Search Results

Collection Creator:

Clarke, Arthur C., Sir (Arthur Charles), 1917-2008  Search this

Container:

Box 182, Folder 4

Type:

Archival materials

Photographs

Date:

1953 - c.1955

Scope and Contents note:

3 sets of storage books of negatives, also with contact sheet strips and descriptions

Collection Restrictions:

No restrictions on access.

Collection Rights:

Permissions Requests

Collection Citation:

Arthur C. Clarke Collection of Sri Lanka, Acc. 2015-0010, National Air and Space Museum, Smithsonian Institution.

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Arthur C. Clarke Collection of Sri Lanka

Arthur C. Clarke Collection of Sri Lanka / 7: Images / 7.1: Photos

Archival Repository:

National Air and Space Museum Archives

EDAN-URL:

ead_component:sova-nasm-2015-0010-ref783

Collection Creator:

Clarke, Arthur C., Sir (Arthur Charles), 1917-2008  Search this

Container:

Box 186, Folder 8

Type:

Archival materials

Photographs

Date:

22 March 2008

Scope and Contents note:

Digital photos on a DVD. Archivist created a contact sheet of the photographs.

Collection Restrictions:

No restrictions on access.

Collection Rights:

Permissions Requests

Collection Citation:

Arthur C. Clarke Collection of Sri Lanka, Acc. 2015-0010, National Air and Space Museum, Smithsonian Institution.

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Arthur C. Clarke Collection of Sri Lanka

Arthur C. Clarke Collection of Sri Lanka / 7: Images / 7.1: Photos

Archival Repository:

National Air and Space Museum Archives

EDAN-URL:

ead_component:sova-nasm-2015-0010-ref829

Collection Creator:

Leo Castelli Gallery  Search this

Container:

Box 9, Folder 30

Type:

Archival materials

Date:

1980

Collection Restrictions:

Use of original records requires an appointment.

Collection 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.

Collection Citation:

Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.

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Leo Castelli Gallery records

Leo Castelli Gallery records / Series 1: Correspondence

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-leocast-ref8502

Collection Creator:

De Rivera, José Ruiz, 1904-1985  Search this

Extent:

(from Box 4, Folder 21)

Container:

Box 7, Folder 3

Type:

Archival materials

Date:

undated,

Collection Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Collection 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.

Collection Citation:

José de Rivera papers, 1930-1991. Archives of American Art, Smithsonian Institution.

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José de Rivera papers

José de Rivera papers / Series 7: Photographs

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-derijose-ref219

Collection Creator:

Modern Multiples  Search this

Duardo, Richard, 1952-2014  Search this

Container:

Box 24, Folder 20

Type:

Archival materials

Date:

circa 1980s-1990s

Scope and Contents:

Includes contact sheets, negatives, and transparencies, many interleaved between pages of album. Also includes clipping at front.

Collection 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 born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.

Collection 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.

Collection Citation:

Modern Multiple records, 1970s-2017. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by Gerald and Bente Buck.

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Modern Multiples records

Modern Multiples records / Series 5: Photographic Material

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-modemult-ref479

Collector:

Ellington, Duke, 1899-1974  Search this

Photographer:

DeCarava, Roy  Search this

Collection Collector:

Musical History, Division of (NMAH, SI)  Search this

Collection Creator:

Ellington, Duke, 1899-1974  Search this

Culture:

African Americans  Search this

Type:

Archival materials

Photographs

Date:

1924-1972, undated

Scope and Contents:

Contains black and white and color photographs, contact sheets, slides, and negatives documenting Duke Ellington's career as a musician and the evolution of the Duke Ellington Orchestra between 1924 and 1972. The photographs depict the orchestra and its various band members and singers in domestic concerts and international tours, Ellington with presidents and heads of state, Ellington's family, the Sacred Concerts, and publicity shots of Ellington.

Images of particular interest include Duke Ellington with Presidents Richard M. Nixon and Lyndon B. Johnson, Queen Elizabeth, Princess Margaret, and prominent musicians including Louis Armstrong, Ella Fitzgerald, Tony Bennett, Leonard Bernstein, and Billy Strayhorn. The images also document places of interest where Ellington performed, such as Birdland, Westminster Cathedral, and the ancient theatre in Baghdad. Of particular interest are photographs of the original Cotton Club Orchestra and the Washingtonians, Duke Ellington's first band.

The photographs are arranged into subject categories such as Awards, Band Members, Duke Ellington at the Piano, Friends and Associates, International Tours, Publicity, etc.

Miscellaneous photographs of musicians, concerts, etc. Includes work by famed photographer Roy de Carava, ca. 1960s (Box 1, folders 33, 34, and 35, and other locations in the series).

Restrictions:

Unrestricted research access on site by appointment. Unprotected photographs must be handled with gloves.

Collection Rights:

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

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Occupation:

Musicians -- 20th century  Search this

Topic:

African American musicians  Search this

African American musicians  Search this

Genre/Form:

Photographs -- 20th century -- Black-and-white photoprints

Collection Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0301, Series 7

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Duke Ellington Collection

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0301-ref18966

Consultant:

Richardson, Deborra  Search this

Collector:

Reagon, Bernice Johnson, 1942-  Search this

Names:

Chick Webb Orchestra  Search this

Hampton University Choir  Search this

Harmonizing Four  Search this

Jubilee Singers  Search this

Dett, Nathaniel  Search this

Dorsey, Thomas A.  Search this

Ellington, Duke, 1899-1974  Search this

Tharpe, Rosetta  Search this

Tindley, Charles  Search this

Extent:

6.55 Cubic feet (17 boxes)

Type:

Collection descriptions

Archival materials

Date:

circa 1822-1994

Summary:

The collection documents the customs and culture of black gospel song and its performance in 19th- and 20th-century America. Dr. Reagon collected photographs, sheet music, and other primary and secondary sources chronicling the development and legacy of this medium, from the Civil War to the Civil Rights movement, from blues to Gospel to classical to jazz.

