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Rwanda Institute for Conservation Agriculture | Nature–Design Triennial

Creator:
Cooper Hewitt, Smithsonian Design Museum  Search this
Type:
YouTube Videos
Uploaded:
2019-07-02T16:49:15.000Z
YouTube Category:
Education  Search this
Topic:
Design  Search this
See more by:
cooperhewitt
Data Source:
Cooper Hewitt, Smithsonian Design Museum
YouTube Channel:
cooperhewitt
EDAN-URL:
edanmdm:yt_2e0Ar1nVU8Q

A Half Century of Fellowship: Wyeth Foundation for American Art Symposium

Creator:
Smithsonian American Art Museum  Search this
Type:
Symposia
YouTube Videos
Uploaded:
2020-10-22T14:36:18.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
See more by:
americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_3TIJc-6rOJk

Inka Engineering Symposium 4: Suspension Bridge Technology

Creator:
National Museum of the American Indian  Search this
Type:
Symposia
YouTube Videos
Uploaded:
2013-11-19T16:46:06.000Z
YouTube Category:
Education  Search this
Topic:
Native Americans;American Indians  Search this
See more by:
SmithsonianNMAI
Data Source:
National Museum of the American Indian
YouTube Channel:
SmithsonianNMAI
EDAN-URL:
edanmdm:yt_7TPsrgC6EoI

Inka Road Symposium 08 - Inka Engineering: The Technology and Culture of Roads and Bridges

Creator:
National Museum of the American Indian  Search this
Type:
Symposia
YouTube Videos
Uploaded:
2015-07-15T22:50:37.000Z
YouTube Category:
Education  Search this
Topic:
Native Americans;American Indians  Search this
See more by:
SmithsonianNMAI
Data Source:
National Museum of the American Indian
YouTube Channel:
SmithsonianNMAI
EDAN-URL:
edanmdm:yt_Cda0YzPhzI0

Ivory Soap Dispensers selected for the washrooms of this magnificent new home of the Massachusetts Mutual Life Insurance Co. [Print advertising.] Architectural Record

Advertiser:
Procter & Gamble Company  Search this
Donor:
Procter & Gamble Company  Search this
Collection Creator:
Procter & Gamble Company  Search this
Leyendecker, J. C., 1874-1951  Search this
Smith, Jessie Willcox, 1863-1935  Search this
Elliott, Elizabeth Shippen Green  Search this
Extent:
1 Item (b&w, 22.5 x 15 cm.)
Container:
Box 4, Folder 17 (1927-Trade)
Type:
Archival materials
Print advertising
Place:
Massachusetts
Date:
1927
Scope and Contents:
Ad contains reproductions of sinks with dispensers, the building exterior, and a close-up of a dispenser.
Local Numbers:
Ivorydata4 556

0207910546 (Scan No.)
Restrictions:
Unrestricted research use on site by appointment. Reproduction restrictions due to copyright.
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:
Soap dispensers  Search this
Soap  Search this
Life insurance  Search this
Genre/Form:
Print advertising
Collection Citation:
Ivory Soap Collection, 1883-1998, undated; Archives Center, National Museum of American History. Gift of Procter & Gamble.
See more items in:
Ivory Soap Advertising Collection
Ivory Soap Advertising Collection / Series 1: Ivory Soap Products Advertisements / Advertisements- Trade
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0791-ref2110

Carol F. Jopling photographs of Kuna, Choco, and Guaymi of Panama

Creator:
Jopling, Carol F.  Search this
Extent:
74 Prints (circa, silver gelatin (including some mounted for exhibition))
442 Negatives (acetate, 35 mm)
326 Contact prints (326 contact prints (on proof sheets))
Culture:
Guaymi Indians  Search this
Guna (Kuna)  Search this
Choco Indians  Search this
Type:
Collection descriptions
Archival materials
Prints
Negatives
Contact prints
Photographs
Place:
Panama Canal (Panama)
Panama
Date:
1981-1984
Scope and Contents note:
Photographs made by Carol F. Jopling documenting the Kuna, Choco, and Guaymi Indians of Panama, as well as the Panama Canal and scenery. Jopling's photographs depict Choco and Kuna dwellings (including their construction), Choco people waiting to receive vaccinations from Navy personnel, agriculture (including coconut harvesting), boats in the Panama Canal, and city buildings. Photographs and textual materials used for an exhibit in 1998 at the American Institute of Architects Baltimore Gallery, entitled "Contrasting Vernacular Architecture: Kuna and Choco Houses of Panama," are also available with the collection.
Biographical/Historical note:
Carol Farrington Jopling (ca. 1917-2000) was a librarian and anthropologist. As a librarian, she mostly worked for government agencies, including the Smithsonian's Bureau of American Ethnology in 1961 and 1962. In 1973, she received her doctorate in Anthropology from the University of Massachusettes, writing her disseration on the "Women Weavers of Yalalag; Their Art and Its Process." After spending four years as a research associate at Harvard's Peabody Museum, she became chief librarian of the Smithsonian's Tropical Research Institute in Panama (1981-1984). There, she developed a focus on the anthropological study of architecture, publishing a book on the "Art and Aesthetics in Primitive Societies" in 1971.
Local Call Number(s):
NAA Photo Lot 98-37
Location of Other Archival Materials:
The National Anthropological Archives holds the papers of Carol F. Jopling.
Jopling also donated artifacts to the Department of Anthropology collections in accession 368048.
Restrictions:
The collection is open for research.

Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Topic:
Dwellings  Search this
Genre/Form:
Photographs
Citation:
Photo Lot 98-37, Carol F. Jopling photographs of Kuna and Choco of Panama, National Anthropological Archives, Smithsonian Institution.
Identifier:
NAA.PhotoLot.98-37
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-photolot-98-37

Charles W. Brashares photographs of India, Africa, Portugal, Japan, South America, and Palestine

Creator:
Brashares, Charles W., 1891-1982  Search this
Extent:
281 Color slides
21 Lantern slides
Culture:
Palestinian Arabs  Search this
Liberians  Search this
Nigerians  Search this
Lokele (African people)  Search this
Zulu (African people)  Search this
Japanese  Search this
Bolivians  Search this
Peruvians  Search this
Ghanaians  Search this
East Indians  Search this
Bengali (South Asian people)  Search this
Type:
Collection descriptions
Archival materials
Color slides
Lantern slides
Photographs
Place:
South Africa
Liberia
Portugal
Ghana
Nigeria
Palestine
India
Peru
Bolivia
Date:
1923-1924, 1945-1954
Scope and Contents note:
Photographs made by Charles W. Brashares in India (1948-1949), Portugal, Africa (including Liberia, Nigeria, Ghana, and South Africa, 1945), Japan (1948) Bolivia (1951), and Peru (1951) documenting the people, ceremonies, architecture, and scenery of each location. The collection also includes lantern slides depicting Palestinian people, architecture, and cities (including Jerusalem), made in 1923-1924.
Biographical/Historical note:
Charles W. Brashares (1891-1982) was ordained by the Methodist Episcopal Church and served as a pastor in Massachusetts, Maine, Ohio, and Michigan from 1917 to 1944. He was bishop of the Des Moines area from 1944 to 1952 and bishop of Chicago area from 1952 to his death.
Local Call Number(s):
NAA Photo Lot 99-1
Location of Other Archival Materials:
The Bentley Historical Library at the University of Michigan holds the Charles W. Brashares papers, 1912-1972.
Restrictions:
The collection is open for research.

Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Topic:
Architecture  Search this
Weddings  Search this
Genre/Form:
Photographs
Citation:
Photo Lot 99-1, Charles W. Brashares photographs of India, Africa, Portugal, Japan, South America, and Palestine, National Anthropological Archives, Smithsonian Institution.
Identifier:
NAA.PhotoLot.99-1
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-photolot-99-1

22c Pennsylvania single

Title:
Scott Catalogue USA 2337
Medium:
paper; ink (multicolored); adhesive / photogravure
Type:
Postage Stamps
Place:
Pennsylvania
United States of America
Date:
August 26, 1987
Topic:
Architecture  Search this
U.S. Stamps  Search this
Credit line:
Copyright United States Postal Service. All rights reserved.
Object number:
1993.2070.107
See more items in:
National Postal Museum Collection
Data Source:
National Postal Museum
GUID:
http://n2t.net/ark:/65665/hm84ff1de41-0a27-4f39-8337-813ffa01489c
EDAN-URL:
edanmdm:npm_1993.2070.107

22c Arkansas Statehood single

Title:
Scott Catalogue USA 2167
Medium:
paper; ink (multicolored); adhesive / photogravure
Type:
Postage Stamps
Place:
Arkansas
United States of America
Date:
January 3, 1986
Topic:
Architecture  Search this
U.S. Stamps  Search this
Credit line:
Copyright United States Postal Service. All rights reserved.
Object number:
1987.0235.7317
See more items in:
National Postal Museum Collection
Data Source:
National Postal Museum
GUID:
http://n2t.net/ark:/65665/hm8da7c3e64-6cf2-4093-a950-1d31840a7884
EDAN-URL:
edanmdm:npm_1987.0235.7317

22c Massachusetts single

Title:
Scott Catalogue USA 2341
Medium:
paper; ink (dark blue, dark red); adhesive / lithography, engraving
Type:
Postage Stamps
Place:
Massachusetts
United States of America
Date:
February 6, 1988
Topic:
Architecture  Search this
U.S. Stamps  Search this
Credit line:
Copyright United States Postal Service. All rights reserved.
Object number:
1989.0496.10133
See more items in:
National Postal Museum Collection
Data Source:
National Postal Museum
GUID:
http://n2t.net/ark:/65665/hm80a7cda84-b8fa-448f-96b0-b3ed8afe72b3
EDAN-URL:
edanmdm:npm_1989.0496.10133

Mark Baum papers

Creator:
Baum, Mark, 1903-1997  Search this
Extent:
1.5 Linear feet
Type:
Collection descriptions
Archival materials
Slides
Sketches
Sound recordings
Photographs
Sketchbooks
Date:
1926-1997
Summary:
The papers of painter Mark Baum date from 1926 through 1997 and measure 1.5 linear feet. Found within the collection are biographical and personal files; family and professional correspondence; exhibition announcements and catalogs; lecture notes and cassette tape recordings of lectures; writings, newspaper clippings, photographs and slides, loose sketches, sketchpads, sketchbooks, and stencils.
Scope and Content Note:
The papers of Mark Baum date from 1926 through 1997 and measure 1.5 linear feet. Found within the collection are biographical and personal files; family and professional correspondence; exhibition announcements and catalogs; lecture notes and cassette tape recordings of lectures; writings, newspaper clippings, photographs and slides, loose sketches, sketchpads, sketchbooks, and stencils.
Arrangement:
The collection has been organized on the folder level in a preliminary fashion and arranged into 7 loose series of similar materials. The collection has not been arranged at the item level.

Series 1: Biographical and Personal Files, 1926-circa 1997 (Box 1; 5 folders)

Series 2: Correspondence, 1932-1996 (Box 1; 13 folders)

Series 3: Writings and Notes, 1963-1986 (Box 1; 4 folders)

Series 4: Exhibitions, 1929-1996 (Box 1; 3 folders)

Series 5: Newspaper Clippings, 1929-1963 (Box 1, OV 3; 2 folders)

Series 6: Sketchbooks and Sketchpads, circa 1940s-circa 1990s (Boxes 1-2, OV 3; 12 folders)

Series 7: Photographs and Slides, circa 1920s-circa 1990s (Box 2; 4 folders)
Biographical Note:
Mark Baum was born in 1903 in Sanok, Poland. He emigrated to the United States with his family in 1919 and settled in New York City. Baum studied at the National Academy of Design in 1924-1925 and at the Cape Cod School of Art in Provincetown, Massachusetts with C. W. Hawthorne in the summer of 1926. He was also trained as a furrier and supported himself and his family as an expert cutter of fur coats.

