Box 4)

Series 5: Notes and Writings, 1882-circa 1970 (0.2 linear feet; Boxes 4, 7)

Series 6: Art Work, 1873-1951 (0.6 linear feet; Boxes 4-5, 7, OVs 8-10)

Series 7: Printed Material and Motion Picture Film, 1886-1957 (0.8 linear feet; Boxes 5-7, FC 11-12)

Series 8: Photographs, 1886-1959 (0.2 linear feet; Boxes 6-7)
Biographical / Historical:
Max Bohm was born on January 21, 1868, in Cleveland, Ohio, the son of Henry and Emilie Bohm.

Bohm began his study of art in 1887 when he accompanied his aunt, Anna Stuhr, on the first of several voyages to France. He studied in artist communities in Brittany and in Paris at the Académie Julian with Boulanger, Lefebvre, and Benjamin Constant. He also traveled to Belgium, The Netherlands, and Germany.

In 1895, Bohm attended an open school of painting in Etaples on the coast of France, and during the winter months he taught painting at a school in London, England. His painting En Mer was awarded the Gold Medal by the Paris Salon of 1897.

While teaching in Etaples in 1898, Bohm married one of his pupils, Zella Newcomb, an art teacher from Carlton College in Minnesota. In 1900, the Bohms traveled to Italy for several months before returning to Minneapolis, Minnesota, where Bohm established a studio. After trying to find affordable studio and living space in New York City, Bohm moved his family back to France in 1902. Bohm established a studio in Paris for two years and during the summer months his wife and children moved to the less expensive and cooler coastal towns of France. Bohm continued to display his work in the annual Paris Salons.

From 1905 until the summer of 1908, the Bohm family lived primarily in England. In 1909, Bohm entered and won the Cleveland Court House mural competition, prompting the family to return to the United States for several months. They returned to Paris the following year, where Bohm established a studio and worked on the Cleveland Court House mural. Again, Bohm's wife and children would live in French coastal towns, while Bohm was on extended visits to Paris, London, or the United States.

Sometime around 1911, Bohm became acquainted with Mrs. Mary Beecher Longyear, a wealthy follower of Mary Baker Eddy and Christian Science. Over the next decade, Mrs. Longyear commissioned many works by Bohm and supported his career. In May of 1912 Bohm's mural, First New England Town Meeting, was installed in the new Cleveland Court House and arrangements were made with Macbeth Galleries to exhibit Bohm's work. Late in 1913, Bohm became involved with the Pan-Pacific International Exposition where his painting Promenade won the Gold Medal in 1915.

During World War I, the Bohm family fled France and temporarily settled in Tuckahoe, New York, and Bohm made frequent visits to his patron, Mrs. Longyear, in Boston. In 1916, the Knoedler Gallery exhibited Bohm's murals for Mrs. Longyear's music room. Also during this time, the family enjoyed spending summers in Provincetown, where Bohm joined The Beachcombers, an organization of artists.

In 1919, the Bohms built a house in Bronxville, New York, for easy access to New York City, while simultaneously purchasing a cottage in Provincetown. While the house was being constructed, Zella and the children became boarders in the home of painter Spencer Nichols, who also lived in Bronxville. During this year, Max Bohm, Jr., entered Harvard University while Mrs. Longyear continued to provide commissions for Max Bohm's art work.

Between 1922 and 1923, Bohm had exhibitions in Greenwich, Connecticut, Washington, D.C., and at the Grand Central Galleries, with his painting En Mer being exhibited at the National Academy of Design.

Max Bohm died on September 19, 1923 in Provincetown, Massachusetts.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 420-421) including biographical material, scattered letters, notes and writings, drawings, clippings, exhibition catalogs, booklets, a scrapbooks, and photographs of Bohm, his family, colleagues, and residences. Loaned materials were returned to the lender and are not described in the collection container inventory.

The original Six Foot Art film was also transferred to 16mm and 35mm film reels in the 1970s, but is not in the collection.
Provenance:
Kathryn Esther Locke and Elizabeth Schwarz, the artist's daughters, lent the material on microfilm reels 420-421 and donated papers in 1972.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Max Bohm papers 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.
Topic:
Painters -- Massachusetts -- Provincetown  Search this
World War, 1914-1918  Search this
Art -- Philosophy  Search this
Christian Scientists  Search this
Painting, American -- Massachusetts -- Provincetown  Search this
Genre/Form:
Motion pictures (visual works)
Sketchbooks
Sketches
Paintings
Photographs
Drawings
Diaries
Citation:
Max Bohm papers, 1873-1970, bulk 1880-1959. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bohmmax
See more items in:
Max Bohm papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bohmmax
Online Media:

Fendrick Gallery records

Creator:
Fendrick Gallery  Search this
Names:
Barbara Fendrick Gallery  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Arneson, Robert, 1930-1992  Search this
Bailey, William, 1930-  Search this
Benes, Barton Lidic  Search this
Brush, Daniel  Search this
Castle, Wendell, 1932-  Search this
Cottingham, Robert, 1935-  Search this
Drake, James, 1946-  Search this
Dreyfuss, John, 1949-  Search this
Dusenbery, Walter, 1939-  Search this
Frankenthaler, Helen, 1928-2011  Search this
Gilliam, Sam  Search this
Johns, Jasper, 1930-  Search this
KaskeyRaymond J., 1943-  Search this
Lalanne, Claude  Search this
Lalanne, François Xavier  Search this
Maria da Conceição  Search this
Paley, Albert  Search this
Raffael, Joseph, 1933-  Search this
Summer, Carol  Search this
Tenneson, Joyce, 1945-  Search this
Woodyard, William  Search this
Extent:
106.4 Linear feet
0.008 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Account books
Photographs
Date:
1952-2001
Summary:
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.
Occupation:
Painters  Search this
Jewelers  Search this
Topic:
Art -- Washington (D.C.)  Search this
Furniture designers  Search this
Artists -- Washington (D.C.)  Search this
Art, Modern -- 20th century -- Washington (D.C.)  Search this
Sculptors  Search this
Artists' books  Search this
Art galleries, Commercial -- Washington (D.C.)  Search this
Printmakers  Search this
Metal-workers  Search this
Genre/Form:
Account books
Photographs
Citation:
Fendrick Gallery records, 1952-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.fendgall
See more items in:
Fendrick Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fendgall
Online Media:

Photographs of Chief Wolf Wanna

Creator:
Marotta, Louis  Search this
Extent:
0.05 Linear feet
7 Photographic prints
Container:
Photo-folder 1
Photo-folder 2
Culture:
Apache  Search this
Diné (Navajo)  Search this
Type:
Collection descriptions
Archival materials
Photographs
Photographic prints
Date:
circa 1910-1914
Summary:
This collection consists of 5 publicity photographic portraits and 2 photographic performance posters of Native American entertainer and performer Chief Wolf Wanna.
Content Description:
The Photographs of Chief Wolf Wanna collection consists of 5 publicity portraits and 2 photographic performance posters of Native American entertainer and performer Chief Wolf Wanna. These materials provide a window into the performing career of Wanna, originally from the U.S. Southwest, who moved to New York City at the turn of the twentieth century. Wanna briefly found celebrity in lecturing, singing, and performing dances which romanticized and to some extent stereotyped Native cultures throughout the U.S.
Arrangement:
The materials in this collection are organized into folders.
Biographical / Historical:
Specific details on the life of Chief Wolf Wanna (1880-1919) are somewhat difficult to locate. Wolf Wanna was born to Petro Wanna and Luiza Obanda in Pueblo, Colorado in 1880. He may have possibly attended the Carlisle Indian Industrial School, although no records appear to exist. Around 1905 Wanna lived in San Antonio, Texas, where he worked as a ranch foreman. He later relocated to New York City sometime prior to 1911, and in June of that year married Loretta Colombo in Boston, Massachusetts.

During his early years in New York City he traveled throughout the country, working in motion pictures, vaudeville, and stage performances, and was billed as "Chief Wolf Wanna – Full blood American Indian Performer and Entertainer." Various newspaper articles and playbills identify Wanna as either Diné (Navajo) or Apache, and as the "favorite grandson" of Goyathlay (Geronimo, ca. 1825-1909; Chiricahua Apache). During these early years of his stage career, he reportedly lectured on "Justice to the Indian," spoke about Custer's Last Stand and Sitting Bull, sang a number of songs, and performed Native American dances. In the years 1911-1914, he may have also been involved with Wild West shows.

By 1915 Wanna was re-married to Mary Schlereth, still living in New York City, and self-employed as a Medicine Manufacturer. Sometime around 1915-1916 Wanna was employed to promote "Walsh's Eucalyptus and Menthol Inhaler" by John J. Walsh, whom the 1915 Journal of the American Medical Association considered a street faker. By 1919 Wanna and Schlereth had separated, and he was employed as a "Medical Demonstrator." Chief Wolf Wanna died in November, 1919, in New York.
Related Materials:
The Carl A. Kroch Library of Rare and Manuscript Collections at Cornell University also contains two cloth-backed posters promoting lectures by Chief Wolf Wanna.
Separated Materials:
One oil portrait of Chief Wolf Wanna is in the NMAI Object Collections, and was assigned the object number 24/3981.
Provenance:
This collection was donated by Louis Marotta in 1970.
Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Citation:
Identification of specific item; Date (if known); Photographs of Chief Wolf Wanna, NMAI.AC.332; National Museum of the American Indian Archive Center, Smithsonian Institution.
Identifier:
NMAI.AC.332
See more items in:
Photographs of Chief Wolf Wanna
Archival Repository:
National Museum of the American Indian
EDAN-URL:
ead_collection:sova-nmai-ac-332
Online Media:

Frank Lehner photographs of Buffalo Bill's Wild West show

Creator:
Lehner, Frank  Search this
Seiling, J.  Search this
Braithwaite, Charles Henry  Search this
Names:
Buffalo Bill, 1846-1917  Search this
Ludwig, King of Bavaria, III, 1845-1921  Search this
Extent:
0.25 Linear feet
43 Photographs
Culture:
Sioux  Search this
Inunaina (Arapaho)  Search this
Apsáalooke (Crow/Absaroke)  Search this
Hunkpapa Lakota (Hunkpapa Sioux)  Search this
Pikuni (Piegan) [Blackfeet Nation, Browning, Montana]  Search this
Type:
Collection descriptions
Archival materials
Photographs
Place:
Germany -- Bavaria -- Munich
Date:
bulk circa 1876 - 1926
Summary:
This collection consists of 38 photographic prints of Native and non-Native peoples involved with Buffalo Bill's Wild West show, primarily in the years 1890-1891.
Scope and Contents:
The Frank Lehner photographs of Buffalo Bill's Wild West show collection consists of 38 photographic prints (and 5 copy negatives created at a later date by the NMAI staff). The images portray Native and non-Native peoples involved with Buffalo Bill's Wild West show primarily in the years 1890-1891, and include a number of publicity and studio portrait shots. Notable photographs include King Ludwig III of Bavaria and his daughter, Princess Maria Ludwiga Theresia of Bavaria, visiting with and even photographing some of the Wild West performers in Munich, Germany, in 1890. Although the bulk of the photographs date to either 1890 or 1891, images in the collection encompass a time period of approximatey a half-century, from 1876 to 1926.

The specific identity of the photographers of these images is not certain. While these photographs have historically been attributed to Frank Lehner, it is more likely that he was the collector rather than the photographer. It appears that at least one image (P10215) was probably taken by Bavarian Royal Court Photographer J. Seiling, and one image (P10192) or possibly two (P10193) were taken by Charles Henry Braithwaite, a portrait photographer in Leeds, England, in 1891.
Arrangement:
The materials in this collection are organized into folders.
Biographical / Historical:
William F. "Buffalo Bill" Cody opened the first Wild West show in Omaha, Nebraska, in 1883. Within four years the fame of the Wild West had grown so great that Cody took his fellow performers on an international tour of Europe, performing between 1887 and 1906 in the United Kingdom, France, Spain, Germany, Italy, Austria, and a host of other countries.

Undeniably, Cody's Wild West constructed and promoted inaccurate views of Native Americans, defining "real Indians" as only those who lived in tipis, rode horses, and wore feather headdresses. Such stereotypes have sadly been perpetuated in dime novels, television shows, and major motion pictures down to the present, ignoring the staggering cultural diversity of the Indigenous peoples of North America.

In spite of the Wild West show's culpability in creating and perpetuating narrow views of who Native peoples are and what they look like, several recent scholars have argued that there were some upsides for those Native Americans who chose to perform with this traveling show. One of the major bonuses was the relative freedom Wild West performers experienced compared with their community members who had to remain on the reservations. L.G. Moses in Wild West Shows and the Images of American Indians, 1883-1933 and Michelle Delaney in Buffalo Bill's Wild West Warriors both note Native performers' opportunities to not only see the world and earn an income, but also to practice their beliefs and live their days free from the interference of the ever-present missionaries, politicians, and BIA agents back at home.

In addition, Wild West performers experienced opportunities otherwise unimaginable to many Americans of their day, including being presented to Queen Victoria at her Golden Jubilee in London in 1887, attending the 1889 World's Fair in Paris with its debut of the newly constructed Eiffel Tower, and having their photograph taken by the daughter of the future King of Bavaria, Ludwig III, in Munich in 1890.
Provenance:
This collection was exchanged with Frank Lehner in 1932.
Restrictions:
Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Topic:
Wild west shows  Search this
Citation:
Identification of specific item; 1890; Frank Lehner photographs of Buffalo Bill's Wild West show, NMAI.AC.147; National Museum of the American Indian Archives Center, Smithsonian Institution.
Identifier:
NMAI.AC.147
See more items in:
Frank Lehner photographs of Buffalo Bill's Wild West show
Archival Repository:
National Museum of the American Indian
EDAN-URL:
ead_collection:sova-nmai-ac-147
Online Media:

Museum of the American Indian/Heye Foundation ethnographic film collection

Creator:
Cadzow, Donald A., 1894-1960  Search this
Cattell, Owen  Search this
Coffin, Edwin F. (Edwin Francis), b. 1883  Search this
Ford, James B., 1844-1928  Search this
Gilmore, Melvin R. (Melvin Randolph), 1868-1940  Search this
Hendricks-Hodge Expedition (1917-1923).  Search this
Heye, George G. (George Gustav), 1874-1957  Search this
Landini, Louis  Search this
Museum of the American Indian, Heye Foundation  Search this
Wildschut, William  Search this
Names:
Chaves, Lorenzo  Search this
Drags Wolf  Search this
Foolish Bear  Search this
Heye, Thea  Search this
Mandan, Arthur  Search this
Waihusiwa  Search this
Extent:
147 Motion picture films
25 Videocassettes (Digital Betacam)
58 electronic_discs_dvd
Culture:
A:shiwi (Zuni)  Search this
Apsáalooke (Crow/Absaroke)  Search this
Diné (Navajo)  Search this
Indians of North America  Search this
Minitari (Hidatsa)  Search this
Pilagá  Search this
Sahnish (Arikara)  Search this
San Ildefonso Pueblo  Search this
Shoshone  Search this
Type:
Collection descriptions
Archival materials
Motion picture films
Videocassettes (digital betacam)
Electronic_discs_dvd
Date:
1917-1938
Scope and Contents note:
This collection of films produced and acquired by the Museum of the American Indian (MAI) contains materials created by and for the MAI as ethnographic studies and as documentation of its own activities (including archaeological expeditions and cultural exchanges) between 1917 and 1938. Tribes represented include: Arikara, Crow, Navajo, Pilaga, Pueblo, Shoshone, and Zuni. Also included is footage of Hidatsa representatives and Zuni translators in Washington, D.C. and at the MAI; footage of MAI founder and director George Gustav Heye; and footage of the Hawikku (Hawikuh) and Kechipauan archaeological sites, Zuni Pueblo, New Mexico. The collection consists mainly of successive 16mm and 35mm negative film duplicates and prints of now-destroyed original 35mm nitrate negatives. Series 4 gathers paper records directly pertaining to the collection. Preservation copies of the films exist on 35mm polyester film and Digital Betacam video tape. Access copies are available on DVDs.

The first series in this collection includes film, video, and DVD duplicates of ethnographic films funded, overseen, and filmed by agents of the MAI throughout the Western and Southwestern United States. The second series includes ethnographic films acquired rather than produced by the MAI of the Navajo and Pilaga. The third series consists of film produced by the MAI documenting its own activities, including an excavation at Hawikuh and Kechipauan, New Mexico; footage of MAI founder and director George Gustav Heye; and footage of Native visitors to the MAI and to Washington, D.C.
Arrangement note:
This collection is arranged into four series and chronologically within each series. Included are Series 1: Films Produced by the Museum of the American Indian, 1923-1927; Series 2: Films Acquired by the Museum of the American Indian, 1923-1924; Series 3: Documentation of Museum of the American Indian Activities, 1917-1938; and Series 4: Paper Records of the Ethnographic Film Collection. Titles within subseries are generally arranged alphabetically, with unrestricted titles listed before those restricted due to culturally sensitive content.

Within the collection, each unit of motion picture film (reel, videotape, or DVD) is assigned an identifying number. In this system, the final four appended numbers correspond to a title and a format. The full identifying number will appear as such: NMAI.AC.001.001.XX.YY, where XX corresponds to a numbered title and YY indicates the format of the print, as follows:

01: 35mm print (1917–1938, circa the original film dates)

02: 16mm dupe neg (made circa 1961 from XX.01 35mm)

03: 16mm print (from XX.02 for release, circa 1961)

04: 16mm print (from XX.02 for file/work or research, circa 1961)

05: 35mm dupe neg (preservation copy, made 2012–2014 from XX.01 and XX.02)

06: 35mm answer print (made 2012-2014 from XX.05)

07: Digital Betacam (preservation copy, made 2012-2014 from XX.06)

08, 09, 10 (if applicable): DVD (access copy, made 2012-2014 from XX.06)

11 and up: other copies and prints (see title-level notes for explanations)

Thus, for instance, the item with the number NMAI.AC.001.001.02.03 is the 16mm release print copy of the title "Deerskin Tanning and Wrapping the Leggings."