Among the subjects included in this collection are trailblazers such as Charles Tindley, Thomas A. Dorsey, Rosetta Tharpe, Duke Ellington, and Nathaniel Dett. Noted performers are the Fisk Jubilee Singers, the Harmonizing Four, the Hampton University Choir, and the Chick Webb Orchestra.

Scope and Contents:

The Bernice Johnson Reagon Collection of the African American Sacred Music Tradition documents the music, and the society, history, and customs from which it emerged. The materials were collected by Dr. Reagon during her tenure as Director of the Program in Black American Culture, Curator, and Curator Emerita at the National Museum of American History, Smithsonian Institution (1977-1997). The records span the nineteenth century and greater part of the twentieth century. The collection is important because it allows an understanding of the interconnectivity of African American musical forms. Gospel, Jazz, and Protest Songs document the African experience in America through verse and melody. Dr. Reagon collected photographs, sheet music and other primary and secondary sources chronicling the development of African American sacred music tradition from its birth during the period of slavery through the creation of concert spiritual, gospel music, jazz and the performance of protest song in the century following Emancipation.

The records, which measure approximately six linear feet, contain photographs, sheet music, and what Dr. Reagon calls "cultural files" pertaining to figures in, types of, and history of African American music. The cultural file material formats include book, news and magazine articles, programs, bio-sketches, and music. Information about personalities such as Marian Anderson, La Verne Baker, Dorothy Love Coates, Nathaniel Dett, Thomas Dorsey, Frederick Douglass, Duke Ellington, and the Golden Gate Quartet are contained among the collection materials. Also, there are items on gospel trailblazers such as Charles Tindley, Thomas A. Dorsey, and Rosetta Tharpe. In addition, the collection features materials connected to historians and other scholars who participated in a number of teams Reagon organized to carry out specific research initiatives in sacred music traditions and the larger African American experience.

The collection, which was arranged by Dr. Reagon and staff, consists of four parts: a cultural file, a sheet music file, a photography file, and a negative file. The cultural file includes primary documents such as programs from historic performances, personal letters, press releases, and programs from scholarly conferences as well as secondary materials such as journal articles, excerpts from books, and biographical notes. The photography (and negative) files contain photographs of performers and scholars who have participated in the evolution of the African American sacred music tradition. The sheet music file encompasses songbooks and individual pieces of music.

Series 1: Cultural Files, ca. 1836 - 1994: The bulk of materials date from the 1920's to the 1960's. Four document boxes of materials which relate to prominent personalities, groups and events that contributed to the popularization of African American sacred music. Also included in this series is information on slave songs, the Civil War, the Black Church, the Civil Rights Movement, and popular music culture.

Series 2: Sheet Music, ca. 1901 - 1993: The bulk of materials date from the 1900's to the 1950's. Three document boxes of sacred music sheets and songbooks including concert, spiritual, and gospel arrangements. Also included are a few popular compositions, some written by classically trained musicians.

Series 3: Negative Files, ca. 1880's - 1993: The bulk of the materials ranges from 1940 to 1965. Two boxes document boxes of photographic negatives depicting gospel music performers and performances. Included .are contact sheets and individual negatives of varying sizes.

Series 4: Photographs and Illustrations, ca. 1822 - 1993: The bulk of materials range from the 1900's to the 1980's. Eight document boxes of photographs featuring gospel performers, performances, sacred rituals, sacred organizations, Civil Rights activity , and gospel music conferences (primarily black and white).

Biographical / Historical:

Bernice Johnson Reagon, noted vocalist, musician, curator, historian, writer and civil rights activist, provided the impetus for the Smithsonian Institution's research into African American sacred song and music traditions from 1977 until ca. 1997.

Dr. Reagon was born October 2, 1942 to a rural Georgia Baptist minister (Jesse Johnson) and his wife (Beatrice Wise) whose religious influence is evident in her research and performance style. She came of age during the 1960's Civil Rights era, and was a Student Non-violent Coordinating Committee (SNCC) Freedom Singer. The SNCC Freedom Singers were an African American group whose vocal singing style was an integral element in the civil rights struggles. The Singers traveled throughout the country performing protest songs such as "We Shall Not Be Moved" and "This Little Light of Mine". Their songs reflected the Black church theology of the era, emphasizing freedom, long denied, but fervently sought by civil rights activists and the people they represented.

At one march, Reagon was jailed along with hundreds of other demonstrators. This experience taught her the importance of music as a political act. Reagon reflected on this in the book We Who Believe in Freedom: Sweet Honey in the Rock... She founded Sweet Honey in the Rock, a highly regarded female a capella ensemble dedicated to performing traditional music of the African diaspora in 1973, started working full time at the Smithsonian Institution in 1974, and earned a Ph. D. from Howard University in 1975.

Reagon's life has combined political activism with music and cultural history. She began directing the Smithsonian's Program in Black American Culture in 1976. In 1988 she became a curator at the National Museum of American History and after retirement in 1993 continued her work in African American songs of protest and sacred traditions as a curator emeritus at the Smithsonian and a distinguished professor at American University.

