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#APeoplesJourney - A Nation's Story

Creator:
National Museum of African American History and Culture  Search this
Type:
YouTube Videos
Uploaded:
2017-09-28T13:00:21.000Z
YouTube Category:
Education  Search this
Topic:
African Americans  Search this
See more by:
WatchNMAAHC
Data Source:
National Museum of African American History and Culture
YouTube Channel:
WatchNMAAHC
EDAN-URL:
edanmdm:yt_wUuSYpW4ZIo

Portrait of Benito Juarez, President of Mexico in 1865; Statesman and President

Collector:
Taylor, James E. (Artist)  Search this
Collection Creator:
Taylor, James E., 1839-1901 (artist and collector)  Search this
Extent:
1 Albumen print (003 in x 004 in mounted on 014 in x 018 in)
Container:
Volume 1, Page 117
Culture:
Mexicans  Search this
Type:
Archival materials
Albumen prints
Photographs
Date:
undated
Local Numbers:
NAA INV.01605801

NAA MS.MS 4605
Local Note:
Black and white Albumen Print on Paper Mount in Album
Collection Restrictions:
The collection is open for research.

Access to the collection requires an appointment.
Collection Rights:
Contact the repository for terms of use.
Genre/Form:
Photographs
Collection Citation:
MS 4605, James E. Taylor scrapbook of the American West, National Anthropological Archives, Smithsonian Institution
See more items in:
James E. Taylor scrapbook of the American West
James E. Taylor scrapbook of the American West / Page 117
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3126cba23-3e7d-4f1d-8777-c5f9efc0f675
EDAN-URL:
ead_component:sova-naa-ms4605-ref1378

