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Manufacturer:

Schweizer Aircraft Corporation  Search this

Dimensions:

Wingspan: 13.1 m (43 ft)

Length: 7.9 m (26 ft)

Height: 2.7 m (9 ft)

Weights: Empty, 217 kg (483 lb)

Gross, 408 kg (900 lb)

Type:

CRAFT-Aircraft

Country of Origin:

United States of America

Date:

1946-1966

Inventory Number:

A19751349000

Restrictions & Rights:

CC0

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National Air and Space Museum Collection

Location:

Steven F. Udvar-Hazy Center in Chantilly, VA

Exhibit Station:

Aerobatic Flight

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv9c472588e-9f30-4808-8a56-cbf439998538

EDAN-URL:

edanmdm:nasm_A19751349000

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2021-06-17T14:22:16.000Z

YouTube Category:

Music  Search this

Topic:

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EDAN-URL:

edanmdm:yt_56idw4IclOc

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2021-05-19T14:05:59.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

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smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

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smithsonianfolkways

EDAN-URL:

edanmdm:yt_7fUyotL7cuw

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2009-03-30T19:03:02.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

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smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolkways

EDAN-URL:

edanmdm:yt_IgsDoxw85-4

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2010-04-22T15:51:49.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

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smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolkways

EDAN-URL:

edanmdm:yt_LaY2pKp8IEc

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2009-03-31T08:47:39.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

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smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

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smithsonianfolkways

EDAN-URL:

edanmdm:yt_S2ug7Q-iZXQ

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2021-06-17T14:22:20.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

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smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolkways

EDAN-URL:

edanmdm:yt_VcPZjx5EoGI

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2009-03-30T18:41:44.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

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smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

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smithsonianfolkways

EDAN-URL:

edanmdm:yt_VteZ1IVLM_E

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

Interviews

YouTube Videos

Uploaded:

2009-11-24T14:58:06.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

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smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolkways

EDAN-URL:

edanmdm:yt_b2rZrhKHcSU

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2021-06-17T14:22:23.000Z

YouTube Category:

Music  Search this

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Cultural property  Search this

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smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolkways

EDAN-URL:

edanmdm:yt_msxAkBT3NKI

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2011-06-20T19:44:16.000Z

YouTube Category:

Education  Search this

Topic:

Cultural property  Search this

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smithsonianfolklife

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolklife

EDAN-URL:

edanmdm:yt_LZzxhCFPrFw

Creator:

Smithsonian Channel  Search this

Type:

YouTube Videos

Uploaded:

2019-02-01T16:30:00.000Z

YouTube Category:

Entertainment  Search this

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Data Source:

Smithsonian Channel

YouTube Channel:

smithsonianchannel

EDAN-URL:

edanmdm:yt_8SQNzfnywSo

Creator:

Smithsonian Channel  Search this

Type:

YouTube Videos

Uploaded:

2019-04-10T15:30:00.000Z

YouTube Category:

Entertainment  Search this

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smithsonianchannel

Data Source:

Smithsonian Channel

YouTube Channel:

smithsonianchannel

EDAN-URL:

edanmdm:yt_DM_ZaRVOXwM

Creator:

Smithsonian Channel  Search this

Type:

YouTube Videos

Uploaded:

2018-12-19T23:00:03.000Z

YouTube Category:

Entertainment  Search this

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smithsonianchannel

Data Source:

Smithsonian Channel

YouTube Channel:

smithsonianchannel

EDAN-URL:

edanmdm:yt_pyixWxO9QZc

Creator:

Smithsonian Channel  Search this

Type:

YouTube Videos

Uploaded:

2019-04-10T15:30:02.000Z

YouTube Category:

Entertainment  Search this

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smithsonianchannel

Data Source:

Smithsonian Channel

YouTube Channel:

smithsonianchannel

EDAN-URL:

edanmdm:yt_thYIywSZOWQ

Creator:

Smithsonian Institution  Search this

Type:

YouTube Videos

Uploaded:

2009-12-22T17:59:55.000Z

YouTube Category:

Music  Search this

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SmithsonianVideos

Data Source:

Smithsonian Institution

YouTube Channel:

SmithsonianVideos

EDAN-URL:

edanmdm:yt_vszWrR5YjMM

Creator:

Parsons, Betty  Search this

Names:

Betty Parsons Gallery  Search this

Bess, Forrest, 1911-1977  Search this

Congdon, William, 1912-1998  Search this

Pollock, Jackson, 1912-1956  Search this

Reinhardt, Ad, 1913-1967  Search this

Rothko, Mark, 1903-1970  Search this

Extent:

61.1 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Interviews

Video recordings

Drawings

Date:

1916-1991

bulk 1946-1983

Summary:

The Betty Parsons Gallery records and personal papers measure 61.1 linear feet and date from 1916 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons's personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection.

Scope and Content Note:

The Betty Parsons Gallery records and personal papers measure 61.1 linear feet and date from 1916 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons's personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection. Personal papers also include personal photographs.