Dr. Reagon has authored and edited numerous publications including, We'll Understand It Better By and By: African American Pioneering Gospel Composers, (Smithsonian Press, 1992) and We Who Believe in Freedom: Sweet Honey in the Rock...Still on the Journey (Anchor Books, 1993). She was principal scholar, producer and host of the National Public Radio series "Wade in the Water: African American Sacred Music Traditions (1994). Dr. Reagon has served as consultant composer and performer for several film and video projects including programs for PBS,"Eye on the Prize" (Blackside Productions) and "We Shall Overcome" (Ginger Productions), and has won a number of awards for her scholarship and pioneering work (MacArthur Fellowship, 1989; the Charles Frankel Prize,1995 and the Isadora Duncan award, 1996).

Provenance:

Collection donated by Bernice Johnson Reagon.

Restrictions:

Collection is open for research.

Rights:

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

Topic:

Gospel music  Search this

Identifier:

NMAH.AC.0653

See more items in:

Bernice Johnson Reagon Collection of African American Sacred Music

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0653

Collection Consultant:

Richardson, Deborra  Search this

Collection Collector:

Reagon, Bernice Johnson, 1942-  Search this

Extent:

2 Boxes

Type:

Archival materials

Date:

circa 1880's - 1993

bulk 1940-1965

Scope and Contents:

Two boxes document boxes of photographic negatives depicting gospel music performers and performances. Included .are contact sheets and individual negatives of varying sizes.

Collection Restrictions:

Collection is open for research.

Collection Rights:

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

Identifier:

NMAH.AC.0653, Series 3

See more items in:

Bernice Johnson Reagon Collection of African American Sacred Music

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0653-ref441

Collector:

Community Life, Div. of (NMAH, SI)  Search this

Community Life, Div. of (NMAH, SI)  Search this

Photographer:

Alland, Alexander, Sr. (Alexander Landschaft), 1902-1989  Search this

Author:

Kaslov, Steve, ca. 1888-1949 (King of the Red Bandanna Romany Gypsies )  Search this

Names:

Jura, Chaiko (Gypsy leader)  Search this

Kaslov, Pupa  Search this

Kaslov, Steve, ca. 1888-1949 (King of the Red Bandanna Romany Gypsies )  Search this

Extent:

4.3 Cubic feet (15 boxes)

Type:

Collection descriptions

Archival materials

Photographs

Journals

Dissertations

Scrapbooks

Manuscripts

Place:

West Virginia -- 1930-1950

New Jersey -- 1930-1950

Maspeth (Queens, Long Island, N.Y.) -- 1930-1950

New York (N.Y.) -- photographs -- 1930-1950

Date:

circa 1920-1975

Scope and Contents:

This collection consists of 4.3 cubic feet of manuscript, print, and photographic materials created or collected by Carl de Wendler-Funaro (1898-1985) in pursuit of his interest in Gypsy life and culture. (Carlos de Wendler-Funaro used several forms of his name; he wrote mostly as Carl de Wendler-Funaro.) The -collection was brought to the attention of the Division of Community Life, National Museum of American History, by Matt T. Salo and donated to the Smithsonian by Dr. de Wendler-Funarol's widow, Cornelia de Funaro, in May 1985, through Richard E. Ahlborn, Curator.

The number and breadth of the photographic materials, especially, the accompanying documentation and their representation of many Gypsy groups in a single time period, make this collection an important resource for research.

Print and Manuscript Materials

The print and manuscript materials in the collection are organized-into six series: (1) materials for which Carl de Wendler-Funaro is author, co-author or editor; (2) materials about de Wendler-Funaro; (3) correspondence; (4) journals, books, or extracts from them, by various authors; (5) newspaper and magazine articles; (6) photomechanical images from newspapers, magazines, and books.

The manuscript materials include drafts of portions of planned books, reading notes, and Gypsy language notes and transcriptions. De Wendler-Funaro seems to have planned two books. One was to have been a book of his photographs, with accompanying essays describing his encounters with Gypsies, the other a work on Gypsies, especially those in the United States. The major element of the second book was to have been the history of the Rom in this country as told by Steve Kaslov. The second work was to have included the manuscripts, 'The Last Caravan,' on Romnichels in the United States; 'Romanian Gypsies in Maspeth Village,' on the Ludar; 'Hungarian Gypsies,' orx these musicians in the United States; and some folk tale materials. Several outlines for the two books are in the collection.

The draft materials written with Steve Kaslov include an account of the Gypsy leader Chaiko Jura. The account, which seems to approach legend at some points, describes his immigration to the United States, adventures in this country, and death. Also among the draft materials, and intended to follow in the proposed book, is what may be termed an official biography of Steve Kaslov (c. 1888-1949). Apparently tentatively entitled "The Ways of my People,' the manuscript recounts a few incidents, told at length, in the experiences of Kaslov's family and social network from about 1900 to about 1938.

De Wendler-Funaro's notes suggest that the Kaslov biography was dictated to an unnamed lawyer in the early 1930s and given to de Wendler-Funaro in 1934. Kaslov dictated the story of Chaiko to de Wendler-Funaro. (Perhaps this is the source of a statement in the New York Sun, June 20, 1941, that Kaslov had written two books.)

The okaslov manuscripts' are written mostly in a variety of American English common among American Rom. Parts of the biographical section are written in the first person, others in the third. Cultural material includes descriptions of weddings, funerary ritual, business transactions, conflicts and conflict resolution. As factual sources the manuscripts are unreliable: dates, for example, are only very approximate; birth places for Steve Kaslov and his family are incorrect.

Evidence in the manuscripts indicates that de Wendler-Funaro hoped, through 1976, to publish these texts in some form. Apparently Kaslov made a first attempt to publish in 1940, when he sent a draft to Eleanor Roosevelt. Mrs. Roosevelt sent the manuscript on to George Bye, a literary agent, who returned it in 1941 as unpublishable, calling it a Oterribly disorganized manuscript .... [Kaslov] is now working with a doctor (de Wendler-Funarol who claims to be an author but the results are very unhappy' (Correspondence in FDR Library).