Early success with his figurative painting gave Mark Baum a reason to hope for a lifelong career as an artist. He had a show of watercolors at the Whitney Studio Galleries in 1929 and work was purchased by Juliana force. Baum followed his success with an exhibit of oil paintings at the Marie Harriman Gallery in 1930. Baum paid a visit to Alfred Stieglitz at his American Place gallery and recorded in his notes that Stieglitz bought a painting for his own collection.

During the Depression, Baum worked for the Works Program Administration in the easel division. He married in 1933 and his sons William and Paul were born in 1936 and 1939. Baum's wife Celia was an elementary school teacher who went on to receive a Ph.D. in education and become a professor of education at Brooklyn College.

In 1941, Mark Baum exhibited his paintings at the Perls Gallery. Other exhibitions at the St. Etienne Gallery in 1947 and the Laurel Gallery in 1948 established mark Baum as painter of sturdy figures, and city architectural views and landscapes. Some time in the late 1940s, Baum stopped painting for a while and, when he resumed, broke completely with his previous style. He adopted a staircase motif for a series of abstract and geometric patterns and elements appearing in endless combinations of vast surfaces of painted space.

In the early 1960s, Mark Baum took up residence in costal Maine, where he converted a spacious barn in Cape Neddick into a studio. He lived there until his death in 1997. The work of Mark Baum is in the permanent collections of the Metropolitan Museum of Art and the Whitney Museum of American Art.
Provenance:
William Baum, son of Mark Baum, donated the papers to the Archives of American Art, Smithsonian Institution, in 2001.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Mark Baum 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 -- Maine -- Cape Neddick  Search this
Genre/Form:
Slides
Sketches
Sound recordings
Photographs
Sketchbooks
Citation:
Mark Baum papers, 1926-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.baummark
See more items in:
Mark Baum papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-baummark

Carol H. Krinsky papers

Author:
Krinsky, Carol Herselle  Search this
Extent:
2.92 Linear feet ((7 boxes))
Culture:
Minnesota Chippewa [White Earth, Minnesota]  Search this
Minnesota Chippewa [Red Lake, Minnesota]  Search this
Hupa  Search this
Tohono O'odham (Papago)  Search this
Pequot  Search this
Paugussett (Paugusset)  Search this
Mohegan  Search this
Iroquois  Search this
Hopi Pueblo  Search this
Diné (Navajo)  Search this
Akimel O'odham (Pima)  Search this
Piipaash (Maricopa)  Search this
Pueblo  Search this
Indians of North America  Search this
Ho-Chunk (Winnebago)  Search this
Yakama (Yakima)  Search this
Swinomish  Search this
Makah  Search this
Shinnecock  Search this
Seneca  Search this
Oneida  Search this
Apache  Search this
Tulalip  Search this
Type:
Collection descriptions
Archival materials
Clippings
Correspondence
Interviews
Photographs
Date:
1964-2004
Summary:
These papers consist of research materials collected and used by Professor Carol Herselle Krinsky for her book Contemporary Native American Architecture: Cultural Regeneration and Creativity.
Scope and Contents:
These papers consist of research materials collected and used by Professor Carol Herselle Krinsky for her book Contemporary Native American Architecture: Cultural Regeneration and Creativity. This book discusses the connection between trends in modern architecture and native culture, as well as how culture has been revived through architecture, and how existing structures are altered to better reflect the native culture they serve. These materials include correspondence, newspaper clippings, interview transcripts, and photographs. News clippings in this collection include articles in German.
Arrangement:
The Carol H. Krinsky Papers are divided into two main series based on the original order established by Dr. Krinsky.

Series 1, Tribes (1964-2004) [Boxes 1-4] Series 2, Subject Files (1967-2004) [Boxes 5-7]
Biographical / Historical:
Carol Herselle Krinsky is a professor of Fine Arts at New York University. She received a BA from Smith College in 1957, a M.A. from the NYU Institute of Fine Arts in 1960, and a PhD from NYU in 1965. Professor Krinsky has received many honors and awards throughout her career including the Miess Publication Award from the College Art Association (1985), the National Jewish Book Award (1986), a Merit of Distinction from the International Center for Holocaust Studies (1987), a Golden Dozen Teaching Award from NYU (1990) and; the Brunner Research Award from the New York City Chapter of the American Institute of Architects. She has also been named a Senior Fulbright Scholar.

Previous publications have included Synagogues of Europe, Rockefeller Center, and Gordon Bunshaft of Skidmore, Owings & Merrill.
Provenance:
The collection was donated by Dr. Carol Herselle Krinsky on March 3, 2004.
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:
Single photocopies may be made for research purposes. Permission to publish materials from the collection must be requested from the NMAI Archivist. The Archives has no information on the status of literary rights for the work of others found in these papers; researchers are responsible for determining any question of copyright.
Topic:
Indians of North America -- Wyoming  Search this
Indians of North America -- Virginia  Search this
Indians of North America -- North Dakota  Search this
Indians of North America -- Wisconsin  Search this
Indians of North America -- Washington (State)  Search this
Indians of North America -- New Mexico  Search this
Indians of North America -- California  Search this
Indians of North America -- Arizona  Search this
Indians of North America -- Georgia  Search this
Indians of North America -- Florida  Search this
Indians of North America -- Massachusetts  Search this
Indians of North America -- Maine  Search this
Indians of North America -- New Jersey  Search this
Indians of North America -- Montana  Search this
Indians of North America -- New York  Search this
Indians of North America -- North Carolina  Search this
Architecture, Modern  Search this
Indians of North America -- Government relations  Search this
Indians of North America -- Social life and customs  Search this
Indians of North America -- Alaska  Search this
Indians of North America -- Colorado  Search this
Indians of North America -- Connecticut  Search this
Indians of North America -- Idaho  Search this
Indians of North America -- Indiana  Search this
Indians of North America -- Illinois  Search this
Indians of North America -- Louisiana  Search this
Indians of North America -- Kansas  Search this
Indians of North America -- Minnesota  Search this
Indians of North America -- Michigan  Search this
Indians of North America -- Nevada  Search this
Indians of North America -- Nebraska  Search this
Indians of North America -- Rhode Island  Search this
Indians of North America -- Oregon  Search this
Indians of North America -- Tennessee  Search this
Indians of North America -- South Dakota  Search this
Indians of North America -- Oklahoma  Search this
Indians of North America -- Texas  Search this
Genre/Form:
Clippings
Correspondence
Interviews
Photographs
Citation:
Identification of specific item; Date (if known); Carol H. Krinsky Papers, Box and Folder Number; National Museum of the American Indian Archives, Smithsonian Institution.
Identifier:
NMAI.AC.008
See more items in:
Carol H. Krinsky papers
Archival Repository:
National Museum of the American Indian
EDAN-URL:
ead_collection:sova-nmai-ac-008