Artists files, the largest and most extensive series, consist of a wide variety of documents, including biographical materials, correspondence with or related to the artist, exhibition catalogs and announcements, sales and expense invoices, clippings, price lists, and photographs of the artist, exhibitions, and artwork. The files reflect Parsons's close personal relationships with certain artists, particularly Jackson Pollock, Mark Rothko, Clyfford Still, and Barnett Newman. Extensive documentation is also found for Forrest Bess, William Congdon, Paul Feeley, Thomas George, Alexander Liberman, Seymour Lipton, Richard Pousette-Dart, Jesse Reichek, and Jack Youngerman. Historians and researchers will find these files to be an invaluable resource both in tracing Betty Parsons's role in promoting Abstract Expressionism and researching individual artists.

Exhibition files primarily document the gallery's infrequent group or themed exhibitions. Of particular note are the files on The Ideographic Picture, which was organized by Barnett Newman and included his work, as well as that of Pietro Lazzari, Boris Margo, Ad Reinhardt, Mark Rothko, Theodoros Stamos, and Clyfford Still. Price lists, artist biographies and exhibition schedules are housed in the general exhibition files. Loan exhibition files provide documentation of artwork borrowed by other galleries or institutions for exhibitions, as well as shows outside of the gallery that were organized by Betty Parsons. Also found are gallery exhibition guest books, and announcements and catalogs.

Gallery correspondence is primarily with galleries and dealers, museums, arts organizations, and collectors. Scattered letters from artists are also found, although the bulk of the artists' correspondence is filed in the Artists Files. Also found here are memoranda and letters between Betty Parsons and her staff that contain detailed information concerning Parsons's schedule and gallery activities. Similar correspondence is found amongst the correspondence files within the series Betty Parsons papers.

Appraisal and conservation files include correspondence, appraisal invoices, forms, and appraisal requests and other information from the Art Dealers Association of America, and conservation invoices and reports. The majority of the appraisal records contain information about the specific works of art, including artist, title, date, current owner and the estimated value at the time of the request. Conservation records document conservation treatments undertaken by outside conservators to gallery stock.

Sales, purchases, stock and inventory are well documented in the sales and inventory records. The records provide detailed information about individual sales, prices of individual pieces of artwork, consignments, and loans. Most sales records also include detailed information about the buyer and are a valuable resource for provenance research. Files documenting the general administration, routine business operations, and financial transactions (not individual sales) of the gallery are housed in the general business and financial records. These records include ledgers, receipts, tax records, and banking records. There is some limited information about works of art scattered amongst the receipts and in the "in/out slips" files. Legal records house general legal documents and those concerning specific lawsuits. Of particular note is the file detailing the lawsuit between Betty Parsons and Sidney Janis over the fifth floor of 24 West 57th Street.

The remainder of the collection consists of Betty Parsons's personal papers which document her career prior to opening her own gallery, her work as an artist, and her personal art collection.

Some information about Parsons's work prior to opening her own gallery is found in the early curatorial files she retained from her curatorial and administrative work at the Wakefield Gallery and the Mortimer Brandt Gallery. Clippings, correspondence, announcements, exhibition lists and exhibition files are found. For both positions, she kept only the exhibition files for a small group of exhibitions organized around a specific theme, the most notable being the exhibition of Pre-Columbian Sculpture at the Wakefield Gallery.

Biographical materials include copies of her biography, family genealogies, photographs of Parsons, interviews with Colette Roberts and WYNC radio, memberships, photographs, and ephemera, including a collection of programs and invitations from events that she attended. Throughout her life Parsons gave generously of her time to various cultural and charitable institutions and was awarded for her contributions. There are also a number of files that document her speaking engagements, her participation as a juror in numerous juried exhibitions, charitable work, and awards that she received.

Parsons's personal correspondence files reflect how deeply Parsons's life was intertwined with the gallery. There are letters from museum directors, dealers, artists seeking representation, and personal letters from artists with whom she had close personal relationships, most notably Larry Bigelow, Alexander Calder, William Condon, and Ad Reinhardt. There are also letters from the English artist Adge Baker, with whom Parsons was romantically involved. Correspondence also includes several files of postcards and Christmas cards.

Pocket diaries and engagement calendars, spanning from 1933-1981, record social engagements, meetings, vacations, and telephone numbers. Also found are circa two linear feet of notebooks and sketchbooks, many of which are annotated with addresses, poetry, journal entries, and other observations of people, places, and travels. Writings by others include writings about Betty Parsons or the Betty Parsons Gallery, such as Lawrence Alloway's unpublished typescript titled "An American Gallery" and other topics.

Printed material consists of exhibition announcements and catalogs, art magazines, and newspaper and magazine clippings about Betty Parsons, her family and acquaintances, artists, and other art related topics, coupled with a miscellaneous selection of clippings, and a video recording, on topics that presumably captured Parsons's attention.

Personal art work records document Betty Parsons's career as an artist through inventories, group and solo exhibitions files, price lists, appraisals, sales and consignment invoices. Photographs are primarily reproductions of her works of art, although there are scattered photographs of exhibition installations.

Betty Parsons's private art collection files document her extensive personal collection of art that included works by Jackson Pollock, Agnes Martin, Romare Bearden, Barnett Newman, and Mark Rothko, in addition to Amlash sculpture from ancient Persia and primitive sculpture from New Hebrides. These files include inventories, lists, exhibition records, sales and purchase invoices, and photographs. There are also files for donations and loans from Parsons's personal collection to museums and fund raising auctions for several non-profit institutions.