The Officers of the C.S. Army & Navy

Artist:
C. F. May, 1800 - 1900?  Search this
Sitter:
Pierre Gustave Toutant Beauregard, 28 May 1818 - 20 Feb 1893  Search this
Judah Philip Benjamin, 6 Aug 1811 - 6 May 1884  Search this
Milledge Luke Bonham, 1813 - 1890  Search this
Braxton Bragg, 22 Mar 1817 - 27 Sep 1876  Search this
John Cabell Breckinridge, 15 Jan 1821 - 17 May 1875  Search this
Simon Bolivar Buckner, 1 Apr 1823 - 8 Jan 1914  Search this
Franklin Buchanan, 1800 - 1874  Search this
Frederick Chatard, 1800 - 1900?  Search this
Benjamin Franklin Cheatham, 1820 - 1886  Search this
Thomas Lanier Clingman, 27 July 1812 - 3 Nov 1897  Search this
Jefferson Davis, 3 Jun 1808 - 6 Dec 1889  Search this
John Buchanan Floyd, 01 Jun 1806 - 26 Aug 1863  Search this
Robert Selden Garnett, 1819 - 1861  Search this
William Joseph Hardee, 12 Oct 1815 - 6 Nov 1873  Search this
Roger Weightman Hanson, 1827 - 1863  Search this
Charles Frederick Henningsen, 1815 - 1877  Search this
Ambrose Powell Hill, 9 Nov 1825 - 2 Apr 1865  Search this
Thomas Carmichael Hindman, 1828 - 1868  Search this
George Nichols Hollins, 1799 - 1878  Search this
Robert Mercer Taliaferro Hunter, 21 Apr 1809 - 18 Jul 1887  Search this
Thomas Jonathan Jackson, 21 Jan 1824 - 10 May 1863  Search this
Joseph Eggleston Johnston, 3 Feb 1807 - 21 Mar 1891  Search this
Robert Edward Lee, 19 Jan 1807 - 12 Oct 1870  Search this
John Letcher, 1813 - 1884  Search this
Mansfield Lovel, 1822 - 1884  Search this
John Bankhead Magruder, 1810 - 1871  Search this
Ben McCulloch, 1808 - 1895  Search this
James Murray Mason, 3 Nov 1798 - 28 Apr 1871  Search this
Humphrey Marshall, 13 Jan 1812 - 28 Mar 1872  Search this
Matthew Fontaine Maury, 14 Jan 1806 - 1 Feb 1873  Search this
John Hunt Morgan, 1 Jun 1825 - 4 Sep 1864  Search this
Mosby Munroe Parsons, 1822 - 1865  Search this
Albert Pike, 1809 - 1891  Search this
Gideon Johnson Pillow, 1806 - 1878  Search this
Leonidas Polk, 10 Apr 1806 - 14 Jun 1864  Search this
Sterling Price, 20 Sep 1809 - 29 Sep 1867  Search this
Edward Price, 19th century  Search this
Gabriel James Rains, 1803 - 1881  Search this
Raphael Semmes, 27 Sep 1809 - 30 Aug 1877  Search this
John Slidell, 1793 - 29 Jul 1871  Search this
Edmund Kirby Smith, 16 May 1824 - 28 Mar 1893  Search this
Alexander Hamilton Stephens, 11 Feb 1812 - 4 Mar 1883  Search this
David Emanuel Twiggs, 1790 - 1862  Search this
Lloyd Tilghman, 1816 - 1863  Search this
M. Jeff Thompson, 1800 - 1900?  Search this
Robert Augustus Toombs, 2 Jul 1810 - 15 Dec 1885  Search this
Earl Van Dorn, 1820 - 1863  Search this
James S. West, 1800 - 1900?  Search this
Louis Trezevant Wigfall, 21 Apr 1816 - 18 Feb 1874  Search this
Medium:
Albumen print on paper
Dimensions:
Image/Sheet: 17.8 × 25.5 cm (7 × 10 1/16")
Mount: 27.5 × 35 cm (10 13/16 × 13 3/4")
Type:
Print
Date:
c. 1861-65
Topic:
Personal Attribute\Facial Hair\Mustache  Search this
Personal Attribute\Facial Hair\Beard  Search this
Costume\Dress Accessory\Epaulet  Search this
Jefferson Davis: Male  Search this
Jefferson Davis: Literature\Writer  Search this
Jefferson Davis: Natural Resource Occupations\Agriculturist\Farmer  Search this
Jefferson Davis: Military and Intelligence\Soldier  Search this
Jefferson Davis: Politics and Government\Confederate President  Search this
Jefferson Davis: Politics and Government\US Congressman\Mississippi  Search this
Jefferson Davis: Politics and Government\US Senator\Mississippi  Search this
Jefferson Davis: Politics and Government\Cabinet member\Secretary of War  Search this
Jefferson Davis: Politics and Government\Governor\Mississippi  Search this
Edmund Kirby Smith: Male  Search this
Edmund Kirby Smith: Military and Intelligence\Army\Officer\Civil War army officer\Confederate army officer  Search this
Edmund Kirby Smith: Education and Scholarship\Educator\Professor\University  Search this
Edmund Kirby Smith: Military and Intelligence\Army\Officer\Captain  Search this
Edmund Kirby Smith: Education and Scholarship\Administrator\University administrator\University president  Search this
John Hunt Morgan: Male  Search this
John Hunt Morgan: Military and Intelligence\Army\Officer\Civil War army officer\Confederate army officer  Search this
Robert Edward Lee: Male  Search this
Robert Edward Lee: Military and Intelligence\Army\Officer\Civil War army officer\Confederate army officer  Search this
Robert Edward Lee: Education and Scholarship\Administrator\College administrator\President  Search this
Braxton Bragg: Male  Search this
Braxton Bragg: Military and Intelligence\Army\Officer\Civil War army officer  Search this
Braxton Bragg: Military and Intelligence\Army\Officer\General  Search this
Braxton Bragg: Science and Technology\Engineer\Civil engineer  Search this
Earl Van Dorn: Male  Search this
Earl Van Dorn: Military and Intelligence\Army\Officer\Civil War army officer\Confederate army officer  Search this
John Buchanan Floyd: Male  Search this
John Buchanan Floyd: Law and Law Enforcement\Lawyer  Search this
John Buchanan Floyd: Military and Intelligence\Army\Officer\Civil War army officer\Confederate army officer  Search this
John Buchanan Floyd: Politics and Government\Governor\Virginia  Search this
Milledge Luke Bonham: Male  Search this
Milledge Luke Bonham: Military and Intelligence\Army\Officer\Civil War army officer\Confederate army officer  Search this
Milledge Luke Bonham: Military and Intelligence\Army\Officer\Brigadier General  Search this
Milledge Luke Bonham: Politics and Government\Governor\South Carolina  Search this
Simon Bolivar Buckner: Male  Search this
Simon Bolivar Buckner: Natural Resource Occupations\Agriculturist\Farmer  Search this
Simon Bolivar Buckner: Military and Intelligence\Army\Officer\General  Search this
Simon Bolivar Buckner: Military and Intelligence\Army\Officer\Civil War army officer\Confederate army officer  Search this
Simon Bolivar Buckner: Journalism and Media\Newspaper editor  Search this
Simon Bolivar Buckner: Politics and Government\Vice-Presidential Candidate  Search this
Simon Bolivar Buckner: Politics and Government\Governor\Kentucky  Search this
Simon Bolivar Buckner: Business and Finance\Businessperson\Insurance agent  Search this
Frederick Chatard: Male  Search this
Frederick Chatard: Military and Intelligence\Navy\Officer\Civil War\Confederate  Search this
Benjamin Franklin Cheatham: Male  Search this
Benjamin Franklin Cheatham: Military and Intelligence\Army\Officer\Civil War army officer\Confederate army officer  Search this
Robert Selden Garnett: Male  Search this
Robert Selden Garnett: Military and Intelligence\Army\Officer\Civil War army officer  Search this
Roger Weightman Hanson: Male  Search this
Roger Weightman Hanson: Military and Intelligence\Army\Officer\Civil War army officer\Confederate army officer  Search this
Charles Frederick Henningsen: Male  Search this
Robert Mercer Taliaferro Hunter: Male  Search this
Robert Mercer Taliaferro Hunter: Politics and Government\US Senator\Virginia  Search this
Robert Mercer Taliaferro Hunter: Politics and Government\US Congressman\Virginia  Search this
Robert Mercer Taliaferro Hunter: Politics and Government\Statesman\Confederate statesman  Search this
John Letcher: Male  Search this
Mansfield Lovel: Male  Search this
Humphrey Marshall: Male  Search this
Humphrey Marshall: Military and Intelligence\Army\Officer\General  Search this
Humphrey Marshall: Military and Intelligence\Army\Officer\Civil War army officer\Confederate army officer  Search this
Humphrey Marshall: Politics and Government\US Congressman\Kentucky  Search this
Mosby Munroe Parsons: Male  Search this
Mosby Munroe Parsons: Military and Intelligence\Army\Officer\Civil War army officer  Search this
Albert Pike: Male  Search this
Albert Pike: Law and Law Enforcement\Lawyer  Search this
Albert Pike: Literature\Writer  Search this
Albert Pike: Military and Intelligence\Army\Officer\Civil War army officer\Confederate army officer  Search this
Albert Pike: Literature\Writer\Poet  Search this
Albert Pike: Law and Law Enforcement\Judge\Justice\State Supreme Court Justice  Search this
Edward Price: Male  Search this
Raphael Semmes: Male  Search this
Raphael Semmes: Law and Law Enforcement\Lawyer  Search this
Raphael Semmes: Literature\Writer  Search this
Raphael Semmes: Military and Intelligence\Navy\Officer\Civil War\Confederate  Search this
David Emanuel Twiggs: Male  Search this
Lloyd Tilghman: Male  Search this
M. Jeff Thompson: Male  Search this
James S. West: Male  Search this
Louis Trezevant Wigfall: Male  Search this
Louis Trezevant Wigfall: Law and Law Enforcement\Lawyer  Search this
Louis Trezevant Wigfall: Military and Intelligence\Army\Officer\General  Search this
Louis Trezevant Wigfall: Military and Intelligence\Army\Officer\Civil War army officer\Confederate army officer  Search this
Louis Trezevant Wigfall: Politics and Government\US Senator\Texas  Search this
Louis Trezevant Wigfall: Politics and Government\Statesman\Confederate statesman  Search this
Louis Trezevant Wigfall: Politics and Government\State Legislator\Texas  Search this
Louis Trezevant Wigfall: Politics and Government\State Senator\Texas  Search this
Thomas Jonathan Jackson: Male  Search this
Thomas Jonathan Jackson: Military and Intelligence\Army\Officer\General  Search this
Thomas Jonathan Jackson: Military and Intelligence\Army\Officer\Civil War army officer\Confederate army officer  Search this
Pierre Gustave Toutant Beauregard: Male  Search this
Pierre Gustave Toutant Beauregard: Literature\Writer  Search this
Pierre Gustave Toutant Beauregard: Military and Intelligence\Army\Officer\General  Search this
Pierre Gustave Toutant Beauregard: Military and Intelligence\Army\Officer\Civil War army officer\Confederate army officer  Search this
John Cabell Breckinridge: Male  Search this
John Cabell Breckinridge: Law and Law Enforcement\Lawyer  Search this
John Cabell Breckinridge: Politics and Government\Presidential candidate  Search this
John Cabell Breckinridge: Politics and Government\Vice-President of US  Search this
John Cabell Breckinridge: Military and Intelligence\Army\Officer\Civil War army officer  Search this
John Cabell Breckinridge: Business and Finance\Businessperson\Business executive\Railroad  Search this
John Cabell Breckinridge: Politics and Government\Cabinet member\Secretary of War\Confederate Secretary of War  Search this
John Cabell Breckinridge: Politics and Government\State Legislator\Kentucky  Search this
John Cabell Breckinridge: Politics and Government\US Senator\Kentucky  Search this
Matthew Fontaine Maury: Male  Search this
Matthew Fontaine Maury: Literature\Writer  Search this
Matthew Fontaine Maury: Military and Intelligence\Navy\Officer  Search this
Matthew Fontaine Maury: Education and Scholarship\Educator\Professor\College  Search this
Matthew Fontaine Maury: Science and Technology\Scientist\Earth scientist\Oceanographer  Search this
Joseph Eggleston Johnston: Male  Search this
Joseph Eggleston Johnston: Military and Intelligence\Army\Officer\Civil War army officer\Confederate army officer  Search this
Ambrose Powell Hill: Male  Search this
Ambrose Powell Hill: Military and Intelligence\Army\Officer\Civil War army officer\Confederate army officer  Search this
Alexander Hamilton Stephens: Male  Search this
Alexander Hamilton Stephens: Law and Law Enforcement\Lawyer  Search this
Alexander Hamilton Stephens: Journalism and Media\Newspaper publisher  Search this
Alexander Hamilton Stephens: Politics and Government\US Congressman\Georgia  Search this
Alexander Hamilton Stephens: Politics and Government\Governor\Georgia  Search this
Alexander Hamilton Stephens: Politics and Government\State Legislator\Georgia  Search this
Alexander Hamilton Stephens: Politics and Government\Confederate Vice President  Search this
Robert Augustus Toombs: Male  Search this
Robert Augustus Toombs: Law and Law Enforcement\Lawyer  Search this
Robert Augustus Toombs: Politics and Government\Statesman  Search this
Robert Augustus Toombs: Military and Intelligence\Army\Officer\Civil War army officer  Search this
Robert Augustus Toombs: Military and Intelligence\Army\Officer\Civil War army officer\Confederate army officer  Search this
Robert Augustus Toombs: Politics and Government\US Congressman\Georgia  Search this
Robert Augustus Toombs: Natural Resource Occupations\Agriculturist\Planter  Search this
Robert Augustus Toombs: Politics and Government\US Senator\Georgia  Search this
Leonidas Polk: Male  Search this
Leonidas Polk: Military and Intelligence\Army\Officer\Civil War army officer\Confederate army officer  Search this
Leonidas Polk: Religion and Spirituality\Clergy\Prelate\Bishop  Search this
Leonidas Polk: Education and Scholarship\Founder\University  Search this
Gabriel James Rains: Male  Search this
Gabriel James Rains: Military and Intelligence\Army\Officer\Civil War army officer  Search this
Sterling Price: Male  Search this
Sterling Price: Law and Law Enforcement\Lawyer  Search this
Sterling Price: Military and Intelligence\Army\Officer\Civil War army officer  Search this
Sterling Price: Politics and Government\US Congressman\Missouri  Search this
Sterling Price: Politics and Government\Governor\Missouri  Search this
Sterling Price: Politics and Government\State Legislator\Missouri  Search this
John Bankhead Magruder: Male  Search this
John Bankhead Magruder: Military and Intelligence\Army\Officer\Civil War army officer  Search this
Gideon Johnson Pillow: Male  Search this
Gideon Johnson Pillow: Law and Law Enforcement\Lawyer  Search this
Gideon Johnson Pillow: Military and Intelligence\Army\Officer\Civil War army officer\Confederate army officer  Search this
Gideon Johnson Pillow: Politics and Government\Politician  Search this
Judah Philip Benjamin: Male  Search this
Judah Philip Benjamin: Law and Law Enforcement\Lawyer  Search this
Judah Philip Benjamin: Politics and Government\Statesman\Confederate statesman  Search this
Judah Philip Benjamin: Politics and Government\US Senator\Louisiana  Search this
Franklin Buchanan: Male  Search this
Franklin Buchanan: Military and Intelligence\Navy\Officer\Civil War\Confederate  Search this
Thomas Carmichael Hindman: Male  Search this
Thomas Carmichael Hindman: Law and Law Enforcement\Lawyer  Search this
Thomas Carmichael Hindman: Politics and Government\Congressman  Search this
Thomas Carmichael Hindman: Military and Intelligence\Army\Officer\Civil War army officer\Confederate army officer  Search this
Thomas Carmichael Hindman: Journalism and Media\Editor  Search this
Thomas Carmichael Hindman: Military and Intelligence\Army\Officer\Major General  Search this
Thomas Lanier Clingman: Male  Search this
Thomas Lanier Clingman: Military and Intelligence\Army\Officer\General  Search this
Thomas Lanier Clingman: Military and Intelligence\Army\Officer\Civil War army officer\Confederate army officer  Search this
Thomas Lanier Clingman: Politics and Government\US Senator\North Carolina  Search this
Ben McCulloch: Male  Search this
George Nichols Hollins: Male  Search this
George Nichols Hollins: Military and Intelligence\Navy\Officer  Search this
George Nichols Hollins: Military and Intelligence\Navy\Officer\Civil War\Confederate  Search this
William Joseph Hardee: Male  Search this
William Joseph Hardee: Literature\Writer  Search this
William Joseph Hardee: Military and Intelligence\Army\Officer\Civil War army officer\Confederate army officer  Search this
William Joseph Hardee: Military and Intelligence\Army\Officer\Mexican War army officer  Search this
John Slidell: Male  Search this
John Slidell: Law and Law Enforcement\Lawyer  Search this
John Slidell: Politics and Government\Diplomat  Search this
John Slidell: Politics and Government\Confederate official  Search this
John Slidell: Politics and Government\US Senator\Louisiana  Search this
John Slidell: Politics and Government\US Congressman\Louisiana  Search this
James Murray Mason: Male  Search this
James Murray Mason: Politics and Government\Diplomat  Search this
James Murray Mason: Politics and Government\US Senator\Virginia  Search this
James Murray Mason: Politics and Government\US Congressman\Virginia  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
S/NPG.84.421
Restrictions & Rights:
CC0
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm45ea8e948-d94c-46ab-b21a-e4047db4e069
EDAN-URL:
edanmdm:npg_S_NPG.84.421