Correspondence in the collection (series 3) includes letters to and from de Wendler-Funaro; drafts of letters by Steve Kaslov, soliciting aid for Gypsy education; and correspondence between the U.S. Consulate in Matamoros, Mexico, and the U.S. Department of State. According to Mrs. de Funaro, Carl de Wendler-Funaro destroyed his other correspondence before his death.

Many of the books, journals, articles, and extracts in the collection (series 4)- are materials upon which de Wendler-Funarol's dissertation is based. They include typed transcriptions of published articles as well as printed matter; dates of the materials range from 1554 to 1979.

The collection includes about 2,000 photoprints, including multiple copies, and 2,000 negatives. These materials are organized into eleven series: (7) photographs by de Wendler-Funaro: Gypsies in the United States; (8)photographs by de Wendler-Funaro: Gypsies outside the United States; (9) heirloom photographs'; (10) photographs by other creators; (11) photographs ;rom commercial agencies; (12) photographs of non-Gypsies; (13) photocopies, of numbered photos, in numerical order; (14) negatives; (15) contact sheets made from negatives from by the Smithsonian Office of Printing and Photographic Services, 1986; (16) scrapbook sheets; (17) slides made from negatives and prints by the Smithsonian Office of Printing and Photographic. services, 1986.

The original photographs by Carlos de Wendlet-Funaro span the,period 1922 to 1966, but the majority were taken from about 1932 to about 1942. More than half the photographs are of the Rom group of Gypsies in the United States, and most of these were taken in New York City from about 1938 to about 1942. Other original photos by de Wendler-Funaro are of other Gypsy groups in the United States -- Ludar, Romnichels, 'Black Dutch,w and Hungarian musicians -- as well as of Gypsies in Mexico, Holland, Germany, Austria, France, England, and Hungary. Photographs by other creators include copies of portraits collected from Gypsy families, photos by other photographers, and commercial news photographs collected by de Wendler-Funaro.

De Wendler-Funaro seems to have used the photographs to gain access to Gypsy families and communities (many photos show Gypsies examining albums and sets of pictures). Some photographs were published in his 1937 article, and in two articles by Victor Weybright (1938a, 1938b). De Wendler-Funaro apparently also used lantern slides made from these photographs in lectures on the subject of Gypsies; a handbill advertising his availability on the lecture circuit is part of the collection.

Manuscript drafts for book outlines, introductions, and accompanying essays show that de Wendler-Funaro long nurtured hopes of publishing a popular tool-, 'Incorporating his photographs. To this end he numbered and captioned more than a hundred of these; a partial list of captions is part of the manuscript files. For the most part, the captions are not very helpful in understanding Gypsy cultures. Photocopies of these pictures with captions, in numerical order, are in box 8. With some exceptions, most of the photographs can be used to study costume, personal ornament, and kinesics; these will not be listed separately as subjects in the inventory. The photos of the Rom in New York City show several types of traditional costume, contemporary modish dress, and a wide range of variations on both. Taken together with the "heirloom photos' collected from the same group, they show change and variety in men's and women's dress.

In the photographs of individuals and groups one may compare, for example, sitting positions of women with relation to costume and use (or non-use) of chairs.

Most of the photographs of Rom taken in New York City show Gypsies relaxing on stoops or in the street during the summer, a common pastime in their neighborhoods. They contain little culturally specific information other than that discussed above.

Information on housing is most clearly represented in photographs of camps, in which the type of tent and, to some extent, the relationships of tents, are visible. All the tents shown appear to be commercially made. Since it was the practice to raise the tent walls in good weather, many photos also show tent interiors, with wooden platform floors used on non-grassy sites (Rom) or linoleum as a ground cloth (Romnichel). The use of featherbeds; either alone (Rom) or with bedsteads (Romnichel) is documented.

There are few photographs showing the use of interior space in urban storefront or apartment dwellings (Rom). The photographs taken in the Maspeth, Long Island, 'Gypsy village' show exteriors of the shacks built@by the Ludar.

Of cooking and heating equipment, the cast-iron or sheet-metal stoves of the Romnichels are most evident. The Rom are shown using a variety of equipment, the traditional trivet (Mexico), the Coleman-type camp stove (U.S), and the pot-bellied coal stove (New York City).

Photographs of autos and trucks, auto-drawn luggage trailers (Romnichels in the North), and horse-drawn wagons (by the horse and mule trading Romnichels in the South) reveal something of the transport of people and goods.

A few photographs show subjects at work, but most work pictures are static demonstrations or mere associations with productive enterprise. There are demonstrations of coppersmithing and fender repair work (Rom), and manufacture of rustic furniture (Romnichels), as well as posed demonstrations of palm-reading. Romnichels in the South are shown posing with horses and mules. The business that appears most frequently is fortune-telling, through photographs of roadside business tents (Romnichel); amusement, fair, and resort-area tents and stands (Rom); and canvas facades, banners and signs carrying the fortune-teller's message.

Ritual life is poorly represented in the photographs. There are some photos of a funeral procession, and one interior shot of a funeral; two photos of a saint's-day feast; one of a memorial feast; and one set taken in preparation for Christmas festivities. Curiously, there are no photographs of Rom weddings. The dearth of pictures of rituals and celebrations, which form so important a part of Rom life, may be due to difficulties with interior lighting.

Because of internal and other inconsistencies, exact dating of the photographs is often difficult. Discrepancies of as much as ten year occur in some of the dates in de Wendler-Funaro's notes.

Arrangement:

Collection is arranged into seventeen series.