Finally, the personal financial records provide information about the Parsons's family finances and her personal financial success as an art dealer. In addition to her own investments, Parsons inherited shares in family investments through the estates of her parents, J. Fred Pierson, Jr. and Suzanne Miles Pierson, and younger sister, Emily Rayner. Real estate files include correspondence, utility bills, receipts, area maps, and land plots for houses in Sheepscot, Maine and St. Maartens, Netherlands Antilles. Tax returns, ledger worksheets, receipts, banking statements, deposit slips, and cancelled checks are among the other financial records.

Arrangement:

The collection is arranged as seven series. Many of the series are further divided into subseries.

Missing Title

Series 1: Artists Files, 1935-1983 (19.4 linear feet; Boxes 1-18, 51, 55-56, OVs 53, 65)

Series 2: Exhibition Files, 1941-1983 (2.9 linear feet; Boxes 18-21, 51, 55, OVs 54, 66)

Series 3: Correspondence Files, 1941-1983 (3.9 linear feet; Boxes 21-24, 52, 56)

Series 4: Appraisal Files, 1954-1983 (0.7 linear feet; Box 24)

Series 5: Sales and Inventory Records, 1946-1983 (3.9 linear feet; Boxes 25-28, 51)

Series 6: General Business and Financial Records, 1946-1983 (9.3 linear feet; Boxes 28-38, 51, 56)

Series 7: Betty Parsons Personal Papers, 1916-1991 (21 linear feet; Boxes 38-51, 55-64, OVs 65-67)

Historical Note:

Betty Parsons (1900-1982) was one of the leading art dealers in New York City specializing in modern art, particularly the work of the Abstract Expressionists, and an abstract painter and sculptor in her own right. She opened Betty Parsons Gallery in 1946 at 15 E. 57th St., later moving to 24 W. 57th St.

The history of the Betty Parsons Gallery is inextricably bound to the life and experiences of its founder. Betty Parsons was born Betty Bierne Pierson on January 31, 1900 in New York City. She enjoyed a privileged childhood, which included vacation homes in Newport and Palm Beach. Her only formal education was a five-year stint at the prestigious Chapin School from 1910-1915, where she met many of the women who would become life-long friends and supporters. In the spring of 1920, she married Schuyler Livingston Parsons from one of New York's oldest families. The marriage ended after only three years and the couple traveled to Paris where they could obtain a divorce on the grounds of incompatibility. She retained her married surname and purchased a house on the rue Boulard in Paris, where she remained for ten years, pursuing studies in painting and sculpture.

Financial constraints forced Parsons to return to the United States in 1933. She first traveled west to California, but it was her return to New York in 1935 that marked the start of her career as an art dealer. Her first opportunity to connect with the New York art world came after a successful exhibition of her watercolors at the Midtown Galleries where the owner, Alan Gruskin, noted Parson's faithful and wealthy group of supporters and offered her work installing exhibitions and selling paintings on commission. Her work for the Midtown Galleries led to a second position in the Park Avenue gallery of Mary Sullivan, one of the founders of the Museum of Modern Art. Here, Parsons learned the business of running a gallery. By 1940 Parsons was ready to take on more independent responsibility and agreed to manage a gallery within the Wakefield Bookshop. In this job, she exercised full curatorial control by selecting artists and organizing exhibitions. She championed then unknown contemporary American artists and the gallery's roster soon included Saul Steinberg, Hedda Sterne, Alfonso Ossorio, Joseph Cornell, Walter Murch, and Theodore Stamos. Although the majority of the exhibitions were solo shows, there were a few group shows and themed exhibitions, such as Love in Art (1941) and Ballet in Art (1942). Under Parson's direction, the gallery hosted an important exhibition of Pre-Columbian sculpture, curated by Barnett Newman.

When the owners of the Wakefield Bookshop decided to close the gallery late in 1944, Mortimer Brandt, a dealer who specialized in Old Master paintings and drawings, offered her a position as head of the newly created contemporary section of his gallery. Many of the artists who had shown with Parsons at the Wakefield Gallery followed her to her new gallery, where they were joined by Ad Reinhardt, Boris Mango, and Hans Hofmann. While the exhibitions garnered attention from the press and the interest of contemporary artists, the contemporary section was not a financial success and Brandt opted to close his gallery in 1946.

Using $1000 of her own money and an additional borrowed $4000, Parsons sublet the space that previously housed Mortimer Brandt's contemporary section, on the fifth floor of 15 East 57th Street, and opened the Betty Parsons Gallery.

In many respects the early years of the Betty Parsons Gallery were the most vital, as it was during the period of 1947-1951 that the gallery became linked with the Abstract Expressionists and the history of post-WWII American Art. In an unpublished history of the gallery, noted art critic Lawrence Alloway stated that the significance of the gallery's early exhibitions ranks with Durand-Ruel's Impressionists exhibitions or Kahnweiler's shows of the Cubists. Betty Parsons Gallery quickly became one of the most prestigious galleries in New York City associated with new American Art of all styles. Her close friend Barnett Newman organized the gallery's inaugural exhibition of Northwest Coast Indian Art and he soon began to exhibit his own work at the gallery. When Peggy Guggenheim's Art of This Century Gallery closed, Jackson Pollock, Clyfford Still, and Mark Rothko joined Parsons' growing stable of artists. Although Parsons continued to promote and exhibit many of the artists whom she had previously discovered, these four artists dominated this period. Newman, Pollock, Still, and Rothko worked closely together, holding themselves apart from the other artists somewhat. They were actively involved in the curatorial process and often hung their own shows. For these artists, the exhibition itself was an artistic act of creation.