Rebecca C. Amos Hammond

Extent:
2 Photographs
Culture:
Mashpee Wampanoag  Search this
Type:
Archival materials
Photographs
Scope and Contents:
A cabinet card with an albumen print depicting Rebecca C. Amos Hammond (1834-1922) photographed by Putnam of Middleboro, Mass. circa 1880-1885.
Collection 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).
Collection 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.
Collection Citation:
Identification of specific item; Date (if known); Blind Joe Amos family photographs, image #, NMAI.AC.408; National Museum of the American Indian Archives Center, Smithsonian Institution.
Identifier:
NMAI.AC.408, Item P23501 (N20348)
See more items in:
Blind Joe Amos family photographs
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv4461f9201-29d1-42a5-9be6-a65324486577
EDAN-URL:
ead_component:sova-nmai-ac-408-ref5

Representative Watson F. Hammond

Extent:
1 Photograph
Culture:
Mashpee Wampanoag  Search this
Type:
Archival materials
Photographs
Scope and Contents:
A cabinet card with an albumen print depicting Representative Watson F. Hammond (1837-1916) photographed by Notman Photographic Co. of Boston, circa 1885-1890.
Collection 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).
Collection 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.
Collection Citation:
Identification of specific item; Date (if known); Blind Joe Amos family photographs, image #, NMAI.AC.408; National Museum of the American Indian Archives Center, Smithsonian Institution.
Identifier:
NMAI.AC.408, Item P23502
See more items in:
Blind Joe Amos family photographs
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv4dcdceb2e-50f2-4d5a-b756-90b052b022fc
EDAN-URL:
ead_component:sova-nmai-ac-408-ref6

Sightseeing Bus, Washington, D.C.

Container:
Box 1
Type:
Archival materials
Photographs
Scope and Contents:
Silver albumen print, early 20th century, mounted on board, 5-1/2" x 7-1/2": sightseeing bus with about 27 men and women aboard and a man standing beside it, U.S. Capitol in background. By H. M. Brown, 205 Pa. Ave. N.W. (Washington), imprint at bottom of mount. Sign on vehicle indicates "starting point 1417 G St. N.W". Gift of Alberta Young.
Collection Restrictions:
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:
Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0496, Series 2
See more items in:
Archives Center Photoprint Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep89177240f-5b28-40c8-aaf6-7588e26c695a
EDAN-URL:
ead_component:sova-nmah-ac-0496-ref513

Philadelphia Centennial Photoprints

Vendor:
Raymond, Geo. J., Variety Store  Search this
Names:
Centennial Exhibition (1876 : Philadelphia, Pa.)  Search this
Extent:
7 Items (albumen photoprints, 5" x 8")
Container:
Box 1
Type:
Archival materials
Photographs
Photographs
Albumen prints
Place:
Philadelphia (Pa.) -- 1870-1880
Date:
circa 1876
Scope and Contents:
Views of the Philadelphia Centennial Exhibition, 1876. Some edge-printed "Geo. J. Raymond's Variety Store." Photographer unidentified. INcludes views of:

1. "State Buildings looking east"

2. "Machinery Hall"

3. "Centennial Exhibition Grounds / General view"

4. "---west end of Main Building"

5. "---General view, looking east"

6. "State Buildings in foreground / Main Buildings back"

7. "---Main Building"
Biographical / Historical:
Photographer and circumstances of images unknown; identification of scenes on backs of prints.
Collection Restrictions:
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.
Topic:
Exhibitions -- Philadelphia -- 1870-1880  Search this
World's fairs  Search this
Genre/Form:
Photographs -- 1870-1880 -- Black-and-white photoprints
Albumen prints -- 1870-1880
Collection Citation:
Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0496, Series 1
See more items in:
Archives Center Photoprint Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep862f67343-fd0e-450c-a9f0-46ecd7efff30
EDAN-URL:
ead_component:sova-nmah-ac-0496-ref511

Sightseeing bus with 27 passengers and driver, Washington, D.C. : silver albumen photoprint

Photographer:
Brown, H. M.  Search this
Donor:
Young, Alberta F.  Search this
Extent:
1 Item (Silver albumen on paper, mounted on board., 5-1/2" x 7-1/2")
Type:
Archival materials
Albumen prints
Place:
Washington (D.C.) -- 1900-1910
Date:
ca. 1900-1910
Local Numbers:
2010.3080 (Nonacc.No.)
Collection Restrictions:
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.
Topic:
Buses -- 1900-1910 -- Washington (D.C.)  Search this
Sightseeing business -- 1900-1910 -- Washington (D.C.)  Search this
Tourist trade -- 1900-1910 -- Washington (D.C.)  Search this
Genre/Form:
Albumen prints -- 1900-1910.
Collection Citation:
Archives Center, National Museum of American History.
See more items in:
Archives Center Photoprint Collection
Archives Center Photoprint Collection / Series 2: Sightseeing Bus, Washington, D.C.
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep880b5da85-d990-457e-b162-e55f925c0a7c
EDAN-URL:
ead_component:sova-nmah-ac-0496-ref512

Cabinet card of an unidentified man

Photograph by:
Zimmerman and Whitstruck, American, 1879 - 1889  Search this
Subject of:
Unidentified Man or Men  Search this
Medium:
albumen and silver nitrocellulose on cardboard paper (fiber product)
Dimensions:
H x W (Image): 4 3/4 x 3 9/16 in. (12 x 9 cm)
H x W (Sheet): 5 9/16 x 4 1/16 in. (14.2 x 10.3 cm)
H x W (Mount): 6 7/16 x 4 3/16 in. (16.4 x 10.6 cm)
Type:
cabinet photographs
albumen prints
portraits
Place captured:
Saint Paul, Ramsey County, Minnesota, United States, North and Central America
Date:
ca. 1885
Topic:
African American  Search this
American West  Search this
Photography  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2013.244.14
Restrictions & Rights:
Public Domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd520d20513-3676-4547-886d-80403ff24fbb
EDAN-URL:
edanmdm:nmaahc_2013.244.14
Online Media:

Boudoir photograph of Buffalo Soldiers escorting a stage coach

Photograph by:
Frank J. Haynes, American, 1853 - 1921  Search this
Subject of:
United States Army, American, founded 1775  Search this
Unidentified Man or Men  Search this
Medium:
albumen and silver nitrocellulose on paper cardboard
Dimensions:
H x W (Image and Sheet): 4 15/16 x 8 1/8 in. (12.6 x 20.7 cm)
H x W (Mount): 5 3/16 x 8 1/2 in. (13.2 x 21.6 cm)
Type:
albumen prints
boudoir photographs
Place captured:
United States, North and Central America
Date:
ca. 1890
Topic:
African American  Search this
Buffalo Soldiers  Search this
Military  Search this
Photography  Search this
Transportation  Search this
U.S. History, 1865-1921  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2013.244.24
Restrictions & Rights:
Public Domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5f913718c-7775-40b6-854e-a14767df8c0a
EDAN-URL:
edanmdm:nmaahc_2013.244.24
Online Media:

Cabinet card of a Buffalo Soldier, John Baker

Photograph by:
Alseen & Company, American  Search this
Subject of:
John Baker, American, 1881 - 1928  Search this
24th Infantry Regiment, American, 1869 - 1951  Search this
United States Army, American, founded 1775  Search this
Medium:
albumen and silver nitrocellulose on paper (fiber product) cardboard
Dimensions:
H x W (Image and Sheet): 5 1/2 x 4 3/16 in. (13.9 x 10.7 cm)
H x W (Mount): 6 1/2 x 4 5/8 in. (16.5 x 11.8 cm)
Type:
cabinet photographs
albumen prints
portraits
Place captured:
Salt Lake City, Salt Lake County, Utah, United States, North and Central America
Date:
1896-1899
Topic:
African American  Search this
American West  Search this
Buffalo Soldiers  Search this
Military  Search this
Photography  Search this
U.S. History, 1865-1921  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2013.244.37
Restrictions & Rights:
Public Domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd557d19b1d-d77c-4114-8bca-6b3a6bb626c8
EDAN-URL:
edanmdm:nmaahc_2013.244.37
Online Media:

Cabinet card portrait of Corporal John McDonald

Photograph by:
McCormick, American, active 1870s  Search this
Subject of:
Colonel John McDonald, American  Search this
9th Cavalry Regiment, American, founded 1866  Search this
Medium:
albumen and silver nitrocellulose on paper cardboard
Dimensions:
H x W (Image and Sheet): 5 7/8 x 4 1/16 in. (15 x 10.3 cm)
H x W (Mount): 6 7/16 x 4 3/16 in. (16.3 x 10.6 cm)
Type:
cabinet photographs
albumen prints
portraits
Place captured:
Arkansas City, Cowley County, Kansas, United States, North and Central America
Date:
ca. 1875
Topic:
African American  Search this
American South  Search this
Buffalo Soldiers  Search this
Military  Search this
Photography  Search this
U.S. History, 1865-1921  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2013.244.4
Restrictions & Rights:
Public Domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd574d2a2ac-7919-492b-8a4a-c016c99ee3f7
EDAN-URL:
edanmdm:nmaahc_2013.244.4
Online Media:

Albumen print of Stephen Johnson

Photograph by:
Unidentified  Search this
Owned by:
Captain William A. Prickitt, American, 1839 - 1929  Search this
Subject of:
Stephen Johnson, American, born 1832  Search this
25th Regiment, U.S. Colored Infantry, American, 1864 - 1865  Search this
Medium:
albumen and silver on paper
Dimensions:
H x W (albumen print): 1 1/4 × 7/8 in. (3.2 × 2.2 cm)
H x W (oval cutout): 7/8 × 5/8 in. (2.2 × 1.6 cm)
H x W (page): 1 9/16 × 1 3/4 in. (4 × 4.5 cm)
Type:
albumen prints
Date:
1864-1865
Topic:
African American  Search this
Men  Search this
Military  Search this
Photography  Search this
U.S. History, Civil War, 1861-1865  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Aneita Gates, on behalf of her son, Kameron Gates, and all the Descendants of Captain William A. Prickitt
Object number:
2014.88a
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5975aa373-200f-4142-9201-665181b0d248
EDAN-URL:
edanmdm:nmaahc_2014.88a

Albumen print of Hiram White

Photograph by:
Unidentified  Search this
Owned by:
Captain William A. Prickitt, American, 1839 - 1929  Search this
Subject of:
Hiram H. White, American, 1846 - 1917  Search this
25th Regiment, U.S. Colored Infantry, American, 1864 - 1865  Search this
Medium:
albumen and silver on paper
Dimensions:
H x W (albumen print): 1 5/16 × 7/8 in. (3.4 × 2.2 cm)
H x W (oval cutout): 7/8 × 5/8 in. (2.2 × 1.6 cm)
H x W (page): 1 9/16 × 1 3/4 in. (4 × 4.5 cm)
Type:
albumen prints
photograph albums
Date:
1864-1865
Topic:
African American  Search this
Men  Search this
Military  Search this
Photography  Search this
U.S. History, Civil War, 1861-1865  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Aneita Gates, on behalf of her son, Kameron Gates, and all the Descendants of Captain William A. Prickitt
Object number:
2014.88b
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5dfc28318-7228-4d16-812d-2cca43f774dd
EDAN-URL:
edanmdm:nmaahc_2014.88b

Albumen print of Isaiah White

Photograph by:
Unidentified  Search this
Owned by:
Captain William A. Prickitt, American, 1839 - 1929  Search this
Subject of:
Isaiah White, American, 1840 - 1920  Search this
25th Regiment, U.S. Colored Infantry, American, 1864 - 1865  Search this
Medium:
albumen and silver on paper
Dimensions:
H x W (albumen print): 1 5/16 × 7/8 in. (3.4 × 2.2 cm)
H x W (oval cutout): 7/8 × 5/8 in. (2.2 × 1.6 cm)
H x W (page): 1 9/16 × 1 3/4 in. (4 × 4.5 cm)
Type:
albumen prints
Date:
1864-1865
Topic:
African American  Search this
Men  Search this
Military  Search this
Photography  Search this
U.S. History, Civil War, 1861-1865  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Aneita Gates, on behalf of her son, Kameron Gates, and all the Descendants of Captain William A. Prickitt
Object number:
2014.88c
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5f0bf2226-c2f0-4466-9548-dc642333d3c4
EDAN-URL:
edanmdm:nmaahc_2014.88c

Albumen print of Solomon Frister

Photograph by:
Unidentified  Search this
Owned by:
Captain William A. Prickitt, American, 1839 - 1929  Search this
Subject of:
Solomon Frister, American, 1838 - 1914  Search this
25th Regiment, U.S. Colored Infantry, American, 1864 - 1865  Search this
Medium:
albumen and silver on paper
Dimensions:
H x W (albumen print): 1 5/16 × 7/8 in. (3.4 × 2.2 cm)
H x W (oval cutout): 7/8 × 5/8 in. (2.2 × 1.6 cm)
H x W (page): 1 9/16 × 1 3/4 in. (4 × 4.5 cm)
Type:
albumen prints
Date:
1864-1865
Topic:
African American  Search this
Men  Search this
Military  Search this
Photography  Search this
U.S. History, Civil War, 1861-1865  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture, Gift of Aneita Gates, on behalf of her son, Kameron Gates, and all the Descendants of Captain William A. Prickitt
Object number:
2014.88d
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd502844c82-ed83-42e3-9710-5d37ec5f9abb
EDAN-URL:
edanmdm:nmaahc_2014.88d

General and Mrs. McClellan [carte-de-visite albumen photoprint]

Names:
McClellan, George Brinton, 1826-1885  Search this
Series Creator:
Warshaw, Isadore, 1900-1969  Search this
Extent:
1 Item (Silver albumen on paper.)
Type:
Archival materials
Cartes-de-visite
Albumen prints
Photographs
Date:
undated
Scope and Contents:
Albumen carte-de-visite photoprint of Gen. and Mrs. McClellan. He is shown seated and reading while she stands. Photographer unidentified.
Local Numbers:
AC0060-0001299.tif (AC Scan No.)
General:
In Box 4, Folder 20.
Civil War Selections from the Archives Center
Related Materials:
Civil War series, Warshaw Collection of Business Americana
Series Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Reading  Search this
Civil War, 1861-1865  Search this
Genre/Form:
Cartes-de-visite
Albumen prints -- 1860-1880
Photographs -- 1860-1870 -- Black-and-white photoprints -- Silver albumen -- Cartes-de-visite
Series Citation:
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Warshaw Collection of Business Americana Subject Categories: Civil War
Warshaw Collection of Business Americana Subject Categories: Civil War / Government Records, Business Records, and Other / Civil War
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep87754aa5a-ad64-412a-90c4-f8fdc9efa463
EDAN-URL:
ead_component:sova-nmah-ac-0060-s01-01-civilwar-ref636

Joseph Cornell Study Center Collection

Artist:
Cornell, Joseph  Search this
Names:
Benton, Elizabeth Cornell  Search this
Cornell, Robert  Search this
Extent:
196.8 Linear feet
186 Nitrate negatives
Type:
Collection descriptions
Archival materials
Nitrate negatives
Photographs
Place:
New York, New York
Date:
1750-1980, bulk 1930-1972
Summary:
The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.
Scope and Contents:
The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.

Correspondence is with collectors, museums, galleries, artists, friends, family, charity organizations, admirers and those admired by Cornell, and World War II European pen pals. Discussions about the appreciation, donation, sale, purchase, and exhibition of Cornell's works are frequent, with the inclusion of shipping and loan documentation or notices of payment installments. Galleries and museums frequently request that Cornell agree to an exhibition, which he often declines, and fans request free works be mailed or affordable works be sold to them. With friends, artists, and those he admired, Cornell discussed topics that fascinate him, included bits of poetry or philosophical musings, sent clippings or a collaged letter, and occasionally discussed a project or work in process. After World War II, when so many were displaced by the war in Europe, Cornell answered ads for pen pals in the "Christian Science Monitor," often responding to requests for clothing or other goods, and sometimes exchanging many letters over several years. Family correspondence is with his mother, sisters, brother, and others, and often notes activities of the day, foods eaten, and general musings, as well as occasionally mentioning a project or artwork. Correspondents of note include Stan Brakhage, Betty Freeman, Charles Henri Ford, Allegra Kent, Yayoi Kusama, Roberto Matta, Marianne Moore, Octavio Paz, Sonia Sekula, Pavel Tchelitchew, Parker Tyler, Dorothea Tanning, and Betsy von Furstenberg, among others.

