Search Results

Author:

Hinkley, Sasha  Search this

Carter, Aarynn L.  Search this

Ray, Shrishmoy  Search this

Skemer, Andrew  Search this

Biller, Beth  Search this

Choquet, Elodie  Search this

Millar-Blanchaer, Maxwell A.  Search this

Sallum, Stephanie  Search this

Miles, Brittany  Search this

Whiteford, Niall  Search this

Patapis, Polychronis  Search this

Perrin, Marshall  Search this

Pueyo, Laurent  Search this

Schneider, Glenn  Search this

Stapelfeldt, Karl  Search this

Wang, Jason  Search this

Ward-Duong, Kimberly  Search this

Bowler, Brendan P.  Search this

Boccaletti, Anthony  Search this

Girard, Julien H.  Search this

Hines, Dean  Search this

Kalas, Paul  Search this

Kammerer, Jens  Search this

Kervella, Pierre  Search this

Leisenring, Jarron  Search this

Pantin, Eric  Search this

Zhou, Yifan  Search this

Meyer, Michael  Search this

Liu, Michael C.  Search this

Bonnefoy, Mickael  Search this

Currie, Thayne  Search this

McElwain, Michael  Search this

Metchev, Stanimir  Search this

Wyatt, Mark  Search this

Absil, Olivier  Search this

Adams, Jéa  Search this

Barman, Travis  Search this

Baraffe, Isabelle  Search this

Bonavita, Mariangela  Search this

Booth, Mark  Search this

Bryan, Marta  Search this

Chauvin, Gael  Search this

Chen, Christine  Search this

Danielski, Camilla  Search this

De Furio, Matthew  Search this

Factor, Samuel M.  Search this

Fitzgerald, Michael P.  Search this

Fortney, Jonathan J.  Search this

Grady, Carol  Search this

Greenbaum, Alexandra  Search this

Henning, Thomas  Search this

Hoch, Kielan K. W.  Search this

Janson, Markus  Search this

Kennedy, Grant  Search this

Kenworthy, Matthew  Search this

Kraus, Adam  Search this

Kuzuhara, Masayuki  Search this

Lagage, Pierre-Olivier  Search this

Lagrange, Anne-Marie  Search this

Launhardt, Ralf  Search this

Lazzoni, Cecilia  Search this

Lloyd, James  Search this

Marino, Sebastian  Search this

Marley, Mark  Search this

Martinez, Raquel  Search this

Marois, Christian  Search this

Matthews, Brenda  Search this

Matthews, Elisabeth C.  Search this

Mawet, Dimitri  Search this

Mazoyer, Johan  Search this

Phillips, Mark  Search this

Petrus, Simon  Search this

Quanz, Sascha P.  Search this

Quirrenbach, Andreas  Search this

Rameau, Julien  Search this

Rebollido, Isabel  Search this

Rickman, Emily  Search this

Samland, Matthias  Search this

Sargent, B.  Search this

Schlieder, Joshua E.  Search this

Sivaramakrishnan, Anand  Search this

Stone, Jordan M.  Search this

Tamura, Motohide  Search this

Tremblin, Pascal  Search this

Uyama, Taichi  Search this

Vasist, Malavika  Search this

Vigan, Arthur  Search this

Wagner, Kevin  Search this

Ygouf, Marie  Search this

Object Type:

Smithsonian staff publication

Year:

2022

Citation:

Hinkley, Sasha, Carter, Aarynn L., Ray, Shrishmoy, Skemer, Andrew, Biller, Beth, Choquet, Elodie, Millar-Blanchaer, Maxwell A., Sallum, Stephanie, Miles, Brittany, Whiteford, Niall, Patapis, Polychronis, Perrin, Marshall, Pueyo, Laurent, Schneider, Glenn, Stapelfeldt, Karl, Wang, Jason, Ward-Duong, Kimberly, Bowler, Brendan P., Boccaletti, Anthony, Girard, Julien H., Hines, Dean, Kalas, Paul, Kammerer, Jens, Kervella, Pierre, Leisenring, Jarron et al. 2022. "The JWST Early Release Science Program for the Direct Imaging and Spectroscopy of Exoplanetary Systems." Publications of the Astronomical Society of the Pacific, 134 095003. https://doi.org/10.1088/1538-3873/ac77bd.

Identifier:

168664

DOI:

https://doi.org/10.1088/1538-3873/ac77bd

ISSN:

0004-6280

Data source:

Smithsonian Libraries and Archives

EDAN-URL:

edanmdm:slasro_168664

Author:

Wiedenbeck, M. E.  Search this

Bučík, R.  Search this

Mason, G. M.  Search this

Ho, G. C.  Search this

Leske, R. A.  Search this

Cohen, C. M. S.  Search this

Christian, E. R.  Search this

Cummings, A. C.  Search this

Davis, A. J.  Search this

Desai, M. I.  Search this

Giacalone, J.  Search this

Haggerty, D. K.  Search this

Hill, M. E.  Search this

Joyce, C. J.  Search this

Labrador, A. W.  Search this

Malandraki, O.  Search this

Matthaeus, W. H.  Search this

McComas, D. J.  Search this

McNutt, R. L., Jr.  Search this

Mewaldt, R. A.  Search this

Mitchell, D. G.  Search this

Posner, A.  Search this

Rankin, J. S.  Search this

Roelof, E. C.  Search this

Schwadron, N. A.  Search this

Stone, E. C.  Search this

Szalay, J. R.  Search this

Bale, S. D.  Search this

Case, Anthony W.  Search this

Kasper, Justin C.  Search this

Korreck, Kelly E.  Search this

Larson, D. E.  Search this

MacDowall, R. J.  Search this

Pulupa, M.  Search this

Stevens, Michael L.  Search this

Object Type:

Smithsonian staff publication

Year:

2020

Citation:

Wiedenbeck, M. E., Bučík, R., Mason, G. M., Ho, G. C., Leske, R. A., Cohen, C. M. S., Christian, E. R., Cummings, A. C., Davis, A. J., Desai, M. I., Giacalone, J., Haggerty, D. K., Hill, M. E., Joyce, C. J., Labrador, A. W., Malandraki, O., Matthaeus, W. H., McComas, D. J., McNutt, R. L., Jr., Mewaldt, R. A., Mitchell, D. G., Posner, A., Rankin, J. S., Roelof, E. C., Schwadron, N. A. et al. 2020. "³He-rich Solar Energetic Particle Observations at the Parker Solar Probe and near Earth." The Astrophysical Journal Supplement Series, 246 42. https://doi.org/10.3847/1538-4365/ab5963.