Parsons provided a supportive environment and allowed her artists enormous freedom in planning and designing their exhibitions. She was not, however, an aggressive salesperson. During this early period the gallery ledgers document sales to an impressive array of museums including the Museum of Modern Art, the Whitney Museum of American Art, and the Art Institute of Chicago, as well as important collectors such as Edward Root and Duncan Phillips. Nevertheless, the art that the gallery promoted was not yet widely accepted. Sales were few, prices were low and the business would not turn a profit for several years. Meanwhile, there was mounting pressure from Pollock, Newman, Still, and Rothko to drop some of the other artists from Parsons' stable and focus all resources on them. They wanted to be promoted to a larger audience and have their work sold at higher prices, but Parsons enjoyed discovering new artists and did not want to be restricted in this endeavor. The year 1951 marks the last time that Pollock's drip paintings or the monumental works of Newman, Rothko or Still were shown at the Betty Parsons Gallery.

In the following years the Betty Parsons Gallery continued to attract a diverse group of talented artists. Ellsworth Kelly, Richard Tuttle, Robert Rauschenberg, and Jack Youngerman had their first New York exhibitions at the Betty Parsons Gallery. Parsons opened Section Eleven in 1958, a short-lived annex to the main gallery, so that she could promote younger, less well-known artists. It closed in 1960 due to the administrative difficulties in running two essentially separate galleries.

In 1962, Sidney Janis, another prominent art dealer, started proceedings to evict Parsons from the floor that they shared on 15 East 57th Street. The Betty Parsons Gallery moved to 24 West 57th Street in 1963, where it remained until it closed in 1983, following Parsons' death the preceding year. Throughout the gallery's history, Parsons continued to promote faithful artists such as Hedda Sterne and Saul Steinberg, who had been with her from the beginning and to seek out new talent, both for her main gallery and for other venues, such as the short-lived Parsons-Truman Gallery, which she opened in 1974 with former Parsons Gallery director Jock Truman to show works on paper by emerging artists.

In addition to being an art dealer, Betty Parsons was a respected artist and collector. With her connoisseur's eye and connections, Parsons amassed an impressive private collection of art. She bought her first piece while an art student in Paris in the 1920s, a small gouache by Zadkine, but did not begin acquiring works in earnest until she was established as an art dealer. Partial inventories of her personal collection show that the majority of her collection contained works by artists associated with the gallery. Mark Rothko, Hans Hofmann, Ad Reinhardt, Agnes Martin, and Kenzo Okada were among the artists represented. Many were gifts from the artists, such as an ink drawing by Jackson Pollock, inscribed "For Betty." Selections from her collection appeared in small museums across the United States, including a traveling exhibition organized by Fitch College, New York, in 1968. In her role as a promoter of contemporary American art, Parsons lent generously from her collection, particularly to the federal Art in the Embassies Program. Throughout her life she also donated works to a variety of museums, most notably, the Whitney Museum of American Art, Museum of Modern Art, New York, and the Louisiana Museum of Modern Art, Denmark.

Parsons frequently claimed that her desire to pursue a career as an artist stemmed from a visit to the Armory Show when she was thirteen. In her late teens, after pressuring her father for art lessons, she studied with the sculptor Gutzon Burglum of Mount Rushmore fame. In Paris, she continued her studies first with Antoine Bourdelle, whose sculptures she had admired at the Armory Show, and later with Ossip Zadkine. The first exhibition of her work, figurative watercolors and sculptures, took place in Paris in 1927. As she matured as an artist, her art became more abstract. Her late works were painted wood sculptures that she pieced together from wood that she found near her studio in Long Island. Parsons's work was exhibited in more than thirty solo exhibitions, including, Betty Parsons; Paintings, Gouaches and Sculpture, 1955-1968, at the Whitechapel Gallery in London. During her lifetime, she would not allow her works to be shown in her own gallery. Shortly after she died of a stroke in 1982, In Memoriam, Betty Parsons: Late Sculptures, opened at the Betty Parsons Gallery.

Related Material:

Also found in the Archives of American Art are oral history interviews with Betty Parsons, June 4-9, 1969, by Paul Cummings, and June 11, 1981 by Gerald Silk.

Separated Material:

Some of the material originally loaned for microfilming in 1968 and 1969 was not included in later donations and can be viewed on microfilm reels N68/62-N68/74 and N69/105-N69/106. Loaned materials are not described in the container listing in this finding aid.

Provenance:

The gallery donated some records in 1974, many of which had been loaned earlier for microfilming. The bulk of the collection was donated in 1984 and 1986 by William Rayner and Christopher Schwabacher, executors of the Estate of Betty Parsons. Additional material was donated by William Rayner in 1998 and Christopher Schwabacher in 2017. Additional material was donated in 2018 by the Lee Hall estate via Carolyn Crozier and Deborah Jacobson, co-executors. Hall was Parsons's biographer and had the material in her possession at the time of Parsons's death. An additional photograph of Parons and Marie Carr Taylor by Henri Cartier-Bresson was donated in 2021 by Mary Carpenter, who inherited the photograph from her mother, Nan Thorton Jones, who received it as a gift from Taylor.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Gallery owners -- New York (State) -- New York  Search this

Art dealers -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Sculptors -- New York (State) -- New York  Search this

Topic:

Women art dealers  Search this

Women artists  Search this

Abstract expressionist  Search this

Genre/Form:

Sketchbooks

Interviews

Video recordings

Drawings

Citation:

Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and The Walton Family Foundation.