Cornell was often preoccupied with his thoughts, feelings, memories, a project or thematic "exploration," and jotted notes on seemingly any surface available. Notes and musings are on napkins, the backs of envelopes, newspaper clippings, and paper bags from record and magazine stores. Frequently, an observation would trigger a lengthy nostalgic moment, or a "feé," fairy-like child or girl, would capture his imagination and lead him to thoughts of 18th-century ballerinas and silent film stars. Cornell wrote longer diary notes, sometimes expanding on an earlier notation or emotion, and often wrote when he experienced trouble sleeping or woke early. Drafted letters to imaginary muses or admired individuals are interspersed among diaries, often revealing Cornell's yearnings to find emotional intimacy and human connection. Over time, Cornell revisited his notes and occasionally made further notations about renewed thoughts on a topic, dating the note with "revisited" or "reviewed." Notes are often written in a stream-of-consciousness style, for example, jumping from the mention of a record album or composer, to a ballerina of the same period, a note about a French poet, the memory of childhood, or an observation made earlier in the day, all in the space of a few lines. Notes about artistic processes or meanings behind works or images do occasionally emerge from the tangled, poetic notations. Notes also often provide insights into Cornell's internal emotional state and give clues about his intentions behind an artwork or a particular thematic fixation.

Financial materials document Cornell's professional and personal business activities, including the sale of artworks, annual expenses for supplies and household incidentals, payments and schedules for personal assistants, receipts for donations to charities and nonprofits, and tax documents. There is also information about who worked as assistants, or "helpers," in his later years and where Cornell purchased art supplies. Additionally, specific details are documented through receipts and invoices, such as what kind of paint he purchased. Estate records include preparations made for Cornell's artworks after his death, and clippings about other deceased artist's estates show that he thought often about such arrangements in his later years.

Exhibition files highlight several select solo exhibitions for Cornell, as well as preparations and planning for the "Robert Cornell: Memorial Exhibition" in honor of his brother in 1966. Also included are several early exhibition catalogs and announcements, including "Surréalisme" (January 9-29, 1932) and "Exhibition of Objects (Bibloquet) by Joseph Cornell" (December 6-31, 1939) at the Julien Levy Gallery, and "Romantic Museum: Portraits of Women, Constructions and Arrangements by Joseph Cornell" (December 1946) at the Hugo Gallery.

Film projects and collected film materials consist of files related to Cornell's various experimental film projects: "Aviary," "Cappuccino," "Centuries of June," "Fable for Fountains," "Nymphlight," "Serafina's Garden," and unrealized film scenario "Monsieur Phot." Files include film-making notes, correspondence, and photographs. Cornell's interest in film also led him to collect film-related materials, such as film stills, film posters, and screening programs. Scattered correspondence documents the interest other institutions and individuals had in purchasing and viewing his collection. Though most of his collected film stills and movie posters were donated to the Anthology Film Archives, film stills from "Escape Me Never" (1935) and "The Passion of Joan of Arc" (1928) are still within the collection, as well as film-screening programs for Cornell's collection of films.

Writing and design projects document Cornell's work authoring articles and designing issues of specialty dance magazine "Dance Index," and his layouts for popular magazines like "Good Housekeeping," "House and Garden," and "Mademoiselle." Other writing projects include brochures dedicated to opera singers Maria Malibran and Giulia Grisi, "Maria" and "Bel Canto Pet." Materials used for these brochures, such as copper photo engraving plates, are also found. Design work includes a series of Christmas cards created with The Museum of Modern Art as well as traced patterns ("textile tracings") and design clippings from Cornell's time working as a "textile designer" for Traphagen Commercial Textile Studio.

Cornell acquired troves of source material from bookstalls, antique stores, sporting good and department stores, hardware stores, and magazine and record shops. He kept boxes and files of material on admired individuals, such as actresses, artists, dancers, and singers, as well as on art projects or thematic "explorations." Files are on general topics such as American history, scientific phenomena, animals, plants, and humankind, as well as on series of artworks, such as "Castles," "Homage to the Romantic Ballet," and "Medici Slot Machines." Focused "exploration" projects include "Celestial Theatre," "Colombier," "GC 44," and "Switzerland," among others. Materials include photographs, photostats, maps, book fragments, autographed letters, notes, collage clippings and cutouts, collected prints and engravings, box and collage fragments, and scattered artifacts.

Collected ephemera includes large amounts of blank postcards and greeting cards, stamps, collected bus and train tickets, food labels and packaging, decals, and other materials. Artifacts are three-dimensional collected objects and source objects, which include found objects from the streets, dried flowers, and pieces of nature gathered from walks around his neighborhood. Cornell may have gathered materials because they inspired a memory or nostalgic feeling, or because they fit with a bin of other similar objects to select from for an artwork in progress.

Photographs found within the collection are of Cornell at work and as a child with family. Also found are assorted personal and family photographs, photographs of Cornell's attic and garage storage, and photographs of his Utopia Parkway house. Photographs of artwork include few installation photographs, in addition to photographs of Cornell's boxes and collages. Collected photographic materials include vintage photographs, such as tintypes, a cyanotype, stereoscopic glass slides, albumen prints, cabinet cards, and cartes-de-visite. Cornell also collected cased photographs, such as daguerreotypes, ambrotypes, and one opalotype. Negatives and photostats were often produced from various prints and even other photographs and used in Cornell's boxes and collages. Images are of men and women, actors, authors, dancers, performers, well-known men and women, royalty, places, and artwork. Photographs of note include those by Hans Namuth of Willem and Lisa de Kooning and of Edward Hopper's bedroom; photographs by Henri Cartier-Bresson; a photograph by Julia Margaret Cameron; photographs by Brassai; and a photogravure by Alfred Stieglitz from "Camerawork."

Also found in the collection are works of art by others, including a sketch by Pavel Tchelitchew, as well as artwork by Cornell, such as unfinished collages, Rorschach drawings or ink blots, and childhood artwork. Printed material includes assorted bulletins, flyers, exhibition materials for other artists, journals, and sent printed membership and charity materials. Magazines, including "View," are also included, and often have annotations by Cornell or a note to "cut" or "review" with page numbers. A large amount of magazine and newspaper clippings are in the collection, sometimes collected with a group of like material by Cornell, and at other times simply gathered in heaps. Occasional annotations are also found on the clippings.

Cornell's personal library and book collection includes over 2500 titles, ranging from fiction, poetry, and cinema, to history, science, and travel. Notable among the titles are "Baedeker's" travel guides that Cornell often sourced for his "Hotel" box series, as well as an influential publication by Max Ernst, "La Femme 100 têtes," which includes a typed letter and exhibition flyer tucked within. Books often have annotations, some fairly extensive, by Cornell, and assorted collected items, notes, and correspondence tucked between pages. Pages were often cut by Cornell, either to make photostats and use in a box, or to file with other thematic "explorations." A wide range of authors and topics provide insight into Cornell's interests and to ideas behind artwork and diary notes. Cornell's collection of record albums includes over 145 records. These contain inserted notes and clippings and are often referenced in diary notes Cornell made, noting a recent album or song listened to while at work in his studio.

The papers of Cornell's mother, Helen Storms Cornell, and his brother, Robert Cornell, are also included in the collection. Both lived with Cornell his whole life, spending the most time with him at their home at 3708 Utopia Parkway. Financial materials document shared responsibilities for billing, utilities, household fixes and chores, and expenditures, and Helen kept detailed financial records in a series of ledgers. Robert notes when he borrowed money from Cornell, or when he means to pay Cornell back for the purchase of a typewriter. Activities documented in diaries also occasionally cross paths with Cornell, noting his visitors or an exchange of letters continued after introductions through Cornell. Personal activities, such as Robert's interest in his train collection and his drawing projects and cartoon series, are also documented.
Arrangement:
The Joseph Cornell Study Center Collection is arranged into 15 series:

Series 1: Biographical Material, 1917-1972 (Boxes 1, 98, OV118; 0.9 linear feet)

Series 2: Correspondence, 1813, 1934-circa 1973 (Boxes 1-8, 86; 6.5 linear feet)

Series 3: Diaries and Notes, 1940-1976 (Boxes 8-10, 98-99, 135, OV108, OV119; 3.5 linear feet)

Series 4: Personal Business and Estate Records, 1950-1978 (Boxes 10-14; 4.1 linear feet)

Series 5: Exhibition Files, 1932-1973 (Box 14; 0.3 linear feet)

Series 6: Film Projects and Collected Film Materials, circa 1924-1972 (Boxes 14-16, 100, 133; 1.6 linear feet)

Series 7: Writing and Design Projects, circa 1910s, 1936-1962 (Boxes 16-18, 86, 100, 131-132, OV109-OV111, OV120-OV122; 3.6 linear feet)

Series 8: Source Material, 1750-circa 1911, 1926-1972 (Boxes 19-49, 86-92, 96, 100-105, 126-130, 132-137, OV112-OV115, OV125; 42.2 linear feet)

Series 9: Artifacts and Ephemera, 1768, circa 1839-1972 (Boxes 49-52; 3.2 linear feet)

Series 10: Photographic Material, circa 1800s-1972 (Boxes 52-56, 80-86, 93, 106, 128, 133, OV116, OV123-OV124; 7.5 linear feet)

Series 11: Artwork, circa 1810-1972 (Boxes 56-57, 107, OV117; 1.2 linear feet)

Series 12: Printed Material, 1855-1972 (Boxes 57-76, 94-96, 107; 16 linear feet)

Series 13: Book Collection and Personal Library, 1722-1980 (99.8 linear feet)

Series 14: Record Album Collection, circa 1925-1974 (3.2 linear feet)

Series 15: Cornell Family Papers, 1910-1980 (Boxes 77-79, 97, 107; 3.2 linear feet)
Biographical / Historical:
Joseph Cornell (1903-1972) was a self-taught assemblage and collage artist, and filmmaker, active in New York City. He was born in Nyack, New York on December 24, 1903, and died of heart failure at his home in Queens, New York on December 29, 1972. The oldest of four children, he was born Joseph I. Cornell to his mother, Helen Storms Cornell (1882-1966), and his father, Joseph I. Cornell (1875-1917). Cornell had two younger sisters, Elizabeth ("Betty") Cornell Benton (1905-2000) and Helen ("Sissy") Cornell Jagger (1906-2001), as well as one brother, Robert Cornell (1910-1965), who had cerebral palsy.