Arthur W. Dow photographs of Laguna and Zuni Pueblos and cliff dwellings

Creator:
Dow, Arthur W. (Arthur Wesley), 1857-1922  Search this
Extent:
12 Copy prints
Culture:
A:shiwi (Zuni)  Search this
Laguna Indians  Search this
Indians of North America -- Southwest, New  Search this
Type:
Collection descriptions
Archival materials
Copy prints
Place:
Pueblo of Laguna (N.M.)
Walnut Canyon National Monument (Ariz.)
Zuni (N.M.)
Date:
1911
Scope and Contents note:
Photographs made by Arthur W. Dow during a trip to Arizona and New Mexico with photographer Alvin L. Coburn. They document the Laguna and Zuni Pueblos and cliff dwellings in Walnut Canyon National Monument.
Biographical/Historical note:
Arthur Wesley Dow (1857-1922) was a landscape painter, teacher, and printmaker from Ipswich, Massachusetts. Influenced by Ernest Fenollosa, Dow pioneered the use of Japanese art principles in American art. He taught art at Pratt Institute, 1895-1904, and at Teachers College, Columbia University, 1904-1922.
Local Call Number(s):
NAA Photo Lot 77-69
Reproduction Note:
Copy prints and negatives made by Smithsonian Institution, 1977.
Location of Other Archival Materials:
The Archives of American Art holds the Arthur Wesley Dow Papers and William H. Elsner papers relating to Arthur Wesley Dow.
The Smithsonian American Art Museum holds art by Arthur Dow.
Restrictions:
The collection is open for research.

Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Topic:
Cliff-dwellings  Search this
Pueblo architecture  Search this
Citation:
Photo Lot 77-69, Arthur W. Dow photographs of Laguna and Zuni Pueblos and cliff dwellings, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.PhotoLot.77-69
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-photolot-77-69

E. Howard and Company Tower Clock

Manufacturer:
E. Howard & Co.  Search this
Measurements:
overall: 49 in x 25 in x 25 in; 124.46 cm x 63.5 cm x 63.5 cm
Object Name:
master clock
Place made:
United States: Massachusetts, Boston
Date made:
1880
ID Number:
ME.310569
Catalog number:
310569
Accession number:
123081
See more items in:
Work and Industry: Mechanisms
Engineering, Building, and Architecture
Exhibition:
Wonderplace
Exhibition Location:
National Museum of American History
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a6-9d13-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_850819

S. Lane Faison papers

Creator:
Faison, S. Lane (Samson Lane), 1907-2006  Search this
Names:
Allied Forces. Supreme Headquarters. Monuments, Fine Arts and Archives Section  Search this
Carnegie International  Search this
United States. Office of Strategic Services. Art Looting Intelligen Unit  Search this
Williams College -- Faculty  Search this
Extent:
5.1 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1922-1981
bulk 1950-1976
Summary:
The papers of art historian and Monuments Man S. Lane Faison measure 5.1 linear feet and date from 1922 to 1981, bulk from 1950-1976. Faison was an art history professor at Williams College, Massachusetts and, during World War II, he was a member of the Art Looting Intelligence Unit (ALIU) of the U.S. Office of Strategic Services. The collection includes scattered correspondence; writings; teaching files; subject files on exhibitions and projects; artists files; and printed materials. There are two folders of documents and photographs related to Faison's World War II work in the U.S. Art Looting Intelligence Unit.
Scope and Contents:
The papers of art historian and Monuments Man S. Lane Faison measure 5.1 linear feet and date from 1922 to 1981, bulk from 1950-1976. Faison was an art history professor at Williams College, Massachusetts and, during World War II, he was a member of the Art Looting Intelligence Unit (ALIU) of the U.S. Office of Strategic Services. The collection includes scattered correspondence; writings; teaching files; subject files on exhibitions and projects; artists files; and printed materials. There are two folders of documents and photographs related to Faison's World War II work in the U.S. Art Looting Intelligence Unit.

Six folders of scattered correspondence relate to Faison's teaching, lectures, and writings.

Writings include bound student notebooks, lecture notes, typescript drafts, published articles, and material related to his book Handbook of the Collection: Williams College Museum of Art. Eighteen bound notebooks are filled with Faison's college class notes. There are typescript drafts of Faison's articles and speeches, as well as printed versions. Papers relating to Faison's book Handbook of the Collection: Williams College Museum of Art include several drafts, a correction copy, and a folder of illustrations to accompany the text.

Teaching files consist of course files containing miscellaneous notes for classes taught by Faison. The syllabi for classes he taught are filed separately.

Subject files are arranged into three groups: Monuments Men/ALIU files; projects and exhibitions files, and general research files. There are only two folders relating to Faison's World War II work in the ALIU. They contain photographs of looted artwork and documents about the controversial decision to ship recovered artwork to the U.S. for storage in the National Gallery in Washington, D.C. Projects and exhibitions files document Faison's curatorial work on the Oberlin Project (a traveling exhibition of college art) and the Carnegie International Exhibition, and other miscellaneous collaborative projects. Research files contain documents organized according to Faison's original folder headings and include miscellaneous images and clippings loosely grouped together by topic: architecture, advertising, housing, poster design, etc.

Artist files are Faison's documents on specific artists that mostly contain images of artwork, clippings and articles. Artist files were mostly used for teaching and reference.

Printed materials include news clippings, exhibition catalogs, press releases, reports and other miscellaneous materials.
Arrangement:
This collection is arranged in 6 series.