Identifier:

AAA.parsbett

See more items in:

Betty Parsons Gallery records and personal papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw956c1036f-b673-4dc1-8c1b-cde0bd641c60

EDAN-URL:

ead_collection:sova-aaa-parsbett

Creator:

Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this

Names:

Smithsonian Folklife Festival  Search this

Extent:

1 Cubic foot (approximate)

Type:

Collection descriptions

Archival materials

Digital images

Audiocassettes

Audiotapes

Photographic prints

Contracts

Notes

Correspondence

Plans (drawings)

Memorandums

Business records

Negatives

Video recordings

Videotapes

Sound recordings

Slides (photographs)

Place:

Caribbean Area

Latin America

Date:

July 1-10, 1994

Summary:

The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.

Scope and Contents note:

This collection documents the planning, production, and execution of the 1994 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.

Arrangement note:

Arranged in 5 series.

Missing Title

Series 1: Program Books, Festival Publications, and Ephemera

Series 2: The Commonwealth of The Bahamas

Series 3: Culture and Development in Latin America and the Caribbean

Series 4: Masters of Traditional Arts: The National Endowment for the Arts National Heritage Fellows

Series 5: Thailand: Household, Temple Fair & Court

Historical note:

The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.

The 1994 Festival of American Folklife was produced by the Smithsonian Center for Folklife Programs and Cultural Studies and cosponsored by the National Park Service.

For more information, see Smithsonian Folklife Festival records.

Introduction:

The 1994 Festival featured four programs. In The Bahamas program, Americans could find intriguing connections to a shared history embodied in the traditions of the descendants of Africans, free and enslaved, British Loyalists, Seminoles, and many other immigrants. More than just beautiful sun, sea, and sand, The Bahamas, and especially its Family Islands, are home to a rich diversity of cultural communities and practices. Also on the Mall, yet half a world away, was Thailand, a nation that never acceded to colonial rule and whose ancient traditions are very much alive in contemporary households, temples, and the royal court. Given the growing economic and political importance of Asia and the Pacific Rim, visitors had the opportunity to better understand Thailand's cultural traditions. The program on Culture and Development, a collaborative effort with the Inter-American Foundation, recognized the value of local cultural resources and practitioners and their role in development efforts. A strategy of appropriately utilizing a community's cultural resources often succeeds not only in stimulating economic growth, but also in promoting self-worth and popular participation in civic life. The program on Masters of Traditional Arts paid tribute to National Heritage Fellowship awardees from 17 states representing a broad range of American traditions. The awards, made annually by the National Endowment for the Arts, honor our human national treasures, those exemplary folk artists whose work expresses the history, identity, beliefs, and values of their communities.

These programs were seen by Smithsonian organizers as more than just separate living exhibits. As a whole, they demonstrated convincingly that across the United States and around the world, traditional culture was with us, not just as atomistic survivals, but as part of social fabrics woven by individuals, communities, and nations. The folks at the Festival live contemporary lives. They are just as contemporary as the genetic engineer, cable television network shopper, or government bureaucrat. The traditions they carry are embedded in modern life. Yes, sometimes we find these traditions are on the margins, but most often they are in an ongoing, creative tension with new innovations and technical and social changes. These traditional ways of doing, making, and being are continually, sometimes even daily, reinvented and applied to the circumstances of individual and institutional life. Innovation and tradition are not opposites, but are processually related to how we use our cultural inheritance - whether that be in music or the museum, handicraft or statecraft - to define and shape the future. The dialogue created at the Festival, in which cultural traditions were respectfully presented, discussed, and even passed along, was therefore considered to be vital to our continued civic health.

On the second day of the 1994 Festival, its founder Ralph Rinzler passed away after a long illness. On July 7, 1994, a memorial service was organized by Ralph's friends and associates (see the recordings in the Masters of Traditional Arts program). Clydia and Reeves Nahwooksy provided a Comanche Baptist invocation. Mile Seeger, Guy Carawan, and Bill Monroe played and sang. Bernice Reagon sang, as did the Bahamians. Bess Hawes, Jeffrey LaRiche, Ann Romano, and James Early spoke of his legacy. Memorial messages were read from Pete Seeger, Alan Lomax, Henry Glassie, Roger Abrahams, Rajeev Sethi, and others. Lucille Dawson spoke about the profound effects the Festival's Native American programs had had on Indian education and civil rights, and Mike Thomas spoke for the Smithsonian custodians who always found in Ralph a friend and supporter. Other impromptu memorials were conducted by the Bahamian and Thai participants.

The 1994 Festival took place during two four-day weeks (July 1-4 and July 7-10) between Madison Drive and Jefferson Drive and between 12th Street and 14th Street, south of the National Museum of American History (see site plan).

The 1994 Program Book included schedules and participant lists for each program; essays provided background on the Festival and each of the four programs.

The Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Center for Folklife Programs & Cultural Studies.