Identifier:

156707

DOI:

https://doi.org/10.3847/1538-4365/ab5963

ISSN:

0067-0049

Data source:

Smithsonian Libraries and Archives

EDAN-URL:

edanmdm:slasro_156707

Published by:

Johnson Publishing Company, American, 1942 - 2019  Search this

Photograph by:

Charles W. Smith  Search this

Subject of:

Diana Smith, American  Search this

Rock Rest Tourist Home, American, 1948 - 1976  Search this

Owned by:

Clayton Sinclair, American  Search this

Hazel Sinclair, American  Search this

Created by:

Ebony, American, founded 1945  Search this

Medium:

ink on paper (fiber product) with metal

Dimensions:

H x W x D: 13 7/16 × 10 1/4 × 1/4 in. (34.2 × 26 × 0.6 cm)

Type:

magazines (periodicals)

Place collected:

Kittery, York County, Maine, United States, North and Central America

Place printed:

Chicago, Cook County, Illinois, United States

Date:

June 1966

Topic:

African American  Search this

Advertising  Search this

Beauty culture  Search this

Black Enterprise  Search this

Black Press  Search this

Business  Search this

Christianity  Search this

Hair  Search this

Journalism  Search this

Law  Search this

Mass media  Search this

Religion  Search this

Segregation  Search this

Travel  Search this

Women  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of Portsmouth Black Heritage Trail, Inc.

Object number:

2011.12.53.5

Restrictions & Rights:

© Ebony Media Group LLC

Permission required for use. Proper usage is the responsibility of the user.

See more items in:

National Museum of African American History and Culture Collection

Classification:

Documents and Published Materials

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd5206dc8ea-fef3-4ca3-b3f8-7c284fe361a7

EDAN-URL:

edanmdm:nmaahc_2011.12.53.5

Collection Collector:

Robinson, Franklin A., Jr., 1959- (actor)  Search this

Collection Creator:

Quinn, Terry (photographer)  Search this

Container:

Box 39, Folder 11

Type:

Archival materials

Date:

1950

Collection Restrictions:

Collection is open for research but negatives and audiovisuial materials are stored off-site and special arrangements must be made to work with it. Some papers of living persons are restricted. Access to restricted portions may be arranged by request to the donor. Gloves required for unprotected photographs. Viewing film portions of the collection and listening to LP recording requires special appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Collection Rights:

The Archives Center does not own exclusive rights to these materials. Copyright for all materials is retained by the donor, Franklin A. Robinson, Jr.; permission for commercial use and/or publication may be requested from the donor through the Archives Center. Military Records for Franklin A. Robinson (b. 1932) and correspondence from Richard I. Damalouji (1961-2014) are restricted; written permission is needed to research these files. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

The Robinson and Via Family Papers, Archives Center, National Museum of American History

Sponsor:

Preservation of the 8mm films in this collection was made possible, in part, by a grant from the National Film Preservation Fund.

See more items in:

Robinson and Via Family Papers

Robinson and Via Family Papers / Series 2: Robinson Family / 2.6: Robinson, Franklin A. / 2.6.1: Correspondence, diaries, personal ephemera

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8c69fd212-5fa6-426e-8f82-ac71a4266346

EDAN-URL:

ead_component:sova-nmah-ac-0475-ref167

Series Collector:

Archives Center, National Museum of American History  Search this

Series Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Series Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Container:

Box 79

Type:

Archival materials

Photographs

Date:

1988, undated

Series Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

Series Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Series Citation:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 10: Gay and Lesbian Community Center of Baltimore (GLCCB) / 10.3: Photographs

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8e0e117c0-b58d-4d40-b5d9-1bb24e79fb41

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref3029

Series Collector:

Archives Center, National Museum of American History  Search this

Series Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Series Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Type:

Archival materials

Date:

1979-2001

Scope and Contents:

This series contains materials collected and created by Myra Lynn Cones and her wife, G. Yvonne Harris. The series includes photographs, emphemera, periodicals, magazines, programs and commemorative materials from musical groups (The Village People) and television shows (Queer as Folk) as well as materials relating to marches (A Simple Matter of Justice, 1993), the AIDS Quilt, the women's festival Sisterfire, and an original poem.

Biographical / Historical:

This short biography was submitted by the donors Myra Lynn Cones and G. Yvonne Harris in October 2022

"Short Biography from 1981-2022

We first met in 1980, at on a military base in Hampton, Virginia. We were both working at the Arts and Crafts Center. We became friends first, through our love of art and being artists ourselves.

Soon there after we discovered that this was not the first time we had met. While discussing one day about our lives in Hampton, we discovered that we went to the same kindergarten school, at the same time! The conversation started like this:

Yvonne: I went to Jones Kindergarten. Myra: So, did I. Yvonne: Do you remember the Humpty Dumpty play at the end of the year? I played one of the soldiers in the group. Myra: Yep, I was a soldier too. Do you remember the Christmas party? Yvonne: Yeah, I do. Myra: Well, my dad played Santa.

That's when we knew this was too special to ignore.

In March of 1981 we moved in together as roommates. By May, we were a couple.

We were invited to our first lesbian bar, by a couple who could not believe in the three years we were together thus far, we had never been to one. We went to a place in Norfolk, Virginia called the Her She Bar. Funny how we describe the night like that scene in the Wizard of Oz, when the film is in black and white and the door of the bar opened up and there was color. And that was the start of our foray into the Gay and Lesbian scene in the 80's. We came out to our family in the 80's. Considering both of us coming from Christian raised families, they did very well with their acceptance.

We became part of the community, by participating in art shows at the local women's bars, and women events at the local college. Later we ventured outside the area to do shows at other women's events in Norfolk, Richmond, and the famous Women's festival Sisterfire.

We decided that we wanted to move to Washington DC, because there was an active artists and LGBT community. We both worked retail, we found that we could transfer through our companies.

In 1990, we both moved to Washington DC. While starting out in DC Yvonne had a part-time job at the well known LGBT bookstore Lambda Rising, owned by Deacon MacCububbin, and then Lammas Women Bookstore, owned and operated by Mary Farmer. We were learning about the community, participating in Pride events, and living our best LGBT life. We stayed for 10 years in a little one-bedroom apartment and later bought our first home in 2000.