Biographical / Historical:

According to information supplied by Mrs. de Funaro, Carl de Wendler-Funaro was born in Brooklyn, New York, on October 12, 1898. After attending Boys' High School and Erasmus Hall High School in Brooklyn, he attended the University of Illinois and Cornell University, receiving a bachelor's degree in entolomology from Cornell in 1923. Subsequently he taught foreign languages at New York University, the McBurney School of the YMCA in New York City, Newark Academy and Wagner College. He began graduate work in the late 1930s, and in 1958 earned a doctorate from Columbia University with a dissertation on 'The Gitano in Spanish Literature' (a copy is in the collection, Box 1, folders 2 and 3). De Wendler-Funaro retired from teaching in 1963; he died in Tucson, Arizona on February 15, 1985.

Carl de Wendler-Funaro was an avid amateur collector of insects, especially Coleoptera, as well as shells, minerals, stamps and coins; his insect collections were donated to the American Museum of Natural History in New York.

De Wendler-Funaro's interest in Gypsies, according to his manuscripts, began in childhood. The manuscripts and one published article indicate that this interest continued to be personal, rather than professional,,,,apd @hat,,he, did not pursue his contacts with Gypsies systematically. (it was, not, 'until' the late 1940s that anthropologists began systematic studies of GYPSY.@ cultures.) It appears that de Wendler-Funaro sought out Gypsies in fairgrounds, amusement parks and urban storefronts, collecting specimens of language and taking photographs. Irving Brown's letter to de Wendler-Funaro (1929), and de Wendler-Funarol's article in Leisure (1937) refer to his visits to amusement parks. Some of his Romnichel (English Gypsy) subjects recall him as the man who drove along the roads, stopping to take pictures wherever he saw a tent. About 1938 de Wendler-Funaro became involved with a Committee on Gypsy Problems of the Welfare Council, a social service agency of New York City. This involvement may have been an outgrowth of his association with Steve Kaslov, styled by some a Gypsy king. De Wendler-Funaro seems to have served as Kaslov's amanuensis.

Gypsies in the United States:

Several groups, all known to outsiders as "Gypsies," live today in the United Sates. In their native languages, each of the groups refers to itself by a specific name, but all translate their self-designations as 'Gypsy' when speaking English. Each had its own cultural, linguistic, and historical tradition before coming to this country, and each maintains social distance from the others. An overview of these groups and their interethnic relations is presented in "Gypsy Ethnicity: Implications of Native Categories and Interaction for Ethnic Classification," by Matt T. Salo.

Rom

The Rom arrived in the United States from Serbia, Russia and Austria-Hungary beginning in the 1880s, part of the larger wave of immigration from southern and eastern Europe in the late 19th and early 20th centuries. Primary immigration ' ended, for the most part, in 1914, with the beginning of the First World War and subsequent tightening of immigration restrictions (Salo and Salo 1986). Many people in this group specialized in coppersmith work, mainly the repair and retinning of industrial equipment used in bakeries, laundries, confectionaries, and other businesses. The Rom, too, developed the fortune-telling business in urban areas.

Two subgroups of the Rom, the Kalderash ('coppersmiths') and, Machwaya natives of machva,' a county in Serbia) appear in the photographs iiv, this collection. De Wendler-Funaro identified some, but not all, Kalderash as, 'Russian Gypsies.' Another group he identified as "Russian Gypsies' seem, to,, be the Rusniakuria ('Ruthenians'), who in New York are known as musicians and singers.

Ludar

The Ludar, or "Romanian Gypsies,' also immigrated to the United States during the great immigration from southern and eastern Europe between 1880 and 1914. Most of the Ludar came from northwestern Bosnia. Upon their arrival in the United States they specialized as animal trainers and show people, and indeed passenger manifests show bears and monkeys as a major part of their baggage. Most of de Wendler-Funarols photographs of this group were taken in Maspeth, a section of the borough of Queens in New York City, where the Ludar created a village of home-made shacks that existed from about 1925 to 1939, when it was razed. A similar settlement stood in the Chicago suburbs during the same period. One of de Wendler-Funarols manuscripts, "Romanian Gypsies at Maspeth Village,' (box 1, folder 9), and a letter from Ammiee Ellis, a social worker (box 2, folder 2), refer to this settlement.

Romnichels

The Romnichels, or English Gypsies, began to come to the United States from England in 1850. Their arrival coincided with an increase in the demand for draft horses in agriculture and then in urbanization, and many Romnichels worked as horse-traders. After the rapid decline in the horse trade following the First World War, most Romnichels relied on previously secondary enterprises, 'basket-making,* including the manufacture and sale of rustic furniture, and fortune-telling. Horse and mule trading continued to some extent in southern states where poverty and terrain slowed the adoption of tractor power (Salo and Salo 1982).

Photoprints in box 6, folders 2 through 10, correspond with de Wendler-Funarols trip described in his manuscript 'In Search of the Last Caravan' (box 1, folder 10). Discrepancies between this manuscript and the photos should be noted. De Wendler-Funarols notes date this trip variously between 1931 and 1945. I have dated it about 1940. Although one man appears as a frequent subject in the largest set of photos (box 6, folders 22 and 23), in the manuscript, de Funaro mentions having missed meeting him.

'Black Dutch'

Gypsies from Germany, whom de Wendler-Funaro refers to 'as Chikkeners (Pennsylvania German, from the German Zigeuner), sometimes refer to themselves as wblack Dutch.w They are few in number and claim to have largely assimilated to Romnichel culture. They are represented in de Wendler-Punarols photographs by a few portraits of one old man and briefly referred to in the manuscript mIn Search of the Last Caravan.*

Hungarian Gypsies

The Hungarian musicians also came to this country with the eastern European immigration. In the U.S. they continued as musicians to the Hungarian and Slovak immigrant settlements.