Cornell attended the Phillips Academy, a preparatory boarding school in Andover, Massachusetts, beginning shortly after his father's death in 1917. He attended for four years but did not receive a diploma, and soon began work as a textile salesman for the William Whitman Company in Manhattan. His work took him, by foot, through the city, visiting secondhand bookshops on Fourth Avenue, browsing music stores and magazine shops, and catching early shows at the Metropolitan Opera House. He would occasionally wait outside the stage doors for favorite singers and dancers to emerge, requesting signatures on photographs or bits of costumes.

Around 1926, Cornell joined the Christian Science Church, joined by his brother Robert shortly thereafter, and both continued to be lifelong members. Cornell kept a number of books in his personal library on Christian Science teachings and regularly subscribed to "The Christian Science Monitor."

After living in several rental houses in Bayside, New York, Cornell's mother purchased a house for the family in 1929 in Flushing, Queens. Cornell, along with his mother and brother, would live at 3708 Utopia Parkway, for the rest of their lives. His two sisters soon married and moved away, eventually settling in Westhampton, Long Island and in the poultry-farming business.

With no formal art training to speak of, Cornell's first work was a Max Ernst-inspired collage, "Untitled (Schooner)," created in 1931. He was especially inspired by Ernst's collage novel, "La Femme 100 têtes," published in 1929. French artist Odilon Redon was also among the few artists Cornell named as an influence on his art. His first sculptural works were small, cardboard pill boxes with bits of ephemera, costume adornments, and nature hidden inside. Cornell also created a series of glass bell jar works, placing small trinkets and Victorian-era-like compositions within. It was these early collages and bell jar works that were included in Cornell's debut exhibition, "Surréalisme" (January 9-29, 1932), a group show at the Julien Levy Gallery. Cornell designed the announcement for the show and exhibited alongside Max Ernst, Man Ray, Pierre Roy, Pablo Picasso, Marcel Duchamp, Eugène Atget, George Platt Lynes, Jean Cocteau, and Salvador Dalí. Months later, Cornell was invited to have his first solo show, "Objects by Joseph Cornell: Minutiae, Glass Bells, Shadow Boxes, Coups d'Oeil, Jouets Surréalistes" (November 26-December 30, 1932), also at the Julien Levy Gallery.

In 1932, after eleven years of work, Cornell was laid off from the William Whitman Company due to the Great Depression. Soon after, he took on more responsibility in the church, working part-time as an attendant in the Christian Science Reading Room in Great Neck, New York. Beginning in 1933, he taught Sunday school classes for three years and in 1935, became the Sunday school librarian. However, his religious activities and artistic ventures continued to remain separate.

In the early 1930s, Cornell progressed from movie lover to filmmaker. When Julien Levy began his New York Film Society in 1933, holding screenings of various experimental films in the gallery, Cornell began buying and collecting films and film stills in earnest. He set up a 16-millimeter projector in his home to screen favorites, such as those by Georges Méliès, D.W. Griffith, and Louis Feuillade. His collection quickly grew to over 2,500 film stills and several hundred films, and included silent era films, such as nature documentaries, goofy newsreels, travelogues, early cartoons, and slapstick comedies, as well as several feature films. In 1933, Cornell wrote a screenplay, or "scenario," entitled "Monsieur Phot." Between 1935 and 1937, Cornell also occasionally created publicity photomontages for Universal and Columbia studios. Of the nearly thirty films Cornell created, periods of activity can generally be separated into two areas: collage films of the late 1930s, consisting of combined elements from films in his own collection, and films he directed in the 1950s, which were collaborations with other filmmakers set in New York City. "Rose Hobart," Cornell's most celebrated collage film, was created and shown in the Julien Levy Gallery in 1936 and includes clipped footage from "East of Borneo." Later films were directed and filmed with cinematographers Stan Brakhage, Rudy Burckhardt, and Larry Jordan.

In 1934, Cornell began a job at the Traphagen Commercial Textile Studio as a "textile designer," a job he held for six years. Continuing to work at his kitchen table in the evenings, Cornell completed his first assemblage box construction, "Untitled (Soap Bubble Set)," in 1936. It was first exhibited at The Museum of Modern Art's show, "Fantastic Art, Dada and Surrealism" (December 9, 1936-January 17, 1937). This work was also the first to be acquired by a museum, purchased for $60.00 by the Wadsworth Atheneum in Massachusetts in 1938. Cornell's European debut was also in 1938, as one of three Americans represented in the "Exposition Internationale du Surréalisme" (January 17-Febuary 24, 1938) at the Galerie Beaux-Arts in Paris, alongside Man Ray and Anne Clark.

At the end of 1939, Cornell began corresponding with poet Charles Henri Ford, founder of avant-garde magazine "View," Pavel Tchelitchew, and Parker Tyler. After his "Soap Bubble Sets," this period saw the development of Cornell's homages to singers and actresses, including "Untitled (Fortune-Telling Parrot for Carmen Miranda)," the destroyed "Garbo (Greta Garbo in the Legendary Film 'The Crystal Mask,' c. 1845)," and "Dressing Room for Gilles." He also began using photostats of art reproduction prints, as with the print of Jean Antoine-Watteau's painting, "Pierrot" (circa 1719), used in his "Gilles" box.

In the 1940s, the Romantic ballet emerged as Cornell's new topic of interest. Through his friend Pavel Tchelitchew, Cornell was introduced to the School of American Ballet and New York City Ballet founders, Lincoln Kirstein and George Balanchine. Cornell collected dance memorabilia and had a great love of the Romantic ballet. His favorite dancers were primarily ballerinas of the nineteenth century, including Fanny Cerrito, Marie Taglioni, Fanny Elssler, Lucille Grahn, and Carlotta Grisi. Cornell's "Homage to the Romantic Ballet" works largely took the shape of jewel-box style wooden boxes with glass overlays and included bits of velvet, tulle, sequins, crystals, and chiffon, occasionally collected from dancers themselves. His most well-known work of this series is "Taglioni's Jewel Casket" (1940). Cornell also admired several living ballet dancers, including Tamara Toumanova, Zizi Jeanmaire, and Allegra Kent, who would all make their way into Cornell's box works and/or collages. Collecting for the "exploration," "Portrait of Ondine," Cornell's cased portfolio dedication to Fanny Cerrito and her role in the ballet "Ondine," began in the 1940s, though not completed until around 1960.

In late 1940, Cornell quit his job at Traphagen to concentrate on freelance commercial magazine design and editorial work during the day and his artwork at night. That same year, Charles Henri Ford started "View" magazine to promote Surrealists and Neo-Romantics in New York City and often asked Cornell to contribute. Published in the December 1941-January 1942 issue, one of his early contributions was a collage dedication to stage actress Hedy Lamarr: "Enchanted Wanderer: Excerpt from a Journey Album for Hedy Lamarr" (1941). Along with writing the accompanying text, he created a photomontage of Lamarr with her face overlaying the painted portrait of a Renaissance boy by Italian painter Giorgione. Peggy Guggenheim, at the advice of Marcel Duchamp, purchased multiple Cornell works prior to opening her new gallery, Art of This Century. Cornell also befriended Roberto Matta Echaurren, another Surrealist living in exile, who introduced him to Robert Motherwell.

After deciding to fully dedicate his time to his art in early 1940, he set up a studio in his basement. Complete with floor-to-ceiling wooden shelving, he kept his large collection of boxed source material stacked with handwritten labels in cardboard boxes. Themed folders of materials such as "Stamps" or "Maps" were kept in stacks and works in progress and finished works were stored in the basement, garage, and attic. Entering a renewed period of productivity, Cornell embarked on many new and important box projects in 1942. One of the first boxes created in his new basement studio, and the first of the "Penny Arcade" or "Medici Slot Machine" series, was "Medici Slot Machine" (1942), which includes a photostat of "Portrait of Marquess Massimiliano Stampa" (1557) by Sofonisba Anguissola. Another work from this time is the first of his "Castle" or "Palace" series, "Setting for a Fairy Tale" (1942), which uses a photostat of a French building from Jacques Androuet du Cerceau's book, "Les Plus excellents bastiments de France" (1576). "Untitled (Pharmacy)" (circa 1942) was the first of his "Pharmacy" series and included twenty-two apothecary jars. Cornell tended to work in series and created thirteen "Palace" boxes between 1942 and 1951, and ultimately created six "Pharmacy" works.