After Washington DC legalized gay marriage in 2010, We decided to jump the broom. We were first going to have the ceremony done at the justice of the peace. But remembered that we had a client, who was a patron of our work who was not only clergy, but was also Lesbian. We contacted the Reverend Bonnie Berger. Reverend Bonnie conducted many weddings, and after the announcement of legalized marriages came through, she was indeed a busy woman. So, we gave her a date and she was ready to do the ceremony on May 9, 2010. We had a boat at the time, and thought that having the ceremony at the marina would be great. So, we had our boat at the dock and the guests on the pier. Not only did the invited guess come, but we were surprised to see all the folks we knew at the marina, our fellow boaters. The guys and their wives and girlfriends showed up for support and love.

As of this year 2022, we have been together 41 years. And we have enjoyed being in the city, in the heart of the artistic world, galleries, and museum that continues to feed our creativity, and seeing the advances that have been made in rights and visibility in the LGBTQ community. We've seen a lot in these 40 odd years. One doesn't realize that until you have a conversation with a 20 something year old young gay man, who looks at you in astonishment when they discover that you've been an out lesbian in the 80's.

Co-worker: How long have you two been together Yvonne: We've been together 41 years, married for 12 Co-worker: (eyes wide) Wow, that long. That was at a time when it was hard, being out in the 80's. Was it scary?

That is how far we've come. Wizard of Oz, black and white to color!"

Series Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

Series Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Series Citation:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

Identifier:

NMAH.AC.1146, Series 26

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8eb565972-afaf-4486-ba58-1aa659ebfa86

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref3188

Creator:

Cornell, Joseph  Search this

Names:

Benton, Elizabeth Cornell  Search this

Cornell, Robert  Search this

Extent:

24.9 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Date:

1804-1986

bulk 1939-1972

Summary:

The papers of Joseph Cornell (1903-1972) measure approximately 24.9 linear feet and date from 1804 to 1986 with the bulk of the material dating from 1939-1972. The collection documents the life, work, interests, and creative activities of the self-taught artist, who was best known for his shadow box constructions, assemblages, and collages. Papers include correspondence, diaries, source material, notes, writings, photographs, printed material, two- and three-dimensional ephemera, art works, and books, as well as a limited amount of legal and financial records, and some miscellaneous personal and family papers. The collection also includes the papers of his sister, Betty Cornell Benton, relating to the handling of Cornell's estate and the personal papers of his brother, Robert Cornell.

Scope and Content Note:

The Joseph Cornell papers measure approximately 24.9 linear feet and date from 1804 to 1986, with the bulk of the material dating from 1939-1972. The collection documents the life, work, interests, and creative activities of the self-taught artist, who was best known for his shadow box constructions, assemblages, and collages. Papers include correspondence, diaries, source material, notes, writings, photographs, printed material, two- and three-dimensional ephemera, art works, and books, as well as a limited amount of legal and financial records, and some miscellaneous personal and family papers (which comprise a series of biographical material). The collection also includes the papers of his sister, Betty Cornell Benton, relating to the handling of Cornell's estate and the personal papers of his brother, Robert Cornell.

Cornell's correspondence is typically with family, friends, artists, dealers, collectors, galleries, museums, admirers, individuals whom he admired, "helpers," and various charitable institutions. Correspondence generally concerns the creation, exhibition, sale, and reception of Cornell's art work; his "explorations" and other research and collecting activities; his preoccupations with certain individuals and motifs; his usual practices of giving gifts of art work to those he liked or admired and making donations to charities in aid of those less fortunate; and his relationships and shared interests with family, friends, and colleagues. Also found is correspondence between and amongst various other members of the Cornell family, including, most notably, Robert Cornell's letters to his sisters, Elizabeth (typically addressed as Nell) and Helen.

Dating from 1941 to 1972, Cornell's diaries span almost the entirety of his career as an artist, which began in earnest when he left his job at the Traphagen textile studio in 1940 to pursue art full-time and ended with his death in 1972. The diaries record his day-to-day experiences (usually comprising his thoughts, feelings, impressions, and ideas); and reflect on his various art projects (boxes, films, and collages) and creative activities ("explorations," and various other research, collecting, and publishing ventures). They also explore many of the themes and underlying concerns of his art work; and document his intense preoccupations with certain individuals, his wide-ranging interests, and the interconnectedness of his ideas and activities. Cornell's style of writing in the diaries tends to be stream-of-conscious with entries being composed of phrases, rather than complete sentences and with the progression of passages being more poetic and associative than either logical or narrative. He tended to compose by hand, occasionally typing up his notes into more formal entries, and also to use abbreviations for oft-repeated words and initials for individuals. At times, his handwriting can be difficult to read, and his references can be difficult to decipher. It was also common practice for him to review or revisit previous entries at various points in time, often making revisions or comments on them with dated annotations in the margins or on the reverse side of a page.

Cornell's source material is largely comprised of files of newspaper and magazine clippings, cutouts, notes, writings, book excerpts, photostats (or stats), prints, postcards, art reproductions, and other printed material. Some files are devoted to people (ballerinas, actresses, singers, artists, and writers) and topics (astronomy, romantic and modern ballet, birds, films, literature, music, plants, and science, among others). Other files relate to specific art works, "explorations," publishing projects, and exhibitions. Source material documents Cornell's preoccupation with certain individuals (past and present), events, subjects, and motifs; the development of some of his major "explorations" and their influence on his various artistic and commercial projects; and his work on certain box constructions and collages, publishing ventures, and exhibition catalogues. Source material also sheds light on Cornell's efforts to gain access to the past; his interest in the symbolism of images and objects; the linkages he found between seemingly unrelated things; and the connections between his many creative endeavors.

Ephemera and artifacts include various objects, mementos, and items of memorabilia, some of which were accumulated by Cornell (in much the same way that he collected his source material) and some of which are of uncertain origin. For Cornell, items such as these were not merely inanimate objects, but were instead evocative of past worlds and capable of bringing the past into the present (an idea which he often expressed in his diaries as the "metaphysique d'ephemera"). He seems to have used some of these items in a layout he designed for Good Housekeeping. Other items may have been used as source material for some of his box constructions.

The collection also houses photographs of Cornell, his family, art work, other artists, and friends, as well as photographs taken by various individuals and publicity photographs from the New York City Ballet. Also found are scattered works of art, including collage fragments and Rorschachs (or ink blot drawings) by Cornell, collages by Cornell's sister, Betty Cornell Benton, on which he collaborated, and a box by Christine Kaufman, which was a gift to Cornell. The books in the collection most likely comprise the remainder of Cornell's library, which was transferred to the Joseph Cornell Study Center, and include some that seem to have belonged to his sister, Betty. Printed material includes various publications and clippings collected by Cornell apart from that which he collected as source material. Writings about Cornell include an article by the poet, Mina Loy, and copies of various theses, presentations, and articles by graduate students in art history received by Benton (who assisted them in their research).