Series 1: Correspondence, 1949-1979 (0.1 linear feet; Box 1, 6 folders)

Series 2: Writings, 1928-1979 (1.7 linear feet; Box 1-2, 7)

Series 3: Teaching Files, 1935-1976 (0.7 linear feet; Box 2-3)

Series 4: Subject Files, 1923-1981 (0.6 linear feet; Box 3, 7)

Series 5: Artist Files, 1922-1976 (1.5 linear feet; Box 3-5, 7)

Series 6: Printed Materials, circa 1935-1980 (0.5 linear feet; Box 6-7)
Biographical / Historical:
Samson Lane Faison Jr. (1907-2006) was an art history professor at Williams College and director of the Williams College Museum of Art, Massachusetts. During World War II, Faison served in the Art Looting Investigation Unit of the Office of Strategic Services, an intelligence unit related to the Monuments, Fine Arts and Archives Division of the U.S. Army.

Samson Lane Faison Jr. was born in Washington, D.C. on November 16, 1907 to Samson Lane Faison Sr., a brigadier general in the United States Army, and Eleanor Sowers Faison. Faison graduated from Williams College in 1929, completed his M.A. at Harvard University in 1930, and a M.F.A. from Princeton in 1932. Shortly thereafter, he began teaching at Yale as an associate professor of art. In 1935, Faison married Virginia Gordon Weed (d. 1997) and they had four sons: Gordon, George, Christopher and Samson. Faison joined the Williams College faculty in 1936 and became head of the art department in 1940.

During World War II, Faison initially served as an instructor in U.S. Naval Air Force. From 1945-1946, however, Faison was a member of the Office of Strategic Services' Art Looting Investigation Unit (ALIU) responsible for investigating and interrogating Nazis and art dealers who were involved in the systematic looting of fine arts and antiquities across Europe. The ALIU investigated Karl Haberstock, Hitler's primary dealer and Hermann Voss, director of Hitler's Führermuseum in Linz, Austria where Hitler planned to house and display plundered art. Faison was the primary author of the report on the Führermuseum and also interrogated Göring's curator Walter Andreas Hofer. The ALIU issued twelve Detailed Interrogation Reports on Nazi looting activities which were used at the Nuremburg Trials.

During the recovery efforts, the U.S. government decided to ship 202 paintings that had been stolen by the Nazis from several Berlin museums in Germany (notably the Kaiser Friedrich Museum now known as the Bode Museum) to the U.S. for safekeeping at the National Gallery of Art in Washington, D.C. The government argued that the storage conditions in Germany were poor. Twenty-five of the Monuments Men signed a petition, known as the Wiesbaden Manifesto, against moving the paintings out of Germany. The Berlin Paintings were transported to the U.S. anyway and went on display at the National Gallery of Art before being put in storage. Faison was one of ninety-five American art historians who signed a second resolution in protest, demanding the immediate return of the paintings. The artwork, however, was not returned until 1948.

After the war, Faison resumed his professorship and his position as art department chair at Williams College and became director of the Williams College Museum of Art in 1948. In 1950, Faison returned to Germany as the last Director of the Munich Central Collecting Point, one of several recovered artwork repositories in Europe established by the U.S. State Department for inventory, research, and repatriation. Faison's orders were to close down the Munich Collecting Point, which took nine months.

Faison continued to teach at Williams until his retirement. Faison and two of his colleagues, William H. Pierson Jr. and Whitney S. Stoddard, were the three art history professors at Williams College nicknamed the "Holy Trinity," due to their reputation for launching the careers of their students to stratospheric heights. Several of their students went on to become directors at prestigious museums such as the Museum of Modern Art and the Guggenheim in New York, the National Gallery of Art in Washington, D.C. and the Art Institute of Chicago. The New York Times created the moniker "Williams Mafia" in reference to the Williams alumni that were taught by the "Holy Trinity" and whom went on to become prominent members of the art world.

Faison was made a Chevalier of French Legion of Honor in 1952. He received a Guggenheim Fellowship for 1960-1961 and Williams college awarded him a Doctor of Letters in 1971. He stepped down from his position as art department chair in 1969, and retired from his position as the director of the Williams College Museum of Art in 1976. Faison died in Williamstown, MA in 2006 at the age of 98.
Related Materials:
The Archives of American Art also holds an oral history interview of S. Lane Faison conducted on December 14, 1981 by Robert F. Brown for the Archives of American Art's oral history program.

Papers of S. Lane Faison, 1945-1986, are also located at the National Gallery of Art.
Provenance:
The S. Lane Faison papers were donated to the Archives of American Art by S. Lane Faison, Jr. in 4 installments from 1978 to 1982.
Restrictions:
Use of original papers requires an appointment.
Rights:
The S. Lane Faison 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:
Art historians -- Massachusetts  Search this
World War, 1939-1945 -- Art and the war  Search this
Art -- History -- Study and teaching  Search this
Genre/Form:
Photographs
Citation:
S. Lane Faison papers, 1922-1981. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.faislane
See more items in:
S. Lane Faison papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-faislane