Provenance:

Collection donated by Mrs. Cornelia de Funaro, June 26, 1985.

Restrictions:

Collection is open for research.

Rights:

Photographs by de Wendler-Funaro are available for reproduction. Fees for commercial use. Permission to reproduce photographs by Alexander Alland must be granted by the photographer's estate; other photographs may have copyright restrictions.

Topic:

Funeral rites and ceremonies -- manuscripts -- Gypsies  Search this

Wagons, Gypsy -- 1920-1980  Search this

Weddings -- manuscripts -- Gypsies  Search this

Orthodox Eastern Church -- Photographs -- 1920-1980  Search this

Tents -- Photographs -- 1920-1980  Search this

Housing -- Photographs -- Wagons -- 1920-1980  Search this

Bears -- performing -- 1920-1980 -- Maspeth (N.Y.)  Search this

Housing -- Photographs -- Tents -- 1920-1980  Search this

Labor and laboring classes -- Photographs -- 1920-1980  Search this

Coppersmiths -- 1930-1950  Search this

Musicians -- 1930-1950  Search this

Furniture-making -- 1930-1950  Search this

Horse-trading -- 1930-1950  Search this

Fortune-telling -- 1930-1950  Search this

Training -- Animals -- 1930-1950  Search this

Collectors and collecting  Search this

Gypsies -- 1920-1980 -- United States  Search this

Costume -- Gypsies -- 1920-1980  Search this

Portraits -- Gypsies  Search this

Genre/Form:

Photographs -- Black-and-white photoprints -- Silver gelatin -- 1900-1950

Journals -- 1930-1950

Dissertations

Scrapbooks -- 20th century

Photographs -- Black-and-white negatives -- Acetate film -- 1930-1950

Manuscripts -- 1920-1970

Citation:

Carlos de Wendler-Funaro Gypsy Research Collection, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0161

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Carlos de Wendler-Funaro Gypsy Research Collection

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0161

Collection Collector:

Community Life, Div. of (NMAH, SI)  Search this

Collection Photographer:

Alland, Alexander, Sr. (Alexander Landschaft), 1902-1989  Search this

Collection Author:

Kaslov, Steve, ca. 1888-1949 (King of the Red Bandanna Romany Gypsies )  Search this

Container:

Box 12

Type:

Archival materials

Date:

1986

Scope and Contents:

Contact sheets made from negatives by the Smithsonian Institution Office of Printing and-Photographic Services

Collection Restrictions:

Collection is open for research.

Collection Rights:

Photographs by de Wendler-Funaro are available for reproduction. Fees for commercial use. Permission to reproduce photographs by Alexander Alland must be granted by the photographer's estate; other photographs may have copyright restrictions.

Collection Citation:

Carlos de Wendler-Funaro Gypsy Research Collection, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0161, Series 15

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Carlos de Wendler-Funaro Gypsy Research Collection

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-0161-ref391

Collection Creator:

Allan Frumkin Gallery  Search this

Extent:

0.7 Linear feet (Box 20)

Type:

Archival materials

Date:

1950-2000

Scope and Contents:

Photographic material dates from 1950-2000 and includes a variety of formats. The first folder contains photographs and transparencies of Allan Frumkin in his gallery, with artists, and with his gallery director, George Adams. Several folders of artists and artwork contain primarily negatives and contacts sheets of artists in their studios, artworks, and exhibition installations, some of which were used in the newsletter's artist profiles. Remaining folders contain prints, slides, and transparencies of artworks.

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.

Collection 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.

Collection Citation:

Allan Frumkin Gallery records, 1880, 1944-2016. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.allafrum, Series 7

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Allan Frumkin Gallery records

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-allafrum-ref7

Collection Creator:

Wortz, Melinda  Search this

Extent:

0.6 Linear feet (Boxes 17, 19)

Type:

Archival materials

Date:

1960s-1980s

Scope and Contents:

Photographs include personal and family photographs of weddings, family holidays, graduations, and other events. They include a group of photos of Hap Tivey's wedding to Liza Todd with Elizabeth Taylor in attendance; and a photo of Wortz with UCI faculty in the 1980s including Tony DeLap, Craig Kauffman, and Ed Moses.

Contact sheets include a combination of photos of artists, including Ken Friedman, exhibitions and other events, family and personal photographs, and travel photos. Other photos of artists include Frederick Eversley, Bill Harding, Jack Ox at an exhibition, and Stephen Zaimo with some of his work. Photos of artwork include that of Tony DeLap, Barbara Smith, Marc Van Der Marck, and others.

Collection Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Collection 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.

Collection Citation:

Melinda Wortz papers, 1958-1992. Archives of American Art, Smithsonian Institution.

Sponsor:

Support for the processing of this collection was provided by the Smithsonian's Collections Care Pool Fund.

Identifier:

AAA.wortmeli, Series 10

See more items in:

Melinda Wortz papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-wortmeli-ref4

Collection Creator:

Wortz, Melinda  Search this

Container:

Box 17, Folder 25

Type:

Archival materials

Date:

circa 1960s-circa 1980s

Collection Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Collection 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.

Collection Citation:

Melinda Wortz papers, 1958-1992. Archives of American Art, Smithsonian Institution.

Sponsor:

Support for the processing of this collection was provided by the Smithsonian's Collections Care Pool Fund.