The Joseph Cornell Estate Papers consist of correspondence relating to Betty Cornell Benton's administration of the part of Cornell's estate for which she was responsible and legal documents relating to her various legal disputes with the executors of the estate, as well as a limited amount of printed material, some of which was originally accumulated by Cornell and subsequently shared with Benton, and miscellaneous papers belonging to Benton and their mother, Helen S. Cornell. Estate Papers provide insight on the exhibition and sale of Cornell art works after his death; the disposition of his belongings (including art work, papers, books, records, and source material); and Benton's efforts to foster and safeguard the memory and legacy of Cornell. The Robert Cornell Papers include correspondence, writings, art works, photographs, printed material, and scattered financial and personal records, documenting the full and creative life Robert led despite being confined to a wheelchair. Their inclusion in the collection suggests the family's effort to foster Robert's memory.

Arrangement:

The collection is arranged into eleven series:

Missing Title

Series 1: Biographical Material, 1918-1972, 1975 (Box 1; 0.8 linear feet)

Series 2: Correspondence, 1909-1982 (Boxes 1-5, OV 31; 4.3 linear feet)

Series 3: Diaries, 1941-1973 (Boxes 6-10; 5 linear feet)

Series 4: Source Material, 1804-1972 (Boxes 11-18, 25-28, OV 29; 8.5 linear feet)

Series 5: Ephemera and Artifacts, 1858-1946 (Boxes 18, 23; 0.8 linear feet)

Series 6: Photographs, circa 1905-1972 (Boxes 18, 28, OV 30; 0.3 linear feet)

Series 7: Art Works, circa 1966-1971 (Boxes 19, 23; 0.2 linear feet)

Series 8: Books and Printed Material, 1806-1968 (Boxes 19, 23; 0.5 linear feet)

Series 9: Writings about Cornell, 1950, circa 1975-1980 (Box 19; 0.3 linear feet)

Series 10: Joseph Cornell Estate Papers, circa 1911, 1944-1986 (Boxes 19-22; 3.5 linear feet)

Series 11: Robert Cornell Papers, 1924-1965 (Boxes 24, 28; 0.4 linear feet)

Biographical Note:

Joseph Cornell, assemblagist, collagist, and filmmaker, was born on December 24, 1903 in Nyack, New York. He was the oldest son of Joseph I. Cornell, a textile salesman and designer, and Helen Storms Cornell, and had two younger sisters, Elizabeth (b. 1905), nicknamed Nell and later Betty, and Helen (b. 1906), and a younger brother, Robert (b. 1910), who suffered from cerebral palsy. Cornell shared close relationships with his siblings, and was especially attached to his brother whom he took care of as an adult. His fondest childhood memories included family Christmas celebrations, outings to Manhattan where he saw vaudeville shows and strolled around Times Square, and trips to Coney Island where he encountered penny arcade machines. These childhood memories, among others, inspired some of the themes later explored in his art work.

After his father's death in 1917, Cornell was sent to study at the Phillips Academy in Andover, Massachusetts. He remained there for four years, but left without receiving a diploma. During this time, the family moved from Nyack to Bayside, Queens, where they lived in a series of rented houses. Cornell rejoined his family in 1921, at which time he went to work as a salesman in the Manhattan office of a textile wholesaler, the William Whitman Company. He joined the Christian Science church in the mid-1920s, and in 1929, the family bought a house at 37-08 Utopia Parkway in Flushing, where he resided for the rest of his life, living there with his mother and brother after both his sisters married and moved away.

During the 1920s, Cornell developed his passion for walking the city streets and taking in their sights, sounds, and impressions; browsing in the secondhand bookshops along Fourth Avenue; and collecting material such as books, prints, postcards, and printed and three-dimensional ephemera. He cultivated his growing interest in culture and the arts by attending opera and ballet performances, seeing plays (the 1922 play Rain, which starred Jeanne Eagels, was among his favorites), visiting galleries and museums, reading, and going to the movies.

In 1931, Cornell began to frequent the Julien Levy Gallery, where he encountered Surrealist art for perhaps the first time. Around this time, he created his first works of art - a series of black-and-white collages composed from cutouts of nineteenth-century engravings - inspired by Max Ernst's collages, in particular his collage-novel, La Femme 100 tetes (1929). Cornell went on to create three-dimensional works of art such as pill boxes and a glass bell series (consisting of objects arranged under a bell jar). His work, including several collages and a glass bell, was first exhibited as part of the groundbreaking "Surrealisme" show at the Levy Gallery in January 1932. He also designed the cover of the show announcement. His first one-man show at the gallery, "The Objects of Joseph Cornell," followed in the fall of 1932. (It was seven years before his next solo show.) By this time, Cornell had been laid off from his job at Whitman's. He was out of work for several years before getting a job as a textile designer at the Traphagen Commercial Textile Studio in 1934. During the next several years, he continued to work on his art at night.

Around this time, Cornell began collecting movies and movie stills, and embarked upon various film-related projects. In 1933, he wrote a scenario for a silent movie, Monsieur Phot. A few years later, he made his first film, Rose Hobart (1936), comprised of re-edited footage from the B-movie, East of Borneo (1931), which starred the actress, Rose Hobart. And he began work on a trilogy of collage-films - The Children's Party, Cotillion, and The Midnight Party (circa 1937). He then took a break from making films until the mid-1950s, but continued to collect film-related material, which he began to incorporate into his other art work.

In 1936, Cornell constructed his first glass-fronted shadow box, Untitled (Soap Bubble Set), which was included that same year in the "Fantastic Art, Dada and Surrealism" exhibition at the Museum of Modern Art, along with a cabinet box and several glass bells. In creating some of his other early boxes, he began the practice of using photo reproductions of images which he located in books and magazines, or in the Picture Collection at the New York Public Library, among other places. In his tribute boxes to actresses (1930s), he made use of publicity shots, and in the box, Dressing Room for Gilles (1939), he employed a photostat (or stat) of a reproduction of Jean-Antoine Watteau's painting, Gilles (1718).