Thomas Warren Sears photograph collection

Topic:
Landscape architecture
Creator:
Sears, Thomas Warren, 1880-1966  Search this
Sears & Wendell  Search this
Olmsted Brothers  Search this
Harvard University  Search this
American Society of Landscape Architects  Search this
Donor:
Tibbetts, Eleanor Sears  Search this
Tibbetts, Eleanor Sears  Search this
Extent:
44.5 Cubic feet (4,317 glass negatives. 363 film negatives. 182 glass lantern slides. 12 photograph albums. 56 plans and drawings. 3 monographs. )
Type:
Collection descriptions
Archival materials
Negatives
Blueprints
Albums
Plans (drawings)
Lantern slides
Date:
1899-1964
Summary:
The Thomas Warren Sears Photograph Collection documents examples of the design work of Thomas Warren Sears (1880-1966), a landscape architect and amateur photographer from Brookline, Massachusetts. Sears, who was based for most of his career in Philadelphia, designed a variety of different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments located primarily in Pennsylvania, Maryland, and New York. In addition to some of Sears' design work, images in the collection document Sears' domestic and foreign travels, design inspirations, and family. The collection includes over 4,800 black and white negatives and glass lantern slides dated circa 1899 to 1930. While most images show private and public gardens, there are a significant number of unidentified views and views photographed in Europe during two trips he took there in 1906 and 1908. Few images are captioned or dated. In addition, there are over 50 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina, and 3 monographs by or about Sears.
Scope and Contents note:
The Thomas Warren Sears Photograph Collection documents examples of the design work of Thomas Warren Sears (1880-1966), a landscape architect and amateur photographer from Brookline, Massachusetts. Sears, who was based for most of his career in Philadelphia, designed a variety of different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments located primarily in Pennsylvania, Maryland, and New York. In addition to some of Sears' design work, images in the collection document Sears' domestic and foreign travels, design inspirations, and family. The collection includes over 4,800 black and white negatives and glass lantern slides dated circa 1899 to 1930. While most images show private and public gardens, there are a significant number of unidentified views and views photographed in Europe during two trips he took there in 1906 and 1908. Few images are captioned or dated. In addition, there are over 50 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina, and monographs by or about Sears. Several of the glass lantern slides are duplicates of glass plate negatives in the collection. They apparently were chosen by Sears to illustrate some of his best design work, perhaps for lecture or client purposes.

In addition, there are 56 plans and drawings, most notably for Balmuckety in Pikesville, Maryland and Reynolda in Winston-Salem, North Carolina. They range in date from 1917 to 1937 and from 1955 to 1964. Sears photographed some of his early plans; they are included in with the photographic images. Sears also photographed a handful of design plans by landscape architect Sibley Coslett Smith who practiced in Providence, Rhode Island; Sears and Smith shared the same business address there.

The Thomas Warren Sears Collection does not fully document the extent of Sears' design work. The use of glass plate negatives—which make up the bulk of the Thomas Warren Sears Collection—as a photography medium waned sometime during the first quarter of the twentieth century. As a result, the images in the Sears Collection capture examples of Sears' early to mid-career design work but they do not include jobs designed by Sears during the latter half of his design career.
Arrangement note:
The glass plate negatives were originally housed in numerous cardboard boxes manufactured for the sale of undeveloped glass plate negatives. Sears annotated the outside of the boxes with project or client names and/or locations, but the contents do not always match these labels. In addition, because very few of the glass plate negatives and lantern slides were labeled or captioned, it is not always evident where one job ended and another began if multiple projects were stored in the same carton. As a result, there are many instances in the Sears Collection where images have been inadvertently mislabeled because their identification is not apparent. Misidentified images are subject to correction as their proper identification is discovered. Each project has been assigned its own unique AAG job number based on its geographic origin. Those groups of images that have not been identified as to their location have been assigned a project number starting with 'SRS.' The collection is arranged into 3 series: 1) Photographic images (including glass plate negatives, film negatives, glass lantern slides, and photograph albums) 2) Plans and Drawings 3) Monographs
Biographical/Historical note:
Thomas Warren Sears was born in 1880 in Brookline, Massachusetts. He received a Bachelor of Arts degree from Harvard University in 1903 and Bachelor of Science degree in landscape architecture from the Lawrence Scientific School of Harvard in 1906. Sears was an amateur photographer who won awards for his photography while at Harvard. In 1915 his images were published in the monograph, Parish Churches of England. After graduation he worked for the firm of Olmsted Brothers Landscape Architects for two years and then briefly practiced in Providence, Rhode Island. In 1913, Sears established a landscape design office in Philadelphia, Pennsylvania where he spent the remainder of his professional career. Sears at one point was in a professional partnership; some of his design plans list the firm name of Sears and Wendell. He was made a Fellow of the American Society of Landscape Architects in 1921.

Sears designed many different types of landscapes ranging from private residences, schools, and playgrounds to parks, cemeteries, and urban housing developments. His designs were primarily located in Pennsylvania, Maryland, and New York. Just a few of his private landscapes include Marengo in Easton, Maryland; Sunnybrook, the Isaac H. Clothier, Jr. estate in Radnor, Pennsylvania; and Balmuckety in Pikesville, Maryland. In 1915, Sears started work on Reynolda, a country estate in Winston-Salem, North Carolina. He generated design plans for the property intermittently over the next two decades. Reynolda's formal gardens, greenhouses, and acres of fields and woodlands subsequently became part of Wake Forest University.

During World War I, Sears designed Army camps in Battle Creek, Michigan and Spartanburg, South Carolina. He also helped lay out Langley Field, at that time an experimental aviation field in Hampton Roads, Virginia. In the 1940s, Sears designed the amphitheater at Swarthmore College in Swarthmore, Pennsylvania for concerts, outdoor performances, and other special events. During that decade he also worked on Colonial Revival gardens at Pennsbury, William Penn's country estate in Bucks County, Pennsylvania located by the Delaware River. Sears retired in 1964 and died in 1966.
Related Archival Materials note:
The Philadelphia Architects and Buildings Project (PAB), administered by The Athenaeum of Philadelphia, includes references to design projects by Sears.

Harvard University's Loeb Library includes a number of images by Sears, some of them documenting gardens that he designed.

Harvard University's Fine Arts Library, Special Collections includes a collection of photographs and negatives of English parish churches by Sears, c. 1908. Some of the images were published in the monograph, Parish Churches of England.