See more items in:

Melinda Wortz papers

Melinda Wortz papers / Series 10: Photographs

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-wortmeli-ref486

Creator:

Smothers Brothers  Search this

Names:

Paulsen, Pat  Search this

Seeger, Pete, 1919-2014  Search this

Extent:

7 Cubic feet (21 boxes, 1 map-folder)

Type:

Collection descriptions

Archival materials

Biography files

Clippings

Color slides

Contact sheets

Contracts

Itineraries

Legal records

Letters (correspondence)

Photograph albums

Photographs

Color prints (photographs)

Programs

Press releases

Scrapbooks

Scripts (documents)

Date:

1959-2008, undated

Summary:

The collection documents the lives and careers of the Smothers Brothers, with emphasis on their 1960s television variety show, The Smothers Brothers Comedy Hour.

Scope and Contents:

Collection documents the private lives and professional careers of Tom and Dick Smothers, with emphasis on their television variety show, The Smothers Brothers Comedy Hour. The largest portion of the collection contains photographic materials. Publicity materials including press releases, programs, newspaper clippings, and magazine articles; correspondence containing fan mail (some from famous persons such as Lucille Ball, Jack Paar, and others), letters from viewers both complimentary and critical of shows, and letters from members of Congress; business records including contracts, tour itineraries, talent agency materials, scripts, and scrapbooks; and legal documents relating to the lawsuit against Columbia Broadcasting System (CBS) are also found in the collection. Collection is arranged into three series: Series 1, Photographs, 1961-2007, undated; Series 2, Business Records, 1959-2002, undated; and Series 3, Personal Papers, 1966-2008, undated.

Arrangement:

Collection is arranged into three series:

Series 1: Photographic Materials, 1961-2007, undated

Subseries 1.1: Television Shows, 1966-1989, undated

Subseries 1.2: Specials, Tours, and Public Appearances, 1964-1988, undated

Subseries 1.3: Motion Picture Films and Theatre, 1969-1982

Subseries 1.4: General, 1961-2007, undated

Subseries 1.5: Promotional, 1961-2003, undated

Series 2: Business Records, 1959-2002, undated

Subseries 2.1: Press, 1960-2002, undated

Subseries 2.2: Employee Files, 1959-1999, undated

Subseries 2.3: Smothers Brothers v. Columbia Broadcasting System, Incorporated (CBS), 1966-1972, undated

Subseries 2.4: Correspondence, 1960-1996

Subseries 2.5: Performance Materials, 1962-1993, undated

Subseries 2.6: Fan Club, 1990-1992, undated

Series 3: Personal Papers, 1966-2008, undated

Related Materials:

Materials in the Archives Center, National Museum of American History

Duncan Family Yo-Yo Collection NMAH.AC.0807

Colonna, Farrell Wine Label Collection NMAH.AC.0626

Sam DeVincent Collection of Illustrated American Sheet Music, Series 16: Country, Western and Folk Music NMAH.AC.0300

Bob Rule Papers, NMAH.AC.0855

Restrictions:

Collection is open for research.

Rights:

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

Topic:

Comedy  Search this

Folk singers  Search this

Television personalities  Search this

Television  Search this

Variety shows (Television programs) -- Production and direction  Search this

Genre/Form:

Biography files

Clippings -- 20th century

Color slides -- 20th century

Contact sheets

Contracts

Itineraries

Legal records

Letters (correspondence) -- 20th century.

Photograph albums

Photographs -- 20th century

Color prints (photographs) -- 20th century

Photographs -- Black-and-white photoprints -- 20th century

Photographs -- Black-and-white negatives -- 20th century

Photographs -- Black-and-white negatives -- Acetate film

Programs

Press releases

Scrapbooks

Scripts (documents)

Photographs -- 20th century -- Color prints

Citation:

Smothers Brothers Collection, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.1437

See more items in:

Smothers Brothers Collection

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-1437

Collection Creator:

Smothers Brothers  Search this

Type:

Archival materials

Date:

1966-1989, undated

Scope and Contents:

Include black and white and color photographic prints, contact sheets, and slides documenting scenes from various television shows broadcasted by Columbia Broadcasting System, Incorporated (CBS) and National Broadcasting Company (NBC). The earliest show represented is My Brother the Angel, originally titled the Smothers Brothers Show, a black and white half hour comedy series starring the Smothers brothers in 1966. The show lasted for one season and predates the Smothers Brothers Comedy Hour, which was also broadcasted by Columbia Broadcasting System, Incorporated (CBS) from1967-1969. Materials from the Smothers Brothers Comedy Hour, a comedy and variety series, include images of the Smothers brothers, regular cast members, and well-known musical artists and actors as guests. Conflicts with CBS network executives over program content resulting in the cancellation of their show meant that the Smothers could pursue programming with National Broadcasting Company (NBC). Images documenting the National Broadcasting Company's (NBC) the Smothers Brothers Show dating from 1974-1975 and the Smothers Brothers Comedy Hour, 1988-1989 revival are also found among these materials. In addition, there are materials relating to the Glen Campbell Summer Show, a replacement for the Smothers Brothers Comedy Hour, dating from 1968. Materials are arranged in chronological order.

Collection Restrictions:

Collection is open for research.

Collection Rights:

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

Collection Citation:

Smothers Brothers Collection, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.1437, Subseries 1.1

See more items in:

Smothers Brothers Collection

Smothers Brothers Collection / Series 1: Photographic Materials

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-1437-ref4

Collection Creator:

Smothers Brothers  Search this

Container:

Box 6, Folder 11

Type:

Archival materials

Date:

1988-10-07

Collection Restrictions:

Collection is open for research.

Collection Rights:

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

Collection Citation:

Smothers Brothers Collection, Archives Center, National Museum of American History.