Over the years, Cornell came into contact with various figures of the art, dance, and literary worlds. In the 1930s and 1940s, he met the artists, Max Ernst, Marcel Duchamp, and Salvador Dali, and befriended the artists, Lee Miller and Dorothea Tanning. His formative friendships during 1940s were with the artist, Pavel Tchelitchew, the writers, Charles Henri Ford (founder of the avant-garde periodical, View), Parker Tyler, and Donald Windham, and the balletomane, Lincoln Kirstein (founder of Dance Index). His other friends included the artists, Roberto Matta Echaurren and Robert Motherwell, the dancer and actress, Tilly Losch, and the poets, Mina Loy and Marianne Moore. In the 1950s, he associated with artists from the Abstract Expressionist movement, including Willem de Kooning, Jack Tworkov, and Mark Rothko. Beginning in the mid-1950s, he befriended many young artists, including Lee Bontecou and Carolee Schneeman, and young actresses, including Lois Smith, Gwen Van Dam, and Suzanne Miller, whom he sought to appear in his films. And in the early 1960s, he met the Pop artists, Robert Indiana, James Rosenquist, and Andy Warhol.

Beginning in 1940, Cornell developed a keen interest in dance, particularly ballet. Ballerinas from the Romantic era, such as Marie Taglioni and Fanny Cerrito, especially captured his imagination, inspiring such works as the box, Taglioni's Jewel Casket (1940), and the Portrait of Ondine "exploration," which comprised a portfolio of material relating to Cerrito and her famous role in the ballet, Ondine. Cornell was also fascinated with the modern counterparts of the Romantic ballerinas. In 1940, he befriended the Russian ballet dancer, Tamara Toumanova, and over the years produced many works in homage to her, including swan boxes (inspired by her role in Swan Lake), boxes made with scraps from her costumes, and scrapbooks of clippings, stats, and memorabilia. In 1949, he became enamored of the French dancer, Renee "Zizi" Jeanmarie, after seeing her perform in Carmen and meeting her backstage, and he created several dance-related boxes in her honor. In 1957, he met the ballerina, Allegra Kent. After meeting again in 1964, they became friends, and she served as the subject of several works based on images reproduced from a Parmigianino painting.

In December 1940, Cornell left his job at the Traphagen textile studio to pursue art full-time. He set up a workshop in the basement of the house on Utopia Parkway, which served as a combination studio and storage space. While he spent most days at home, he continued to make regular trips into Manhattan to wander around the city, visit with friends, and hunt for material. Around this time, he began to keep a diary, recording his day-to-day experiences (usually comprising his thoughts, feelings, impressions, ideas) on scraps of paper (including used envelopes, paper bags, napkins, and ticket stubs, among other fragments). He would then type up some of these notes into more formal diary entries, but most of them remained, in his word, "scribblings." Diary keeping eventually became one of his primary activities, along with box construction, collage, research, and collecting.

By this time, his art work was beginning to sell, yet he was not able to live from these sales alone. During the 1940s, he primarily supported himself by doing freelance work for magazines such as Vogue, Harper's Bazaar, and Good Housekeeping, supplying illustrations from his picture collection and designing covers and layouts. He also regularly contributed pieces to View and Dance Index. His notable contributions to View included "Enchanted Wanderer: Excerpt from a Journey Album for Hedy Lamarr" (December 1941), "Story Without a Name - for Max Ernst" (April 1942), and "The Crystal Cage [portrait of Berenice]" (January 1943). His projects for Dance Index included various collage-covers, essays, and thematic issues, such as the Summer 1944 issue, which comprised a 22-page tribute to the Romantic ballerinas, Taglioni, Carlotta Grisi, Cerrito, and Fanny Elssler. To supplement his income, Cornell also held brief positions at an electronics plant, the Allied Control Company, Inc. (in 1943), and at a nursery, the Garden Centre (in 1944).

In 1942, Cornell created one of his more memorable works, Medici Slot Machine, embarking upon a large series of Medici boxes in which he utilized reproductions of portraits by Italian Renaissance artists, such as Sofonisba Anguissola and Pinturicchio. His other boxes from this time period explored themes ranging from ballet, as in A Pantry Ballet (for Jacques Offenbach) (1942), to doomed love, as in Paolo and Francesca (1943-48), to nature, as in the Sand Boxes (1940s) and Sand Fountains (1950s). Cornell often created boxes in series, producing variations on a theme with variants that differed significantly or only slightly. Over the years, series included: Pink Palaces, Pharmacies, Habitats, Aviaries, Dovecotes, Hotels, Observatories, and Night Skies, among others.

In late 1945, Cornell joined the Hugo Gallery, which was run by Alexander Iolas, and a year later mounted the show, "Romantic Museum at the Hugo Gallery: Portraits of Women by Joseph Cornell" (December 1946). He designed the exhibition catalog for this show, which consisted of portraits - box constructions, objects, and "dossiers" - of the opera singers, Giuditta Pasta and Maria Malibran, the ballerinas, Taglioni and Cerrito, and the actresses, Eleanora Duse, Jeanne Eagels, Greta Garbo, and Jennifer Jones, and which also featured one of his most famous boxes, Untitled (Penny Arcade Portrait of Lauren Bacall) (1945-46).

In 1949, Cornell joined the Egan Gallery, which was run by Charles Egan. Around this time, he began creating his series of Aviary boxes, which explored the symbolism of birds and birdcages. He showed twenty-six of these box constructions in his first exhibition at the Egan Gallery, "Aviary by Joseph Cornell" (December 1949-January 1950). He created other series of whitewashed boxes, including the Dovecote series and a small group relating to the poet, Emily Dickinson. He then went on to explore the themes of astronomy and celestial navigation in the Observatory, Night Skies, and Hotel series. Works from these series were featured in his two remaining shows at the Egan Gallery, "Night Songs and Other Work" (December 1950-January 1951) and "Night Voyage" (February-March 1953). In the fall of 1953, sparked by seeing the painting, Figure Seated in a Cafe (1914), Cornell embarked upon a major series of bird constructions dedicated to the Cubist artist, Juan Gris. Notably, these were the only boxes he explicitly dedicated to another artist.

Over the next couple of years, Cornell's work was exhibited across the country. In 1955, he joined the Stable Gallery, which was run by Eleanor Ward. His first one-man show there, in the winter of 1955-56, was "Winter Night Skies," which featured various box constructions based on constellations. During the mid-1950s, he embarked upon a series of Sand Fountains (vertical standing boxes featuring a broken glass and sand that flowed through it when turned upside down), elaborating upon his earlier Sand Boxes (1940s). These boxes along with some of his other latest works, including the Bleriot boxes and the Space Object boxes (which comprised his final box series), were exhibited in his second and last show at the Stable Gallery, "Selected Works" (December 1957).