The content of each print or negative corresponding to the same title (XX) may be identical or similar. The content of the 1917-1938-era 35mm prints and the 1960s-era 16mm films differ. As the 35mm prints had deteriorated, damaged footage was removed prior to producing the 16mm negatives. After the 16mm negatives were produced, nitrate intertitles and additional damaged footage were also removed from the 35mm prints. The 2012-2014-era 35mm films were made by combining the existing 35mm prints with footage from the 16mm negatives in order to restore the most complete existing content to its highest possible quality. The Digital Betacam and DVD copies reproduce this restored footage.

This preservation and restoration effort was made possible by funding from the National Film Preservation Foundation, Save America's Treasures, and the Smithsonian Collections Care and Preservation Fund, as well as support from the National Museum of the American Indian.
Historical Note:
The Museum of the American Indian/Heye Foundation was founded by George Gustav Heye in 1908 as a repository for his extensive collection of American Indian artifacts. Through the MAI, Heye funded extensive archaeological and anthropological fieldwork throughout the Americas. This collection represents a series of ethnographic films made in the course of MAI expeditions throughout the Western and Southwestern United States, as well as similar films purchased by the museum. The films record a variety of American Indian traditions, including crafts, foodways, games, and ceremonies, and were spurred by the era's perception of Native communities as "fast-disappearing" and vulnerable to dramatic change. The activities recorded range from quotidian to highly culturally sensitive, as followed Heye's all-encompassing collecting strategy.

The MAI's motion picture expeditions took place between 1923 and 1927 and were carried out by a number of agents of the museum, usually in the course of gathering artifacts. Many of these agents were anthropologists accompanied by professional photographers, but other footage is amateur. The MAI treated the series in full as technical educational material, noting in their 1962 motion picture film catalog that "they are not suitable for general entertainment."

The moving image collection of the MAI included these self-produced films as well as similar films purchased by the museum and film shot in the course of the museum's activities, including documentation of archaeological digs, staff, and Native visitors. In 1961-1962, recognizing the educational potential of its collection, the MAI received a grant from the National Science Foundation to transfer the original deteriorating nitrate prints to safety film, discarding film and editing prints in the process. In 2012-2014, the National Museum of the American Indian completed a transfer of the titles to Digital Betacam and DVD formats, combining footage from both original and 1961-1962-era prints to salvage as much content as possible. This work was completed with funding from the National Film Preservation Foundation, Save America's Treasures, and the Smithsonian Collections Care and Preservation Fund.
Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday–Thursday, 9:30 am–4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).

Ceremonial images are restricted due to cultural sensitivity. Consult the archivist for further information.
Rights:
Permission to publish or broadcast materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Topic:
Archaeological expeditions  Search this
Archeology -- Hawikuh -- New Mexico  Search this
Ethnological expeditions  Search this
Excavations (Archaeology)  Search this
Indians of North America -- Antiquities  Search this
Indians of North America -- Great Plains  Search this
Indians of North America -- Rites and ceremonies  Search this
Indians of North America -- Social life and customs  Search this
Indians of North America -- Southwest  Search this
Indians of South America  Search this
Citation:
Identification of specific item; Date (if known); Museum of the American Indian Ethnographic Film Collection, Call Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Identifier:
NMAI.AC.001.001
See more items in:
Museum of the American Indian/Heye Foundation ethnographic film collection
Archival Repository:
National Museum of the American Indian
EDAN-URL:
ead_collection:sova-nmai-ac-001-001

Rodman Wanamaker photograph collection relating to American Indians

Creator:
Wanamaker, Rodman, 1863-1928  Search this
Photographer:
Dixon, Joseph K. (Joseph Kossuth)  Search this
Extent:
154 Prints (silver gelatin)
Culture:
Siksika Indians -- depicted  Search this
Tsitsistas/Suhtai (Cheyenne)  Search this
Dakota Indians -- depicted  Search this
Apsáalooke (Crow/Absaroke)  Search this
Indians of North America -- Great Plains  Search this
Type:
Collection descriptions
Archival materials
Prints
Photographs
Date:
1908-1909
Scope and Contents note:
Photographs commissioned by Rodman Wanamaker to document the "vanishing" way of life for American Indians during 1908-1913. The photographs were made by Joseph Kossuth Dixon and largely depict northern Plains Indians, including Blackfeet, Cheyenne, Crow, and Dakota Indians. These large bromide prints form a set of presentation photographs and apparently such collections were placed by Rodman Wanamaker in several museums.
Biographical/Historical note:
Rodman Wanamaker (1863-1928) was heir to a successful Philadelphia department business and patron of the arts, education, and American Indian culture. In the early 20th century, he hired photographer Joseph Kossuth Dixon and sponsored three expeditions to American Indian reservations (1908-1913). The main goal of these expeditions was to document the way of life of American Indians, whom he saw as a "vanishing race," and to make "first-class citizens" of the Indians as a means of saving them from extinction. In additiona to still photography, films were also made during these expeditions including a motion picture film about Hiawatha made on the first expedition (1908), and a reenactment of the Battle of the Little Big Horn made on the second expedition (1909). The third expedition, the "Expedition of Citizenship" (1913), focused on carrying an American flag to tribes across the country and inviting them to sign a declaration of allegiance to the United States.
Local Call Number(s):
NAA Photo Lot 64
Location of Other Archival Materials:
Dixonʹs negatives are at the Indiana University, Mathers Museum of World Cultures.
The National Anthropological Archives also holds a copy photograph of Wanamaker's Memorial to First Americans ground-breaking (Photo Lot R82-55).
The National Museum of the American Indian holds artifacts and some additional photographs from Wanamaker's expeditions. The Human Studies Film Archives holds expedition footage.
See others in:
Rodman Wanamaker photograph collection relating to American Indians, 1908-1909
Restrictions:
The collection is open for research.

Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Genre/Form:
Photographs
Citation:
Photo lot 64, Rodman Wanamaker photograph collection relating to American Indians, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.PhotoLot.64
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-photolot-64

Driving Tour of the Smithsonian's National Zoo, Washington D.C., 1976

Creator:
Smithsonian Institution Archives  Search this
Type:
YouTube Videos
Uploaded:
2013-02-01T19:30:10.000Z
YouTube Category:
Education  Search this
Topic:
Museum administration  Search this
See more by:
SIArchives
Data Source:
Smithsonian Institution Archives
YouTube Channel:
SIArchives
EDAN-URL:
edanmdm:yt_8wpwHXrAFMA

The City of Washington, 1929. Reel 3 of 3

Creator:
Smithsonian Institution Archives  Search this
Type:
YouTube Videos
Uploaded:
2013-11-01T16:00:15.000Z
YouTube Category:
Education  Search this
Topic:
Museum administration  Search this
See more by:
SIArchives
Data Source:
Smithsonian Institution Archives
YouTube Channel:
SIArchives
EDAN-URL:
edanmdm:yt_E85J2dFgt5I

Presentation of White Tiger to President Eisenhower

Creator:
Smithsonian Institution Archives  Search this
Type:
YouTube Videos
Uploaded:
2013-02-01T19:29:28.000Z
YouTube Category:
Education  Search this
Topic:
Museum administration  Search this
See more by:
SIArchives
Data Source:
Smithsonian Institution Archives
YouTube Channel:
SIArchives
EDAN-URL:
edanmdm:yt_ZK-NVsrQiE8

Victory Mail

Creator:
National Postal Museum  Search this
Type:
YouTube Videos
Uploaded:
2009-06-02T21:48:50.000Z
YouTube Category:
Education  Search this
Topic:
Postal service;Letter mail handling;Stamp collecting  Search this
See more by:
SmithsonianNPM
Data Source:
National Postal Museum
YouTube Channel:
SmithsonianNPM
EDAN-URL:
edanmdm:yt_tj_LoG7wStY

A Meeting with the Dalai Lama, circa 1965

Creator:
Human Studies Film Archives  Search this
Type:
Lectures
YouTube Videos
Uploaded:
2011-04-07T20:12:04.000Z
YouTube Category:
Travel & Events  Search this
Topic:
Anthropology  Search this
See more by:
HSFAFilmClips
Data Source:
Human Studies Film Archives
YouTube Channel:
HSFAFilmClips
EDAN-URL:
edanmdm:yt__rQx4XJdh20

Dave Van Ronk - "St. James Infirmary (Gambler's Blues)" [Live at The Barns At Wolf Trap, 1997]

Creator:
Smithsonian Center for Folklife and Cultural Heritage  Search this
Type:
YouTube Videos
Uploaded:
2013-10-22T15:40:17.000Z
YouTube Category:
Music  Search this
Topic:
Cultural property  Search this
See more by:
smithsonianfolkways
Data Source:
Smithsonian Center for Folklife and Cultural Heritage
YouTube Channel:
smithsonianfolkways
EDAN-URL:
edanmdm:yt_56qo9sinSdc

Dave Van Ronk - "Don't You Leave Me Here (I'm Alabama Bound)" [Live at The Barns At Wolf Trap, 1997]

Creator:
Smithsonian Center for Folklife and Cultural Heritage  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2016-05-13T16:34:41.000Z
YouTube Category:
Music  Search this
Topic:
Cultural property  Search this
See more by:
smithsonianfolkways
Data Source:
Smithsonian Center for Folklife and Cultural Heritage
YouTube Channel:
smithsonianfolkways
EDAN-URL:
edanmdm:yt_9ihcqriIVmY