In 1943, Cornell began working at an electronics company, the Allied Control Company, Inc., to do his part to contribute to the defense effort during the war. He also sent correspondence and care packages to displaced Europeans, who listed their needs in "The Christian Science Monitor." Influenced by World War II, one of his strongest works to emerge in 1943 was "Habitat Group for a Shooting Gallery." Another notable work to come out of this period, "The Crystal Cage (Portrait of Berenice)," was an excerpt from one of his album "explorations" that was published in the January 1943 issue of "View."

Cornell left his job at Allied Control in 1944, but soon began working at the Garden Centre in Flushing, owned by a fellow Christian Scientist. Cornell was often nostalgic for this time in his life, devoting an entire "exploration" of material fondly remembered as "GC 44." He rode a bicycle to work and enjoyed collecting trips gathering dried grasses, driftwood, shells, and other relics of nature on the same bicycle as he rode through the streets of Queens. During this time, he continued to tend to his projects for "Dance Index," a magazine founded in 1942 by Lincoln Kirstein, but taken over by Donald Windham in 1944. Cornell designed several covers for the magazine and was given control of the entire summer 1944 issue, which he devoted to the Romantic ballet. He also devoted a special 1945 issue to Hans Christian Andersen, making great use of the New York Public Library Picture Collection.

Throughout the 1940s, Cornell continued to support himself with commercial design work for magazines like "Vogue," "Good Housekeeping," "Harper's Bazaar," "Town & Country," and "Mademoiselle." In 1946, after thirteen years at the Julien Levy Gallery, he joined the Hugo Gallery. In December 1946, Cornell's solo exhibition, "Romantic Museum at the Hugo Gallery: Portraits of Women by Joseph Cornell," celebrated his favorite movie stars, singers, and ballet dancers, and included his work created for the show, "Untitled (Penny Arcade Portrait of Lauren Bacall)." Cornell's "Greta Garbo" box, as well as "Souvenir for Singleton," an homage to Jennifer Jones and her role in the film "Love Letters," were also included in the show. In late 1948, his West Coast debut was in the exhibition, "Objects by Joseph Cornell," held at the Copley Gallery. The end of the 1940s saw the final issue of "View" magazine in 1947, the closure of the Julien Levy Gallery in April 1949, and Cornell's departure from the Hugo Gallery after his last show in November 1949.

In late 1949, Cornell joined the Charles Egan Gallery, known primarily for showing Abstract Expressionists. At this time, Cornell was working on a new series of boxes known as his "Aviary" works, most of which include a white-painted box with cutouts of birds mounted on wood. Though he had worked on bird-related boxes before, including an "Owl" series in the mid-1940s, his "Fortune Telling Parrot" (1939), and "Object 1941" (1941), these newer works were stripped of French elements and left "clean and abstract" by design. His first show at the Egan Gallery, "Aviary by Joseph Cornell" (December 7, 1949-January 7, 1950), included twenty-six "Aviary" works, nearly all created in 1949. Donald Windham agreed to write the foreword for the exhibition catalog, a single folded sheet, and Cornell gave him one of the boxes in the show, "Cockatoo: Keepsake Parakeet," in appreciation. Through the Egan Gallery, Cornell became friends with a new group of artists, including Franz Kline, Jack Tworkov, and Willem de Kooning. Cornell also held two screenings of a selection of his collected films at Subjects of the Artist, an art school founded by Robert Motherwell, Mark Rothko, David Hare, and William Baziotes.

In 1950, Cornell's second show at the Egan Gallery, "Night Songs and Other New Work" (December 1, 1950-January 13, 1951), introduced his new "Observatory" series. These works are largely defined by stark, whitewashed spaces with astronomical charts and constellations replacing colorful birds. The Museum of Modern Art purchased its first Cornell work from this show in early 1951, "Central Park Carrousel, in Memoriam" (1950).

For three months in 1951, Cornell was beset by various ailments and had trouble finding the energy to create new work. He worried more for his aging mother and the health of his brother. After a monthlong vacation with his sisters in Westhampton, he returned with renewed interest in Emily Dickinson's poetry. His whitewashed boxes took on a new form in his newest "Dovecote" series, using grids and circular cutouts. The works then transformed into homages to Dickinson, notably "Toward the Blue Peninsula: For Emily Dickinson" (circa 1953), and then to his "Hotel" series. Cornell's "Hotel" boxes include photostats of vintage European ads for hotels collected from vintage travel guides, especially "Baedeker's," adhered to the back walls of the boxes. Another new series of work, his "Juan Gris" series, was dedicated to Cubist artist Juan Gris. Between 1953 and the mid-1960s, Cornell created at least fifteen "Juan Gris" boxes, which often include a cutout of a white cockatoo in a Cubist-collage habitat. Cornell's third and last show at Egan Gallery, "Night Voyage" (February 10-March 28, 1953), included some of these newest works. After leaving Egan Gallery, his work was introduced to Chicago collectors in a solo show at the Frumkin Gallery, "Joseph Cornell: 10 Years of His Art" (April 10-May 7, 1953), which included nearly thirty pieces. Cornell's first museum retrospective was this same show held at the Walker Art Center in Minneapolis (July 12-August 30, 1953).

As New York City continued to change, Cornell grew more nostalgic for the city he had explored since the 1920s. The impending closure of the Third Avenue El train prompted him to dream up a film project to capture its last days, resulting in "Gnir Rednow," a reworking of Stan Brakhage's 1955, "Wonder Ring." During this time, Cornell joined the Stable Gallery, run by Eleanor Ward, interacting often with Robert Rauschenberg, Cy Twombly, and Joan Mitchell, remaining there until the end of the 1950s. His astronomy-themed exhibition, "Winter Night Skies" (December 12, 1955-January 13, 1956), included his "Night Skies" series of work with celestial chart fragments, Greek mythological figures, and paint-splattered "windows" representative of star-filled night skies. In 1956, he became aware of ballerina Allegra Kent, and began a series of work devoted to her, the first of which was "Via Parmigianino (Villa Allegra)" (1956), which included a photostat of a painting by Parmigianino, "The Madonna of the Long Neck" (circa 1540). In late 1957, after two years, Cornell had his last show at Stable Gallery, "Joseph Cornell: Selected Works" (December 2-31, 1957), consisting of a series of "Sand Fountain" boxes and "Space Object" or "Celestial Navigation" works. The "Sand Fountain" boxes included different colors of sand meant to flow within, often from the tops into cordial glasses. His "Celestial Navigations" included galaxy-like compositions set within the boxes, with rolling, painted cork balls, metal rings, and constellation charts, sometimes hovering over cordial glasses or clay pipes. This last Stable Gallery show earned him his first published profile, written by Howard Griffin for the December 1957 issue of "Art News." Also in 1957, he won the Kohnstamm Prize for Construction at the Art Institute of Chicago's 62rd Annual Exhibition of Paintings and Sculpture.

Towards the end of the 1950s, Cornell spent less time creating new bodies of work, and focused more on revisiting previous series and reviewing piles of collected source material. In 1959, Cornell returned to making collages, frequently sourcing popular magazines. In December 1959, Cornell was awarded $1,500 for his "Orion" collage, entered in the Art Institute of Chicago's "63rd American Exhibition of Painting and Sculpture." Also in December, he was offered a show at Bennington College in Vermont, which he titled, "Bonitas Solstitialis: Selected Works by Joseph Cornell and an exploration of the Colombier" (November 20-December 15, 1959). The show included one of his newest "explorations" of collected material related to "colombier," or pigeon houses.

By 1962, Cornell was working diligently on new collages, using Masonite boards and colorful magazine clippings. He also began creating collages using nude images interspersed with constellation clippings or hazy blue dyes. As in previous decades and art movements, Cornell became acquainted with new artists, spending less time in the city and more time hosting visitors at his Utopia Parkway home. Visitors included artists Walter De Maria, Robert Whitman, Andy Warhol, James Rosenquist, and Robert Indiana. Tony Curtis also became a frequent visitor and friend, introduced by Richard Feigen in 1964. The early 1960s was also the first time Cornell put out an advertisement for assistants in the "Long Island Star-Journal," employing a number of young men and women who helped organize clippings and run errands. Cornell also met Joyce Hunter, a young runaway waitress at a city coffee shop, who would occupy his thoughts and diary notes for the next several years. When she was murdered at the end of 1964, Cornell paid for her funeral. He went on to make several "Penny Arcade" collages in memoriam to her, including, "Penny Arcade (re-autumnal)" (1964).

In 1964, Cornell began friendships with several women including artist Carolee Schneeman, who was his first assistant in the early 1960s. He also met artist Yayoi Kusama through art dealer Gertrude Stein. After becoming friends, she visited him often and they exchanged letters and notes. As he did with other artist friends, Cornell supported her by purchasing several of her early watercolor paintings, and they stayed connected until his death in 1972.