The Reynolda House Museum of American Art in Winston-Salem, North Carolina includes plans by Sears of Reynolda in its Estate Archives.
Provenance:
Gift of Eleanor Sears Tibbetts, Sears' daughter, to the Horticulture Services Division (later Smithsonian Gardens) in 1992.
Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Rights:
For information or study purposes only. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Photographers  Search this
Landscape architects  Search this
Gardens -- United States  Search this
Gardens -- Switzerland  Search this
Gardens -- Scotland  Search this
Gardens -- Italy  Search this
Gardens -- Germany  Search this
Gardens -- France  Search this
Gardens -- England  Search this
Genre/Form:
Negatives
Blueprints
Albums
Plans (drawings)
Lantern slides
Citation:
Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.
Identifier:
AAG.SRS
See more items in:
Thomas Warren Sears photograph collection
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_collection:sova-aag-srs
Online Media:

Lydia Jackson Emerson

Artist:
Black & Case, active 1864 - 1867  Search this
James Wallace Black, 10 Feb 1825 - 05 Jan 1896  Search this
John Case, 1808 - 1880  Search this
Sitter:
Lydia Jackson Emerson, 20 Sep 1802 - 13 Nov 1892  Search this
Medium:
Albumen silver print
Dimensions:
Image/Sheet: 9.2 × 5.8 cm (3 5/8 × 2 5/16")
Mount: 10.1 × 6.2 cm (4 × 2 7/16")
Type:
Photograph
Place:
United States\Massachusetts\Suffolk\Boston
Date:
1866
Topic:
Costume\Headgear\Headdress  Search this
Interior  Search this
Architecture\Balustrade  Search this
Costume\Outerwear\Shawl  Search this
Interior\Studio  Search this
Equipment\Rope  Search this
Home Furnishings\Curtain  Search this
Photographic format\Carte-de-visite  Search this
Lydia Jackson Emerson: Female  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift of Stephen White
Object number:
S/NPG.78.5
Restrictions & Rights:
CC0
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm457db322e-2c22-4d31-b92b-4d8f1b867c53
EDAN-URL:
edanmdm:npg_S_NPG.78.5

Trotting Horse Weathervane

Physical Description:
copper (overall material)
Measurements:
overall: 66.2 cm; x 26 1/16 in
Object Name:
weathervane
Place Made:
United States
Date made:
1850 - 1900
Credit Line:
The Eleanor and Mabel van Alstyne Marsh American Folk Art Collection
ID Number:
CL.65.0924
Accession number:
261195
Catalog number:
65.0924
See more items in:
Cultural and Community Life: Folk Art
Artifact Walls exhibit
Art
Engineering, Building, and Architecture
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a7-26b7-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_894829
Online Media:

Oscar Bluemner papers

Creator:
Bluemner, Oscar, 1867-1938  Search this
Names:
Bourgeois, Stephan, 1881-1964  Search this
Bruce, Edward, 1879-1943  Search this
Fiene, Ernest, 1894-  Search this
Friedman, Arnold, 1874-1946  Search this
Hirsch, Stefan, 1899-1964  Search this
Hochschild, Walter  Search this
Lewisohn, Margaret  Search this
Liebman, Aline Meyer, 1879-1966  Search this
Of, George F. (George Ferdinand), b. 1876  Search this
Rothbart, Albert  Search this
Stieglitz, Alfred, 1864-1946  Search this
Vogelstein, Ludwig, 1871-1934  Search this
Extent:
6.9 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Writings
Diaries
Photographs
Date:
1886-1939, 1960
Summary:
The papers of painter Oscar Bluemner date from 1886 to 1939, with one item from 1960, and measure 6.9 linear feet. The collection documents Bluemner's career through scattered biographical material and personal and professional correspondence. Almost one-half of the collection consists of Bluemner's extensive writings and notes about his artwork, painting techniques, and art theory in the form of diaries, notebooks, lists, essays, and notes - many of which are also illustrated. Also found are annotated books, exhibition catalogs, newsclippings, artwork and sketches by Bluemner, and photographs of Bluemner's artwork and of architecture. Bluemner's work in architecture is documented to a lesser degree through scattered licenses, photographs, and design drawings.
Scope and Content Note:
The papers of painter Oscar Bluemner date from 1886 to 1939, with one item from 1960, and measure 6.9 linear feet. The collection documents Bluemner's career through scattered biographical material and personal and professional correspondence. Almost one-half of the collection consists of Bluemner's extensive writings and notes about his artwork, painting techniques, and art theory in the form of diaries, notebooks, lists, essays, and notes - many of which are also illustrated. Also found are annotated books, exhibition catalogs, newsclippings, artwork and sketches by Bluemner, and photographs of Bluemner's artwork and of architecture. Bluemner's work in architecture is documented to a lesser degree through scattered licenses, photographs, and design drawings.

Biographical material is scattered and includes autobiographical writings, a list of published works, an essay for a Guggenheim fellowship application, certificates, legal documents, and membership records. Also of note are detailed technical diagrams of his studio easel. The small amount of correspondence in this collection is with family, friends, artists, art galleries and museums, art collectors and patons, and others. Notable correspondents include Stephan Bourgeois, Edward Bruce, Ernest Fiene, Arnold Friedman, Stefan Hirsch, Walter Hochschild, Margaret Lewisohn, Aline Liebman, George Ferdinand Of, Albert Rothbart, Alfred Stieglitz, and Ludwig Vogelstein.

Bluemner' extensive writings about his painting techniques and theories, and art history and criticism are found in painting and theory diaries, notebooks, notes, lists of artwork, essays, and writings for publication. Painting Diaries contain Bluemner's handwritten notes about newly-completed paintings and current work. Theory Diaries contain his notes on art theory. Both sets of diaries contain many color illustrations and sketches. Also of particular interest are Bluemner's notes and homemade notebooks on techniques which he often called "Easel Notes." Also found are notes on paintings he viewed in American art collections and four volumes of notes taken during his tour of Europe in 1912. Bluemner also maintained extensive notes on Chinese and Japanese art history and styles. Additional writings include a collection of notes he compiled and organized from his other diaries, notebooks, and writings for a book on painting.

Bluemner's papers also contain books and exhibition catalogs annotated with his notes and illustrations - many of which are on the subject of Chinese and Japanese art. Art motif and travel sketches contain motifs and artwork that Bluemner developed into themes for his paintings. Most of the travel sketches are of towns in New Jersey, but also include sketches and notes on Italy, which he visited in 1912. There is also a small sketchbook and drawings of buildings Bluemner designed.