Dave Van Ronk - "Down South Blues" [Live at The Barns at Wolf Trap, 1997]

Creator:
Smithsonian Center for Folklife and Cultural Heritage  Search this
Type:
YouTube Videos
Uploaded:
2013-12-05T20:49:57.000Z
YouTube Category:
Music  Search this
Topic:
Cultural property  Search this
See more by:
smithsonianfolkways
Data Source:
Smithsonian Center for Folklife and Cultural Heritage
YouTube Channel:
smithsonianfolkways
EDAN-URL:
edanmdm:yt__u5elQFBl7A

Dave Van Ronk - "Spike Driver Blues" [Live at The Barns At Wolf Trap, 1997]

Creator:
Smithsonian Center for Folklife and Cultural Heritage  Search this
Type:
YouTube Videos
Uploaded:
2013-10-01T19:02:01.000Z
YouTube Category:
Music  Search this
Topic:
Cultural property  Search this
See more by:
smithsonianfolkways
Data Source:
Smithsonian Center for Folklife and Cultural Heritage
YouTube Channel:
smithsonianfolkways
EDAN-URL:
edanmdm:yt_mtUjmi3ewPU

Productions, 1990-1992, 1998

Creator:
Smithsonian Productions  Search this
Uniform title:
Gardens of the Mughal Empire (Website)  Search this
Dream Window: Reflections on the Japanese Garden (Documentary film : 1992)  Search this
Gardens of the Mughal Empire (Proposed documentary film)  Search this
Subject:
Hiller, John W  Search this
Johnson, Paul B  Search this
Murayama, Toshio  Search this
Schneider, Laura T  Search this
Domon Ken Kinenkan  Search this
Kajima Kensetsu Kabushiki Kaisha  Search this
WETA-TV (Television station : Washington, D.C.)  Search this
Sogetsu Hall (Tokyo, Japan)  Search this
Katsura Rikyū (Kyoto, Japan)  Search this
Saihōji (Kyoto, Japan)  Search this
Physical description:
11.3 cu. ft. (8 record storage boxes) (15 11x17 D1 videocases)
Type:
Audiotapes
Collection descriptions
Motion pictures (visual works)
Videotapes
Place:
India
Japan
Shalamar Garden (Lahore, Pakistan)
South Asia
Tenryū-shi (Japan)
Date:
1990
1990-1998
1990-1992, 1998
Topic:
Gardens  Search this
Web sites  Search this
Flower arrangement, Japanese--Sōgetsu school  Search this
Museum exhibits  Search this
Social life and customs  Search this
Local number:
SIA Acc. 06-277
Restrictions & Rights:
Restrictions pertaining to the use of these materials may apply (based on contracts/copyright). Access restrictions may also apply if viewing/listening copies are not currently available. Viewing/listening copies can be made for a fee. Contact reference staff for details
See more items in:
Productions 1938-2009 and undated [Smithsonian Productions]
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_260990

Productions, 1967-2000 and undated

Creator:
Smithsonian Productions  Search this
Uniform title:
Charles Blair's Better World: Smithsonian: Inside the Nation's Attic (Documentary film)  Search this
Descubra El Smithsonian (Television production)  Search this
House of Wonders (Documentary film)  Search this
Saudi Arabia: Tradition and Transition (Lectures: 1993)  Search this
Smithsonian Fantastic Journey (Video recording: 1996)  Search this
Smithsonian at the Capitol (Video recording)  Search this
The Smithsonian Salutes Disney Music (Motion picture: 1992)  Search this
Subject:
Adams, Robert McC (Robert McCormick) 1926-2018  Search this
Garber, Paul Edward 1899-1992  Search this
Meehan, John P  Search this
Smithsonian Institution Anniversaries, etc  Search this
Smithsonian Institution Office of Telecommunications  Search this
Smithsonian Associates Campus on the Mall  Search this
Smithsonian Institution 150th Anniversary Program  Search this
Smithsonian Institution 150th Birthday Party on the National Mall (1996: Washington, D.C.)  Search this
Physical description:
3 cu. ft. (3 record storage boxes)
Type:
Floppy disks
Collection descriptions
Audiotapes
Motion pictures (visual works)
Sound recordings
Videotapes
Electronic records
Date:
1967
1967-2000
1967-2000 and undated
Topic:
Audio-visual materials  Search this
Lectures and lecturing  Search this
Museums--Educational aspects  Search this
Special events  Search this
Museums--Public relations  Search this
Local number:
SIA Acc. 09-055
Restrictions & Rights:
Restrictions pertaining to the use of these materials may apply (based on contracts/copyright). Access restrictions may also apply if viewing/listening copies are not currently available. Viewing/listening copies can be made for a fee. Contact reference staff for details
See more items in:
Productions 1938-2009 and undated [Smithsonian Productions]
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_282105