Cornell's life greatly changed in 1965 with the death of his brother, Robert. By this time, his mother lived with his sister in Long Island, and Cornell was alone in the Utopia Parkway house for the first time. He exchanged frequent letters and phone calls with his mother and devoted much time to thinking about Robert and Joyce, often aligning them in his diary notations. Cornell also created a series of collages dedicated to his brother's memory, incorporating photostats of Robert's hundreds of drawings into Cornell's work, as with the later collage, "The Heart on the Sleeve" (1972). Cornell's "Time Transfixed" series of collages were also dedications to Robert's memory, referencing Magritte and Robert's love of trains. He mounted an exhibition, "Robert Cornell: Memorial Exhibition" (January 4-29, 1966), at the Robert Schoelkopf Gallery, where he showed Robert's artwork alongside his newly created collage dedications.

After Robert's death, Cornell relied more heavily on assistants, going through many part-time "helpers." In October 1966, Cornell's mother died, adding her to his constant thoughts and diaries. Though he was still grieving, he was given two major retrospectives in 1967. The first was at the Pasadena Art Museum, put on by James Demetrion and Walter Hopps, "An Exhibiton of Works by Joseph Cornell" (January 9-February 11, 1967). The second retrospective was at the Guggenheim Museum just three months later, "Joseph Cornell" (May 4-June 35, 1967), organized by Diane Waldman. After these shows, he was highlighted in the December 15, 1967 issue of "Life" in the article, "The Enigmatic Bachelor of Utopia Parkway."

In 1968, Cornell was given an "award of merit," which included a medal and $1,000, by the American Academy and Institute of Arts and Letters. He was also given a medal and $1,000 by the Brandeis University Creative Arts Awards in the painting category, along with an exhibition. Days later, "The New York Times" announced Cornell the winner, along with Donald Judd, of India's first Triennale of Contemporary World Art. The Brandeis exhibition, "Boxes and Collages by Joseph Cornell" (May 20-June 23, 1968), was organized by William Seitz and concentrated on Cornell's more recent 1960s collages. Cornell was also included in the Metropolitan Museum of Art's hundredth anniversary show, "New York Painting and Sculpture: 1940 to 1970" (October 18, 1969-February 1, 1970), where twenty-two of Cornell's boxes were shown in their own gallery. At the end of 1970, Cornell was given a solo show at the Metropolitan, "Collages by Joseph Cornell" (December 10, 1970-January 24, 1971), which included forty-five of his newest collages.

Now preferring to stay closer to his home in Flushing, Cornell was more interested in sharing his art with young adults and children, than an adult audience. He hosted a group of high school students, sponsored by the Metropolitan Museum of Art's education department, at his home in conjunction with his collage show (1970-1971). He also showed his work in the art department of Queens College of the City University of New York. Cornell still hosted visitors on occasion, having Yoko Ono and John Lennon at his home at least once. Leila Hadley, Betsy von Furstenberg, and Anne Jackson also made frequent visits. With his deteriorating health, Cornell worried about what would happen to his work after his death and hired lawyer Harry Torczyner to help him plan his estate and get his affairs in order.

In 1972, Cornell had a show at the Cooper Union, a college in New York, specifically for children. He displayed his boxes and collages at child-height and had cherry soda and brownies at the opening reception on February 10. He then held a show at the Albright-Knox Art Gallery in Buffalo, also for children: "Children's Preview of the Exhibition of Joseph Cornell – Collages and Boxes (April 18-June 17, 1972). In the winter of 1972, at the request of the Phoenix House drug treatment and prevention program, Cornell contributed to a charity project compiling limited-edition lithographic prints for a portfolio, which included artists like David Hockney, James Rosenquist, and Ellsworth Kelly.

On December 29, 1972, a week after turning sixty-nine, Cornell died of heart failure at his home. He was cremated and interred near the graves of his mother, father, and brother, overlooking the Hudson River in Nyack, New York.

Works Cited:

1. Hartigan, Lynda Roscoe. "Joseph Cornell: Navigating the Imagination." New Haven, Connecticut and London: Yale University Press, 2007. Exhibition Catalog.

2. McShine, Kynaston. "Joseph Cornell." New York: Museum of Modern Art, 1980.

3. San Francisco Cinematheque and The San Francisco Museum of Modern Art. "Joseph Cornell: Films." 2007. Exhibition Program. (Presented in conjunction with SFMOMA's exhibition of "Joseph Cornell: Navigating the Imagination").

4. Schaffner, Ingrid and Lisa Jacobs. "Julien Levy: Portrait of an Art Gallery." Cambridge, Massachusetts and London: The MIT Press, 1998.

5. Solomon, Deborah. "Utopia Parkway: The Life and Work of Joseph Cornell." New York: Farrar, Straus and Giroux, 1997.
Separated Materials:
The Smithsonian Archives of American Art houses the Joseph Cornell papers, 1804-1986, bulk 1939-1972.
Provenance:
The Joseph Cornell Study Center collection was donated to the Smithsonian American Art Museum by Joseph Cornell's sister and brother-in-law, Elizabeth Cornell Benton and John A. Benton, in 1978, which prompted the creation of the Joseph Cornell Study Center. Additional materials were donated in installments by the artist's estate, the Joseph and Robert Cornell Memorial Foundation, from 1985 to 1997. Elizabeth and John A. Benton originally donated 66 linear feet of three-dimensional and non-textual source material and 50 linear feet of books to the Smithsonian Archives of American Art, which were subsequently transferred to the Smithsonian American Art Museum's Joseph Cornell Study Center in 1994 and 1995.
Restrictions:
Access to the collection requires an advanced appointment. Contact collection staff at least two weeks prior to preferred date, at AmericanArtCornellStudy@si.edu.

Series 9: Artifacts and Ephemera, Series 13: Personal Library and Book Collection, and Series 14: Record Album Collection, are still undergoing processing and preservation and may not be available for research use. Record albums are unavailable for playback. Contact collection staff for full lists of publications and record albums.
Rights:
Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.
Occupation:
Collagists -- New York (State) -- New York  Search this
Topic:
Art, Modern -- 20th century -- United States  Search this
Assemblage (Art)  Search this
Assemblage artists -- New York (State) -- New York  Search this
Found objects (Art)  Search this
Works of art  Search this
Celebrities  Search this
Filmmakers -- New York (State) -- New York  Search this
Genre/Form:
Photographs -- 1900-1950 -- Photoprints -- Silver gelatin
Photographs -- 1860-1870 -- Black-and-white photoprints -- Silver albumen -- Cartes-de-visite
Photographs -- Daguerreotypes -- 1840-1860
Citation:
Joseph Cornell Study Center collection, 1750-1980, bulk 1930-1972. Joseph Cornell Study Center, Smithsonian American Art Museum.
Identifier:
SAAM.JCSC.1
See more items in:
Joseph Cornell Study Center Collection
Archival Repository:
Smithsonian American Art Museum, Research and Scholars Center
GUID:
https://n2t.net/ark:/65665/ih7d97fc249-474d-41bf-953d-5305df1e4c06
EDAN-URL:
ead_collection:sova-saam-jcsc-1

Carte-de-visite portrait of United States Senator Hiram Revels

Created by:
Unidentified  Search this
Subject of:
Hiram Rhodes Revels, American, 1827 - 1901  Search this
Medium:
cartes-de-visite : albumen on wove paper
Dimensions:
H x W (Image): 3 11/16 × 2 3/16 in. (9.3 × 5.5 cm)
H x W (Sheet): 3 7/8 × 2 7/16 in. (9.9 × 6.2 cm)
Type:
cartes-de-visite
albumen prints
Place depicted:
United States, North and Central America
Date:
early 1870s
Topic:
African American  Search this
American South  Search this
Education  Search this
Government  Search this
Men  Search this
Politics  Search this
Preaching  Search this
Reconstruction, U.S. History, 1865-1877  Search this
Religion  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2019.28.37
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Media Arts-Photography
Exhibition:
Slavery and Freedom
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse 3, C3 053
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd531c8afea-65ba-4412-b9a6-2d7834faa3a1
EDAN-URL:
edanmdm:nmaahc_2019.28.37
Online Media:

Portrait of Chang and Eng Bunker with Eng's son Patrick Henry and Chang's son Albert

Artist:
Washington Lafayette Germon, 1821 - 01 Dec 1877  Search this
Sitter:
Chang Bunker, 11 May 1811 - 17 Jan 1874  Search this
Eng Bunker, 11 May 1811 - 17 Jan 1874  Search this
Patrick Henry Bunker  Search this
Albert Bunker  Search this
Medium:
Albumen print
Dimensions:
Image/Sheet: 53.2 × 43.1 cm (20 15/16 × 16 15/16")
Mount: 61.8 × 51 cm (24 5/16 × 20 1/16")
Type:
Photograph
Place:
United States\Pennsylvania\Philadelphia\Philadelphia
Date:
c. 1866
Topic:
Interior  Search this
Equipment\Rope  Search this
Home Furnishings\Curtain  Search this
Costume\Dress Accessory\Neckwear\Tie\Bowtie  Search this
Chang Bunker: Male  Search this
Chang Bunker: Performing Arts\Performer  Search this
Eng Bunker: Male  Search this
Eng Bunker: Performing Arts\Performer  Search this
Patrick Henry Bunker: Male  Search this
Albert Bunker: Male  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
NPG.2017.83
Restrictions & Rights:
Usage conditions apply
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4170be077-c997-4a47-9b51-ed7f391d7396
EDAN-URL:
edanmdm:npg_NPG.2017.83

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