After leaving the Stable Gallery, Cornell had several dealers handle his work rather than allowing any one to assume too much control. Dealers included Richard Feigen (in Chicago and then in New York) and Irving Blum (in California), among others. Throughout his career, Cornell never liked selling his boxes. He was always reluctant to let his work go and became increasingly uneasy about the growing status of his work as a commodity. He preferred instead to make gifts of his art work to friends and individuals he admired (especially female ones).

In the mid-1950s, Cornell returned to making films. Rather than just splicing together found images as he had in his films of the 1930s, he began to collaborate with others to shoot original footage. He worked with the experimental filmmaker, Stan Brakhage, on two films, one about the Third Ave El which was about to be torn down ( Wonder Ring or Gnir Rednow) and the other about an old house in Cornell's neighborhood that was slated for demolition ( Centuries of June). Cornell then went on to make nine films with the filmmaker, Rudy Burckhardt, including Aviary, A Legend for Fountains, and Nymphlight, among others. In the late 1960s, he enlisted the help of Larry Jordan, who was also a filmmaker, in completing the trilogy of collage-films that he had begun in the 1930s.

Along with creating works of art and making films, Cornell was involved in a host of other creative endeavors throughout his career as an artist. These included: keeping a diary, which was for him another medium for exploring and expressing the themes, ideas, and concerns recurrent in his art work; carrying out "explorations," which typically involved conducting research, collecting material, and compiling files on persons or topics of interest to him; and other projects, such as publishing pamphlets (or brochures) dedicated to the nineteenth-century opera singers, Malibran and Giulia Grisi. Cornell's "explorations" clearly informed his artwork, but they were also works of art in and of themselves. He continually sought to share this work with an audience and twice had the opportunity to do so, when he exhibited versions of his Portrait of Ondine "exploration" at the Museum of Modern Art in 1945 and at the Wittenborn Bookstore in 1956.

Around the mid-1950s, Cornell returned to making collages as independent works of art. Unlike his earlier ones, which were composed from cutouts of black-and-white engravings, his latest collages were made with color images cut out of contemporary magazines and books. In these collages, he explored many of the same themes and preoccupations of his box constructions, including birds, as in Couleur de Peche (1967) and Untitled (Vierge Vivace) (1970), children's games, as in the Penny Arcade series (1960s), and actresses, as in The Sister Shades (1956). Towards the end of his career, collage became his principal medium.

By this time, Cornell was taking fewer trips into Manhattan. Instead, he spent more time at home or traveled only so far as downtown Flushing, where he frequented the public library, hunted for material in stores, such as Woolworth's, and passed time in the coffee-shops on Main Street. From this time on, he kept his diary with increasing regularity, taking down notations with more frequency and creating entries of greater length.

In 1961, fourteen of Cornell's boxes, including Medici Slot Machine, were exhibited as part of the "The Art of Assemblage" show at the Museum of Modern Art. As his biographer notes, Cornell came to view this show "as a turning point in his creative life," marking the "[fall] off in his work" that took place in the sixties (Solomon 271-2). He continued to work on boxes that he had begun long before, but, after this time, rarely if ever constructed new ones. Instead, he focused on making collages and became increasingly concerned with other projects, such as organizing his basement workshop, for which he hired various "helpers" or assistants (mostly young women) over the years. He also became more and more prone to obsessions (or preoccupations, as he called them) with various young women that he encountered both in fantasy (actresses on stage or in films) and in real life (working girls in the city, "teeners" on Main Street, or his female visitors and "helpers" at home). These preoccupations infused his diary writings, and inspired the keeping of "dossiers" on particular individuals and the creation of various collages dedicated to others, including most notably the Penny Arcade series dedicated to Joyce Hunter (or "Tina," as he referred to her in his writings).

After Robert's death in February 1965, Cornell created a series of collages in his memory, many of which incorporated his brother's drawings of animal characters. In January 1966, he exhibited some of these collages, alongside a selection of Robert's drawings, in a show at the Robert Schoelkopf Gallery, "Robert Cornell: Memorial Exhibition." In 1967, there were two retrospective exhibitions of Cornell's work, "An Exhibition of Works by Joseph Cornell" at the Pasadena Art Museum and "Joseph Cornell" at the Guggenheim Museum. By now, Cornell was receiving considerable public recognition for his work. He had received his first profile (by Howard Griffin) in the December 1957 issue of Art News and, ten years later, was treated to a 12-page spread (by David Bourdon) in the December 1967 issue of Life magazine. He was also the recipient of various prizes for his art work, including the M.V Kohnstamm Prize at the Art Institute of Chicago's "62nd American Exhibition of Painting and Sculpture" in 1957 and the winning prize in India's first Triennale of Contemporary World Art in 1968.

In the last years of his life (especially from the time of his mother's death in the fall of 1966), Cornell suffered from severe depression and loneliness, and withdrew even further from the outside world. However, he still maintained relationships with various young friends and artists, who frequently visited Utopia Parkway and/or served as one of his assistants. He became more and more interested in sharing his work with a younger audience and his last two exhibitions in 1972 were expressly for children, "A Joseph Cornell Exhibition for Children" at the Cooper Union School of Art and Architecture and "Joseph Cornell - Collages and Boxes" at the Albright-Knox Art Gallery in Buffalo, New York.

Cornell continued to work until the end of his life, "refurbishing" earlier boxes and creating memorial collages. Following prostate surgery in June 1972, he spent several months recuperating with family in Westhampton before returning to Utopia Parkway in November. He died of heart failure at home on December 29, 1972.

The biographical note draws heavily from Deborah Solomon's biography, Utopia Parkway: The Life and Work of Joseph Cornell (New York: Farrar, Strauss, and Giroux, 1997), and Diane Waldman's book, Joseph Cornell: Master of Dreams (New York: Harry N. Abrams, Inc., 2002).

Related Material:

The Archives holds several collections of different provenance that relate to Joseph Cornell, including the small collections of Allison Delarue (comprised of two letters from Cornell, available on reel 2803), Muriel Streeter Schwartz (comprised of two letters from Cornell, available on reel 4283), Wayne Andrews (comprised of letters from Cornell and printed material), and Marion Netter (comprised of items received from Cornell). In addition, photographs of Cornell can be found amongst the Hans Namuth photographs and papers. Also found within the Archives is a transcribed interview of Cornell's sister, Elizabeth Cornell Benton, conducted on April 21, 1976 as part of the oral history program.