Center for Folklife Programs & Cultural Studies

Richard Kurin, Director; Diana Parker, Festival Director; Anthony Seeger, Director, Smithsonian/Folkways Recordngs; Peter Seitel, Senior Folklorist; Thomas Vennum, Jr., Senior Ethnomusicologist; Richard Kennedy, Program Analyst; Carla Borden, John Franklin, Program Managers; Olivia Cadaval, Amy Horowitz, Marjorie Hunt, Diana Baird N'Diaye, Folklorists/Curators; Betty Belanus, Education Specialist; Arlene L. Reiniger, Program Specialist; Jeffrey Place, Archivist; Kenneth M. Bilby, Roland Freeman, Ivan Karp, Alan Lomax, Worth Long, Research Collaborators

Folklife Advisory Council

Roger Abrahams, Jacinto Arias, Jane Beck, Pat Jasper, Barbara Kirshenblatt-Gimblett, Bernice Reagon, John Roberts, Carol Robertson, Gilbert Sprauve, Jack Tchen, Ricardo Trimillos, Carlos Vélez-Ibáñez

National Park Service

Roger Kennedy, Director; Robert G. Stanton, Regional Director, National Capital Region

Shared Stewardship of Collections:

The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.

Forms Part Of:

Smithsonian Folklife Festival records: 1994 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .

Smithsonian Folklife Festival records

Smithsonian Folklife Festival records: Papers

1967 Festival of American Folklife records - [Ongoing]

Related Archival Materials note:

Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.

Restrictions:

Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

World music  Search this

Folklore  Search this

Food habits  Search this

Folk art  Search this

Folk festivals  Search this

arts and crafts  Search this

Folk music  Search this

Genre/Form:

Digital images

Audiocassettes

Audiotapes

Photographic prints

Contracts

Notes

Correspondence

Plans (drawings)

Memorandums

Business records

Negatives

Video recordings

Videotapes

Sound recordings

Slides (photographs)

Citation:

Smithsonian Folklife Festival records: 1994 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.SFF.1994

See more items in:

Smithsonian Folklife Festival records: 1994 Festival of American Folklife

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5ddc8ca3e-7575-4fbe-aeaa-f2be18f19d0d

EDAN-URL:

ead_collection:sova-cfch-sff-1994

Photographer:

James, George Wharton  Search this

Cook, W. A.  Search this

Chapman, John W. (John Wight), 1858-1939  Search this

Chandlee, W. E.  Search this

Collins, Henry B. (Henry Bascom), 1899-1987  Search this

Carbonell, Jose  Search this

Brown, S. C.  Search this

Abbott, William Louis, 1860-1936  Search this

Archer, William Andrew  Search this

Bartleman, Richard M.  Search this

Boleter, Frank M.  Search this

Dinwiddie, William, 1867-1934  Search this

Moorhouse, Lee, 1850-1926  Search this

Gilfillan, J. A. (Joseph Alexander), 1838-1913  Search this

Gatschet, Albert S. (Albert Samuel), 1832-1907  Search this

Hillers, John K., 1843-1925  Search this

Jackson, William Henry, 1843-1942  Search this

Ward, Fanny B.  Search this

Worcester, Dean Conant  Search this

Wittick, Ben, 1845-1903  Search this

Russell Brothers  Search this

Niblack, Albert P. (Albert Parker), 1859-1929  Search this

Pilsudski, Bronislaw  Search this

Rice, Arthur P.  Search this

Robertson, Mrs. T. C.  Search this

Raven, Henry Cushier, 1889-1944  Search this

Sigourney, W. S.  Search this

Spencer, S. A.  Search this

Holmes, William Henry, 1846-1933  Search this

Doty, Charles Edward, 1862-1921  Search this

Miller, E. Y.  Search this

Matteson, Sumner W., 1867-1920  Search this

Mindeleff, Cosmos, 1863-  Search this

Miller, Hugo H.  Search this

Turner, Lucien M. (Lucien McShan)  Search this

Moore, Riley Dunning, 1883-  Search this

Moros, E.  Search this

Correspondent:

Jacobs, Melville  Search this

Cooper, John M. (John Montgomery), 1881-1949  Search this

Boas, Franz, 1858-1942  Search this

Clark, Charles Upson, 1875-1960  Search this

Carmichael, Leonard, 1898-1973  Search this

Cambiaso, R. D.  Search this

Brown, O. M.  Search this

Briggs, C. F.  Search this

Abbot, Charles G.  Search this

Archer, William Andrew  Search this

Barry, J. Neilson (John Neilson), 1870-1961  Search this

Beckwith, Frank  Search this

Blumentritt, Ferdinand  Search this

Boekelman, H. J.  Search this

Costells, J. Martinez  Search this

Booy, Theodore de  Search this

Hough, Walter, 1859-1935  Search this

Cressman, Luther S., 1897-1994  Search this

Ewers, John C. (John Canfield), 1909-1997  Search this

Felts, Wayne M.  Search this

Drierden, J. E.  Search this

Franco, Jose L.  Search this

Harding, H. T.  Search this

Harris, J. R.  Search this

Granberry, Julian  Search this

Higgins, B. B.  Search this

Setzler, Frank M. (Frank Maryl), 1902-1975  Search this

Kroeber, A. L. (Alfred Louis), 1876-1960  Search this

Hrdlička, Aleš, 1869-1943  Search this

Densmore, Frances, 1867-1957  Search this

Thomas, E. H.  Search this

Stern, T. B.  Search this

Spinden, Herbert J.  Search this

Waterman, T. T. (Thomas Talbot), 1885-1936  Search this

Wetmore, Alexander, 1886-1978  Search this

Weltfish, Gene, 1902-1980  Search this

Wright, L. S.  Search this

Nelson, N. C. (Nels Christian), 1875-1964  Search this

Nicholson, Grace, -1948  Search this

Putnam, F. W. (Frederic Ward), 1839-1915  Search this

Packard, E. L.  Search this

Palm, Erwin W.  Search this

Parkes, George A.  Search this

Sexton, Charles E.  Search this

Fewkes, Jesse Walter, 1850-1930  Search this

Skinner, H. D.  Search this

Langille, W. A.  Search this

Laudermilk, J. D.  Search this

Judd, Neil Merton, 1887-1976  Search this

Lashmitt, Ivan de  Search this

Mason, Otis Tufton, 1838-1908  Search this

Lawrence, Donald B.  Search this

Folkmar, Daniel, 1861-1932  Search this

Moberg, Gosta  Search this

Stewart, T. D. (Thomas Dale), 1901-1997  Search this

Creator:

Krieger, Herbert W. (Herbert William), 1889-1970  Search this

Author:

Waterman, T. T. (Thomas Talbot), 1885-1936  Search this

Names:

Smithsonian Institution. Department of Anthropology  Search this

Extent:

19 Linear feet

Culture:

Haida  Search this

Athapascan Indians  Search this

Northern Athabascan  Search this

Indians of North America -- Subarctic  Search this

Arctic peoples  Search this

Type:

Collection descriptions

Archival materials

Manuscripts

Lists

Drawings

Memorandums

Notebooks

Press releases

Printed materials

Maps

Notes

Letters

Photographs

Bibliographies

Reports

Place:

Cuba

Bahama Islands

Alaska

Dominican Republic

Japan

Old Kasaan

Philippines

Oceania

Date:

1925-1957

Summary:

The papers of this collection are those of Herbert William Krieger (b. 1889), archaeologist and curator of the Division of Ethnology for the former United States National Museum of the Smithsonian Institution. Included are correspondence, field notebooks, notes, administrative material, manuscripts of writings, printed matter, sketches, maps, photographs and other documents.

Scope and Contents:

These papers reflect the professional life of Herbert William Krieger (b. 1889), archaeologist and curator of the Division of Ethnology for the former United States National Museum of the Smithsonian Institution. Included are correspondence, field notebooks, notes, administrative material, manuscripts of writings, printed matter, sketches, maps, photographs and other documents that cover the period from 1925 to 1957.

The bulk of the material concerns Krieger's archaeological work in the West Indies, primarily the Dominican Republic, where he researched intermittently from 1938 to 1953. There is also material in the collection on Krieger's work in Southeastern and Central Alaska where he was involved with the restoration and reconstruction of the Kansaan National Monument from 1926 to 1927. Material concerning the salvage archaeology performed on the Columbia River in Washington and Oregon, particularly in the area of the construction site of the Bonneville Dam, is included in the collection. Also included is work on two War Background Studies publications, one on the peoples of the Philippines, the other on the islands of the Western Pacific. The collection additionally contains Krieger's office files and collected correspondence of scholars and informants used for reference purposes.

Not represented in the collection is any phase of Krieger's personal life, nor is there any material reflecting his life prior to or since his association with the Museum.

Among correspondents whose letters are included are Franz BOAS, C. U. CLARK, John COLLIER, L. S. CRESSMAN, Frances DENSMORE, Philip DRUCKER, John EWERS, Jesse W. FEWKES, Melville HERSKOVITS, William H. HOLMES, Walter HOUGH, Neil M. JUDD, A. L. KROEBER, Otis MASON, Frank M. SETZLER, Herbert J. SPINDEN, T. D. STEWART, Matthew STIRLING, William Duncan STRONG, T. T. WATERMAN, Waldo WEDEL, Alexander WETMORE, and Clark WISSLER.

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.

Arrangement:

OUTGOING LETTERS, 1925-1955: Box 1

INCOMING LETTERS, 1925-1957: Boxes 2, 3

COLLECTED CORRESPONDENCE USED AS REFERENCES, 1892-1957: Box 3

OFFICE FILE, 1929-1957: Boxes 4, 5, 6, 7

MATERIAL RELATING TO SOUTHEAST AND CENTRAL ALASKA, 1926-1927: Box 8

MATERIAL CONCERNING THE COLUMBIA RIVER REGION, 1927-1955: Boxes 8, 9

MANUSCRIPTS AND NOTES ON THE ISLANDS OF THE WESTERN PACIFIC, 1943: Boxes 10, 11, 12, 13

MATERIALS RELATING TO THE PHILIPPINE ISLANDS, 1942: Box 14

MATERIAL CONCERNING THE WEST INDIES, 1938-1953: Boxes 15, 16, 17, 18, 19

MISCELLANY, 1925-1957: Boxes 20, 21

PRINTED, PROCESSED AND EXTRACTED MATERIAL, 1884-1957: Boxes 22, 23, 24

PHOTOGRAPHS, UNKNOWN-1975: Boxes 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36

Biographical / Historical:

Herbert William Krieger joined the staff of the United States National Museum's Department of Anthropology as assistant curator of ethnology in 1924, and he became curator of ethnology in 1925. In spite of his position, much of his field work was carried out in archaeology. In 1927, for the Bureau of American Ethnology, he examined the feasibility of restoring Old Kasaan on Prince of Wales Island, Alaska, and carried out archaeological reconnaissance along the Columbia River. In the following year, he continued reconnaissance work, first along the middle Yukon River and then, again, along the Columbia. In the former area, he also collected a few random notes on living Athapascan Indians and in both areas he carried out several excavations.