Printed material includes exhibition catalogs and announcements, some of which are annotated with prices and additional information, as well as news and magazine clippings, and prints of published writings by Bluemner. Photographs found in the collection include three photographs of buildings Bluemner designed, photographs of artwork, one print of Bluemner, and negatives.
Arrangement:
The collection is arranged into 9 series:

Series 1: Biographical Material, 1886-circa 1937 (Box 1, OV 9; 0.2 linear feet)

Series 2: Correspondence, 1889-1936 (Box 1; 0.2 linear feet)

Series 3: Painting & Theory Diaries, 1911-1936 (Box 1-2, 7; 1.2 linear feet)

Series 4: Writings & Notes, 1891-1892, 1909-1937 (Box 2-4, 8; 2.2 linear feet)

Series 5: Annotated Books & Catalogs, 1907-1933 (Box 4-5; 1.0 linear feet)

Series 6: Art Motifs & Travel Sketches, 1902-1936 (Box 5-6, 8; 1.4 linear feet)

Series 7: Artwork, 1892-circa 1930s (Box 6; 4 folders)

Series 8: Printed Material, 1906-1939, 1960, undated (Box 6; 0.3 linear feet)

Series 9: Photographs, 1891, 1903, circa 1930s (Box 6; 5 folders)
Biographical Note:
Oscar Bluemner (1867-1938) was born Friedrich Julius Oskar Blümner in Prussia in 1867. As a child he received some formal art training. He enrolled in the architecture department of the Konigliche Technische Hochschule (Royal Technical Academy), Berlin, and received his architecture degree in 1892. A few months later he moved to the United States and worked in Chicago as a draftsman at the World's Columbian Exposition. After the exposition, Bluemner attempted to find work in both Chicago and New York City, but could not find steady employment. In 1903 he created the winning design for the Bronx Borough Courthouse, and for the next few years had various intermittent jobs as an architect in New York. Around this time Bluemner also began writing down his thoughts on aesthetics, art history, and art theory, which he would continue to do for the rest of his life in various journals, diaries, and notebooks.

In 1908 Bluemner met Alfred Stieglitz at Stieglitz's gallery, known as "291", and by 1910 he had decided to pursue painting full-time rather than architecture. From 1911 to 1912 he worked on a set of Neo-Impressionist paintings and, using the money he won in a suit regarding the Bronx Courthouse design, he went on a seven-month trip to Europe, touring museums and galleries, and exhibiting his own work in Germany. Upon returning to the United States, Bluemner exhibited in the 1913 Armory Show, and in 1915 had a one-man show at 291. Despite participating in several exhibitions, including solo shows, for the next ten years Bluemner failed to sell many paintings and lived with his family in near-poverty. In 1916 he moved to New Jersey, living as an itinerant, until finally settling in South Braintree, Massachusetts, after his wife's death in 1926. Over the next few years, Bluemner had several prominent one-man shows at the Whitney Studio Galleries and at the Marie Harriman Gallery in New York. He was briefly employed for the Public Works of Art Project in 1934 and the Federal Art Project in 1936, but due to failing health was forced to stop painting. Oscar Bluemner committed suicide in 1938.
Related Material:
Also found in the Archives of American Art is the John Davis Hatch papers, 1790-1995, which include correspondence, printed material, and research files regarding Oscar Bluemner.

Additional Oscar Bluemner materials are available at the Avery Architectural and Fine Arts Library, Columbia University, and within the Vera Bluemner Kouba Collection, Stetson University, Deland, Florida.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming on reel N737. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The material on reel N737 was lent by Graham Gallery in 1968. The rest of the collection was donated between 1970-1985 by John David Hatch, a close friend of Bluemner and an art historian.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Oscar Bluemner 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:
Art -- Philosophy  Search this
Works of art  Search this
Painting -- Technique  Search this
Architects -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Art -- History  Search this
Art criticism  Search this
Art, Chinese  Search this
Art, Japanese  Search this
Genre/Form:
Sketches
Writings
Diaries
Photographs
Citation:
Oscar Bluemner papers, 1886-1939, 1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.blueosca
See more items in:
Oscar Bluemner papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-blueosca
Online Media:

Frank Hamilton Cushing with Laiyuahtsailunkya, Naiyutchi, Palowahtiwa, Kiasiwa, and Nanake

Artist:
James Wallace Black, 10 Feb 1825 - 05 Jan 1896  Search this
Sitter:
Frank Hamilton Cushing, 22 Jul 1857 - 10 Apr 1900  Search this
Laiyuahtsailunkya, active late 19th Century  Search this
Naiyutchi, active late 19th Century  Search this
Palowahtiwa, active late 19th Century  Search this
Kiasiwa, active late 19th Century  Search this
Nanake, active late 19th Century  Search this
Medium:
Albumen silver print
Dimensions:
Image/Sheet: 16 x 22.3cm (6 5/16 x 8 3/4")
Mount: 27.8 x 35.3cm (10 15/16 x 13 7/8")
Mat: 40.6 x 55.9cm (16 x 22")
Type:
Photograph
Place:
United States\Massachusetts\Suffolk\Boston
Date:
1882
Topic:
Home Furnishings\Furniture\Seating\Chair  Search this
Architecture\Balustrade  Search this
Weapon\Bow and Arrow  Search this
Interior\Studio\Photography  Search this
Frank Hamilton Cushing: Male  Search this
Frank Hamilton Cushing: Literature\Writer  Search this
Frank Hamilton Cushing: Humanities and Social Sciences\Anthropologist\Ethnologist  Search this
Kiasiwa: Male  Search this
Kiasiwa: Native American\Leader\Bow priest\Junior  Search this
Laiyuahtsailunkya: Male  Search this
Laiyuahtsailunkya: Native American\Leader\Bow priest  Search this
Palowahtiwa: Male  Search this
Palowahtiwa: Native American\Leader\Governor  Search this
Naiyutchi: Male  Search this
Naiyutchi: Native American\Leader\Bow priest\Senior  Search this
Nanake: Male  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
NPG.95.23
Restrictions & Rights:
Usage conditions apply
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm44152bd8b-1f77-46b3-87b4-c57e0e3bae98
EDAN-URL:
edanmdm:npg_NPG.95.23
Online Media:

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