Productions, 1985-1998

Creator:
Smithsonian Productions  Search this
Uniform title:
Celebration: The World of Victor and Edith Turner (Motion picture : 1987)  Search this
Celebrations (Video recording : 1992)  Search this
Lords of the Garden (Television program : 1994)  Search this
Making of Gone with the Wind (Video recording : 1985)  Search this
Smithsonian Expedition Specials (Television program : c. 1994)  Search this
Source of the Mekong (Television program : 1997)  Search this
Speak to My Heart (Video recording : 1998)  Search this
Wisconsin Pow Wow (Video recording : 1996)  Search this
Subject:
Peissel, Michel 1937-2011  Search this
Taylor, Paul Michael 1953-  Search this
Turner, Edith L. B. 1921-  Search this
Turner, Victor Witter  Search this
Wagner, Paul  Search this
Hearst Entertainment (Firm)  Search this
Smithsonian Institution Office of Telecommunications  Search this
Arts and Entertainment Network  Search this
Physical description:
2 cu. ft. (2 record storage boxes)
Type:
Motion pictures (visual works)
Collection descriptions
Video recordings
Videotapes
Date:
1985
1985-1998
Topic:
Audio-visual materials  Search this
Expeditions  Search this
Museums--Educational aspects  Search this
Local number:
SIA Acc. 09-069
Restrictions & Rights:
Restrictions pertaining to the use of these materials may apply (based on contracts/copyright). Access restrictions may also apply if viewing copies are not currently available. Viewing copies can be made for a fee. Contact reference staff for details
See more items in:
Productions 1938-2009 and undated [Smithsonian Productions]
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_282112

Productions, 1976, 1985-1999

Creator:
Smithsonian Productions  Search this
Uniform title:
300 Years of American Papermaking (Video recording : 1990)  Search this
Covering the Environment: Front Page or Yesterday's News? (Video recording : 1990)  Search this
Men of Greatness, Feats of Daring (Video recording : 1985)  Search this
Monumental Propaganda (Video recording : 1994)  Search this
Phone Philm (Motion picture : 1976)  Search this
The Buried Mirror: Reflections on Spain and the New World (Video recording : 1991)  Search this
Thomas A. Edison and his Amazing Invention Factories (Motion picture : 1979)  Search this
Woody Guthrie's Legacy (Documentary film : 2000)  Search this
Yesterday's Tomorrows: Visions of the Future on Film (Video recording : 1984)  Search this
Subject:
Edison, Thomas A (Thomas Alva) 1847-1931  Search this
Fuentes, Carlos  Search this
Guthrie, Woody 1912-1967  Search this
Rittenhouse, William 1644-1708  Search this
Comisión Nacional del Quinto Centenario del Descubrimiento de América (Spain)  Search this
Discovery Channel (Firm)  Search this
National Museum of American History (U.S.)  Search this
Smithsonian Institution  Search this
Sogetel (Firm)  Search this
Iron Clad Agreement (Musical group)  Search this
National Museum of History and Technology (U.S.) Electricity Hall  Search this
Smithsonian Institution International Center  Search this
300 Years of American Papermaking (Exhibition) (1990-1991: Washington, D.C.)  Search this
Edison: Lighting a Revolution (Exhibition) (1980: Washington, D.C.)  Search this
Monumental Propaganda (Exhibition) (1994: Washington, D.C.)  Search this
Person to Person (Exhibition) (1976: Washington, D.C.)  Search this
This Land is Your Land: The Life and Legacy of Woody Guthrie (Exhibition) (2000: Washington, D.C.)  Search this
Physical description:
1 cu. ft. (1 record storage box)
Culture:
Columbus Quincentenary, 1992-1993  Search this
Type:
Documentary films
Collection descriptions
Audiotapes
Videotapes
Video recordings
Place:
Latin America
Spain
Germantown (Philadelphia, Pa.)
Date:
1985
1985-1999
1976, 1985-1999
Topic:
Earth Day  Search this
Environmental education  Search this
Inventors  Search this
Journalism  Search this
Paper mills  Search this
Papermaking  Search this
Telephone  Search this
Museum exhibits  Search this
Civilization  Search this
Local number:
SIA Acc. 06-265
Restrictions & Rights:
Restrictions pertaining to the use of these materials may apply (based on contracts/copyright). Access restrictions may also apply if viewing/listening copies are not currently available. Viewing/listening copies can be made for a fee. Contact reference staff for details
See more items in:
Productions 1938-2009 and undated [Smithsonian Productions]
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_260979

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