In 1934, for the Bureau of Indian Affairs and the Public Works Administration, he carried out salvage archaeological work near Bonneville, Oregon. As a pastime, during the 1930s, he carried out reconnaissance along the lower Potomac River. Krieger's major work, however, lay to the south among the problems of Caribbean archeology. Between 1928 and 1937 and from 1947 to 1952, he concerned himself with sites visited by Columbus and attempts to plot areas previously occupied by the Arawak, Carib, and other tribes.

His studies involved examinations of both historic and prehistoric Spanish and Indian settlements in Haiti, Cuba, the Dominican Republic, the Virgin Islands, and the Bahamas. Based on these, he published several articles and books, including Archeological and Historical Investigations in Samana, Dominican Republic, United States National Museum Bulletin 156, 1931, and Aboriginal Indian Pottery of the Dominican Republic, United States National Museum Bulletin 156, 1931. He was also a participant in several conferences concerned with the archaeology, ethnology, and history of the Caribbean area.

In addition to his field work and administrative duties as head of the Division of Ethnology, Krieger worked with the Museum's ethnological collections and published several articles based on them. He also became involved in the renovation of the division's public areas so that "the antiquated and overcrowed exhibits should be replaced by modern exhibits in which art and science are blended". Much of the effort for this was carried out by Krieger's associate curator John Canfield Ewers.

Having a special interest in the Philippines and western Oceania that grew from his early service as a teacher in Manila, Krieger also produced studies of the people of the Philippines and the islands of the western Pacific for the Smithsonian's War Backgroud Studies series during World War II. He also worked on a volume "The Islands of New Japan, " but it was never published.

December 8, 1889 -- Born in Burlington, Iowa

1907 -- Bachelor of Arts, Wartburg College, Clinton, Iowa

1908 -- Master of Arts, State University of Iowa, in German and Philosophy

1909-10 -- Fellow, University of Illinois

1911-14 -- Instructor of economics and commercial geography at the School of Commerce, Bureau of Education, Manila, Philippine Islands

1914-20 -- Bank cashier and ranch owner, Granada, Minnesota

1920-21 -- Instructor, Burlington Junior College, Burlington, Iowa

1922 -- Married Rosalia Louise Krapf

1922-24 -- Instructor of Anthropology, University of Minnesota

1924 -- Assistant Curator, Division of Ethnology, U. S. National Museum

1925 -- Curator, Division of Ethnology, U. S. National Museum

1926-27 -- On an expedition to southeast and central Alaska, engaged in the reconstruction and restoration at the Old Kansaan National Monument

1927-35 -- Salvage archaeology along the Columbia River, primarily in the area surrounding the Bonneville Dam prior to its construction for the Department of the Interior

1938-53 -- Investigations in the Caribbean area, primarily the island of Hispaniola, Dominican Republic

1957 -- Retired from the staff of the United States National Museum and made Honorary Research Associate, U. S. N. M.

July 1, 1970 -- Died, Buried in Columbia Gardens Cemetery, Arlington, Virginia

Related Materials:

Additional material in the National Anthropological Archives that relates to Herbert Krieger can be found in the United States National Museum Manuscript and Pamphlet File, as well as among the correspondence files of the Bureau of American Ethnology.

Topic:

Houses -- North America -- Africa -- Asia -- South America  Search this

War Background Studies  Search this

Archeology -- Columbia River -- Yukon River -- Cuba -- Dominican Republic -- Bahama Islands  Search this

Genre/Form:

Manuscripts

Lists

Drawings

Memorandums

Notebooks

Press releases

Printed materials

Maps

Notes

Letters

Photographs

Bibliographies

Reports

Citation:

Herbert William Krieger papers, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.XXXX.0171

See more items in:

Herbert William Krieger papers

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw32a81f6e7-bbbc-4202-b085-dbffa2d95ce3

EDAN-URL:

ead_collection:sova-naa-xxxx-0171

Biogeographical Region:

Tropical West Atlantic  Search this

Collector:

Sylvia A. Earle  Search this

Depth (m):

46 - 61

Place:

Western Atlantic Ocean, San Salvador, Bahamas, West Indies - Neotropics

Collection Date:

Sep 1977

Taxonomy:

Plantae Chlorophyta Ulvophyceae Bryopsidales Caulerpaceae

Published Name:

Caulerpa racemosa (Forssk.) J. Agardh

Barcode:

01067447

USNM Number:

217890

See more items in:

Botany

Algae

Collection of Sylvia A. Earle

Data Source:

NMNH - Botany Dept.

GUID:

http://n2t.net/ark:/65665/3c42f8bcb-919a-4c6e-b411-2440450be67a

EDAN-URL:

edanmdm:nmnhbotany_11106904