Separated Material:

The bulk of Cornell's source material resides in the Joseph Cornell Study Center, Smithsonian American Art Museum, along with his library and record collection. Cornell's sister, Betty Cornell Benton, donated a portion of this material directly to SAAM (then known as the National Museum of American Art), occasioning the creation of the Study Center circa 1978. The bulk of the source material and library that she donated to AAA, including approximately 66 linear feet of three-dimensional and non-textual source material and 50 linear feet of books, was transferred to the Study Center in 1994 and 1995.

Originals of loaned material returned to the donor after microfilming include: some unidentified and miscellaneous correspondence; significant correspondence between Joseph Cornell and Helen S. Cornell; significant correspondence between Helen S. Cornell, family members and others; and some of Joseph Cornell's family correspondence and general correspondence from the Robert Cornell papers. The loaned material is available on microfilm reels 1055-1058 but is not described further in the Series Descriptions/Container Listing of this finding aid.

Provenance:

The Joseph Cornell papers were donated and microfilmed in several installments from 1974 to 1989 by Joseph Cornell's sister, Betty Cornell Benton. Most, but not all, of the correspondence, which was loaned for microfilming in 1974, was subsequently donated in 1989. Additional material was donated in 2004 by the Joseph and Robert Cornell Memorial Foundation.

Restrictions:

Use of the original papers requires an appointment.

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.

Topic:

Celebrities  Search this

Assemblage (Art)  Search this

Found objects (Art)  Search this

Art, Modern -- 20th century -- United States  Search this

Assemblage artists -- New York (State) -- New York  Search this

Works of art  Search this

Genre/Form:

Photographs

Citation:

Joseph Cornell papers, 1804-1986, bulk 1939-1972. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.cornjose

See more items in:

Joseph Cornell papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ff67e8a6-6a88-40f0-9df4-537c9826eed7

EDAN-URL:

ead_collection:sova-aaa-cornjose

Author:

Zanne, Amy  Search this

Flores-Moreno, Habacuc  Search this

Powell, Jeff  Search this

Cornwell, William  Search this

Dalling, James  Search this

Austin, Amy  Search this

Classen, Aimee  Search this

Eggleton, Paul  Search this

Okada, Kei-ichi  Search this

Parr, Catherine  Search this

Adair, E.  Search this

Adu-Bredu, Stephen  Search this

Alam, Md Azharul  Search this

Alvarez-Garzón, Carolina  Search this

Apgaua, Deborah  Search this

Aragon, Roxana  Search this

Ardón, Marcelo  Search this

Arndt, Stefan  Search this

Ashton, Louise  Search this

Barber, Nicholas  Search this

Beauchêne, Jacques  Search this

Berg, Matty  Search this

Beringer, Jason  Search this

Boer, Matthias  Search this

Bonet, José  Search this

Bunney, Katherine  Search this

Burkhardt, Tynan  Search this

Carvalho, Dulcineia  Search this

Castillo-Figueroa, Dennis  Search this

Cernusak, Lucas  Search this

Cheesman, Alexander  Search this

Cirne-Silva, Taina  Search this

Cleverly, Jamie  Search this

Cornelissen, J. H.  Search this

Curran, Timothy  Search this

D'Angioli, André  Search this

Dallstream, Caroline  Search this

Eisenhauer, Nico  Search this

Ondo, Fidèle Evouna  Search this

Fajardo, Alex  Search this

Fernandez, Romina  Search this

Ferrer, Astrid  Search this

Fontes, Marco  Search this

Galatowitsch, Mark  Search this

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Gottschall, Felix  Search this

Grace, Peter  Search this

Granda, Elena  Search this

Griffiths, Hannah  Search this

Lara, Mariana Guerra  Search this

Hasegawa, Motohiro  Search this

Hefting, Mariet  Search this

Hinko-Najera, Nina  Search this

Hutley, Lindsay  Search this

Jones, Jennifer  Search this

Kahl, Anja  Search this

Karan, Mirko  Search this

Keuskamp, Joost  Search this

Lardner, Tim  Search this

Liddell, Michael  Search this

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Macinnis-Ng, Cate  Search this

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Orgiazzi, Alberto  Search this

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Prada, Cecilia  Search this

Přívětivý, Tomáš  Search this

Prober, Suzanne  Search this

Prunier, Jonathan  Search this

Quansah, Gabriel  Search this

de Dios, Víctor Resco  Search this

Richter, Ronny  Search this

Robertson, Mark  Search this

Rocha, Lucas  Search this

Rúa, Megan  Search this

Sarmiento, Carolina  Search this

Silberstein, Richard  Search this

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Stillwagon, Matthew  Search this

Stol, Jacqui  Search this

Taylor, Melanie  Search this

Teste, Francois  Search this

Tng, David  Search this

Tucker, David  Search this

Türke, Manfred  Search this

Ulyshen, Michael  Search this

Valverde-Barrantes, Oscar  Search this

Berg, Eduardo van den  Search this

Logtestijn, Richard van  Search this

Veen, Ciska  Search this

Vogel, Jason  Search this

Wardlaw, Timothy  Search this

Wiehl, Georg  Search this

Wirth, Christian  Search this

Woods, Michaela  Search this

Zalamea, Paul-Camilo  Search this

Méndez, Marcela  Search this

Object Type:

Smithsonian staff publication

Year:

2022

Citation:

Zanne, Amy, Flores-Moreno, Habacuc, Powell, Jeff, Cornwell, William, Dalling, James, Austin, Amy, Classen, Aimee, Eggleton, Paul, Okada, Kei-ichi, Parr, Catherine, Adair, E., Adu-Bredu, Stephen, Alam, Md Azharul, Alvarez-Garzón, Carolina, Apgaua, Deborah, Aragon, Roxana, Ardón, Marcelo, Arndt, Stefan, Ashton, Louise, Barber, Nicholas, Beauchêne, Jacques, Berg, Matty, Beringer, Jason, Boer, Matthias, Bonet, José et al. 2022. "Termite sensitivity to temperature affects global wood decay rates." Science, 377, (6613) 1440–1444. https://doi.org/10.1126/science.abo3856.

Identifier:

165384

DOI:

https://doi.org/10.1126/science.abo3856

ISSN:

0036-8075

Data source:

Smithsonian Libraries and Archives

EDAN-URL:

edanmdm:slasro_165384

Creator:

Smithsonian Education  Search this

Type:

YouTube Videos

Uploaded:

2020-03-08T05:00:10.000Z

YouTube Category:

Education  Search this

Topic:

Education  Search this

See more by:

SmithsonianEducation

Data Source:

Smithsonian Education

YouTube Channel:

SmithsonianEducation

EDAN-URL:

edanmdm:yt_2RKGIqOAI8w

Creator:

Smithsonian American Art Museum  Search this

Type:

Lectures

YouTube Videos

Uploaded:

2011-08-15T23:09:37.000Z

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_-SEkp9n5nG0

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2020-04-20T13:59:25.000Z

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_D-p96np-Pw4

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2019-07-22T19:12:49.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

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americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_DZBdQ8wPUXo

Creator:

Smithsonian Institution  Search this

Type:

YouTube Videos

Uploaded:

2021-12-16T19:39:21.000Z

YouTube Category:

Education  Search this

See more by:

SmithsonianGlobal

Data Source:

Smithsonian Institution

YouTube Channel:

SmithsonianGlobal

EDAN-URL:

edanmdm:yt_GVWKqQCvKwc

Collector:

C. L. Rice  Search this

Type Citation:

Douglass. 1987. U.S.Geol.Survey Prof.Paper. (1451): 40, pl.8,f.13.

Place:

Christian County, Kentucky, United States, North America

Taxonomy:

Chromista Foraminifera Fusulinata Fusulinana Fusulinida Fusulinidae

Published Name:

Beedeina aff. leei (Skinner, 1931)

USNM Number:

PAL368803

See more items in:

Paleogeneral

Types: Foraminifera

Foraminiferida Oversized and Thin Section Type and Non-Type

Paleobiology

Data Source:

NMNH - Paleobiology Dept.

GUID:

http://n2t.net/ark:/65665/339882dd2-f006-4c00-93cb-669a4759f429

EDAN-URL:

edanmdm:nmnhpaleobiology_3258118

Collector:

C. L. Rice  Search this

Type Citation:

Douglass. 1987. U.S.Geol.Survey Prof.Paper. (1451): 40, pl.8,f.15.

Place:

Christian County, Kentucky, United States, North America

Taxonomy:

Chromista Foraminifera Fusulinata Fusulinana Fusulinida Fusulinidae

Published Name:

Beedeina aff. leei (Skinner, 1931)

USNM Number:

PAL368805

See more items in:

Paleogeneral

Types: Foraminifera

Foraminiferida Oversized and Thin Section Type and Non-Type

Paleobiology

Data Source:

NMNH - Paleobiology Dept.

GUID:

http://n2t.net/ark:/65665/39d2989ef-2ac2-4df1-a1c4-15e152d72f77

EDAN-URL:

edanmdm:nmnhpaleobiology_3258120

Collector:

C. L. Rice  Search this

Type Citation:

Douglass. 1987. U.S.Geol.Survey Prof.Paper. (1451): 40, pl.8,f.17.

Place:

Christian County, Kentucky, United States, North America

Taxonomy:

Chromista Foraminifera Fusulinata Fusulinana Fusulinida Fusulinidae

Published Name:

Beedeina aff. leei (Skinner, 1931)

USNM Number:

PAL368807

See more items in:

Paleogeneral

Types: Foraminifera

Foraminiferida Oversized and Thin Section Type and Non-Type

Paleobiology

Data Source:

NMNH - Paleobiology Dept.

GUID:

http://n2t.net/ark:/65665/3e73037d1-2f22-4a03-92d5-aa0628da5cd6

EDAN-URL:

edanmdm:nmnhpaleobiology_3258122

Collector:

C. L. Rice  Search this

Type Citation:

Douglass. 1987. U.S.Geol.Survey Prof.Paper. (1451): 41, pl.8,f.18.

Place:

Christian County, Kentucky, United States, North America

Taxonomy:

Chromista Foraminifera Fusulinata Fusulinana Fusulinida Fusulinidae

Published Name:

Beedeina aff. leei (Skinner, 1931)

USNM Number:

PAL368808

See more items in:

Paleogeneral

Types: Foraminifera

Foraminiferida Oversized and Thin Section Type and Non-Type

Paleobiology

Data Source:

NMNH - Paleobiology Dept.

GUID:

http://n2t.net/ark:/65665/3d9dc8d66-a3b0-4d9b-8578-33792068ede7

EDAN-URL:

edanmdm:nmnhpaleobiology_3258123

Collector:

C. L. Rice  Search this

Type Citation:

Douglass. 1987. U.S.Geol.Survey Prof.Paper. (1451): 41, pl.8,f.19.

Place:

Christian County, Kentucky, United States, North America

Taxonomy:

Chromista Foraminifera Fusulinata Fusulinana Fusulinida Fusulinidae

Published Name:

Beedeina aff. leei (Skinner, 1931)

USNM Number:

PAL368809

See more items in:

Paleogeneral

Types: Foraminifera

Foraminiferida Oversized and Thin Section Type and Non-Type

Paleobiology

Data Source:

NMNH - Paleobiology Dept.

GUID:

http://n2t.net/ark:/65665/3d1e1bc56-9f9d-40a3-b855-31342f2d691e

EDAN-URL:

edanmdm:nmnhpaleobiology_3258124

Collector:

C. L. Rice  Search this

Type Citation:

Douglass. 1987. U.S.Geol.Survey Prof.Paper. (1451): 41, pl.8,f.20.

Place:

Christian County, Kentucky, United States, North America

Taxonomy:

Chromista Foraminifera Fusulinata Fusulinana Fusulinida Fusulinidae

Published Name:

Beedeina aff. leei (Skinner, 1931)

USNM Number:

PAL368810

See more items in:

Paleogeneral

Types: Foraminifera

Foraminiferida Oversized and Thin Section Type and Non-Type

Paleobiology

Data Source:

NMNH - Paleobiology Dept.

GUID:

http://n2t.net/ark:/65665/3dfd372e8-00b5-45c3-be66-6b47da88da62

EDAN-URL:

edanmdm:nmnhpaleobiology_3258125

Collector:

C. L. Rice  Search this

Type Citation:

Douglass. 1987. U.S.Geol.Survey Prof.Paper. (1451): 41, pl.8,f.21.

Place:

Christian County, Kentucky, United States, North America

Taxonomy:

Chromista Foraminifera Fusulinata Fusulinana Fusulinida Fusulinidae

Published Name:

Beedeina aff. leei (Skinner, 1931)

USNM Number:

PAL368811

See more items in:

Paleogeneral

Types: Foraminifera

Foraminiferida Oversized and Thin Section Type and Non-Type

Paleobiology

Data Source:

NMNH - Paleobiology Dept.

GUID:

http://n2t.net/ark:/65665/395274b25-d10a-48c3-85bc-f046f38102f3

EDAN-URL:

edanmdm:nmnhpaleobiology_3258126