See more items in:

Smothers Brothers Collection

Smothers Brothers Collection / Series 1: Photographic Materials / 1.1: Television Shows

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_component:sova-nmah-ac-1437-ref87

Collection Creator:

Parsons, Betty  Search this

Extent:

(2 folders; not scanned)

Container:

Box 1, Folder 36-37

Type:

Archival materials

Date:

1950s

Collection 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.

Collection 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.

Collection 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.

See more items in:

Betty Parsons Gallery records and personal papers

Betty Parsons Gallery records and personal papers / Series 1: Artists Files

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-parsbett-ref38

Creator:

Snelson, Kenneth, 1927-2016  Search this

Names:

Black Mountain College (Black Mountain, N.C.)  Search this

Fuller, R. Buckminster (Richard Buckminster), 1895-  Search this

Tajiri, Shinkichi, 1923-2009  Search this

Extent:

21.8 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1947-2016

Summary:

The papers of artist Kenneth Snelson measure 21.8 linear feet and date from 1947-2016. While primarily known for his sculptures incorporating the structural principle of tensegrity, Snelson was also a prolific photographer and forerunner of computer art. The collection document's the artist's life and work through chronological files, correspondence, project files, gallery and exhibition files, photographic material, and printed material. Chronological files detail seven decades of personal and professional activities, beginning with Snelson's summers at Black Mountain College where he studied with Buckminster Fuller. Project files comprise nearly half of the collection and extensively document his sculptures, towers, atom model, computer art, patents, and cataloging and publishing projects.

Scope and Contents:

The papers of artist Kenneth Snelson measure 21.8 linear feet and date from 1947-2016. While primarily known for his sculptures incorporating the structural principle of tensegrity, Snelson was also a prolific photographer and forerunner of computer art. The collection document's the artist's life and work through chronological files, correspondence, project files, gallery and exhibition files, photographic material, and printed material.

Chronological files detail seven decades of personal and professional activities, beginning with Snelson's summers at Black Mountain College where he studied with Buckminster Fuller. Files contain a diverse array of material including personal photographs, photographs of artwork, printed material, correspondence, life documents, resumes, exhibition records, drawings and sketches, supply receipts, and professional files.

Correspondence in Series 2 is primarily with artists and friends. Notable correspondents include artists Buckminster Fuller, Anthony Hill, Todd Siler, and Shinkichi Tajiri.

Project files comprise nearly half of the collection and extensively document Snelson's sculptures, towers, atom model, computer art, patents, and cataloging and publishing projects. Files include a great deal of photographic material of artwork, models, and installations, as well as sketches, notes regarding specifications, material samples, supply receipts, invoices, and correspondence with dealers, contractors, institutions, and companies commissioning work.

Exhibition and gallery files document dozens of exhibitions and galleries that have represented Snelson over the years in the Unites States, Europe, and Japan. Items include correspondence, photographic material of artworks, installations, and openings, exhibitions lists, floorplans, shipping receipts, invoices, contracts, and printed material including exhibitions catalogs, announcements, and clippings.

Photographic material includes photographic prints, slides, negatives, contact sheets, and transparencies, as well as notes that Snelson kept about camera types and photographic processes. Although personal photographs are included here, the bulk of the material pertains to Snelson's fine art photography in which he experiments with panoramic photography and stereoscopic photography.

Printed material is predominantly comprised of exhibition catalogs, although a few articles and clippings are filed here as well.

Arrangement:

The collection is arranged as six series.

Series 1: Chronological Files, 1948-2015 (Boxes 1-6; 5.1 linear feet)

Series 2: Correspondence, 1948-2009 (Box 6; 0.5 linear feet)

Series 3: Project Files, 1947-2016 (Boxes 6-17; 10.8 linear feet)

Series 4: Exhibition and Gallery Files, 1963-2016 (Boxes 17-20; 1.5 linear feet)

Series 5: Photographic Material, 1951-2004 (Boxes 20-22; 1.8 linear feet)

Series 6: Printed Material, 1960-2015 (Boxes 22-23; 0.7 linear feet)

Biographical / Historical:

Kenneth Snelson (1927-2016) was a New York City based artist best known for his sculptures incorporating the structural principle of tensegrity, or tensional integrity.

Born in Pendleton, Oregon, Snelson enrolled in college in his home state, studying painting, sculpture, and engineering. In the summers of 1948 and 1949, he attended Black Mountain College and studied with Buckminster Fuller and Joseph Albers. Snelson then attended the Chicago Institute of Design from 1949-1950, and moved to New York City in 1952.

For the next decade, Snelson worked as a cameraman for documentary films, often travelling internationally. In the early 1960s, Snelson began exhibiting his sculptures, and gained representation by Dwan Gallery. Snelson completed several commissions and installations of his sculptures over the next decade, including Tower of Light, a contribution to the 1964 World's Fair, and Needle Tower, first erected in New York's Bryant Park in 1968. While continuing to work in sculpture throughout his career, Snelson began experimenting with panoramic and stereoscopic photography in the 1970s, and became a forerunner of computer art in the 1980s, using the Silicon Graphics computer to create digital sculptures.

In addition to Dwan Gallery, Snelson has shown with Sonnabend Gallery, Zabriskie Gallery, Marlborough Gallery, and the artist-run ConStruct Gallery.

Snelson has been the recipient of numerous awards and prizes including an Honorary Doctorate from the Rensselaer Polytechnic Institute, awards from the American Academy of Arts and Letters, and a prize for sculpture from the National Academy of Design.

Provenance:

The collection was donated to the Archives of American Art in 2017 by Katherine Snelson, Kenneth Snelson's widow.

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.

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:

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

Citation:

Kenneth Snelson papers, 1947-2016. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.snelkenn

See more items in:

Kenneth Snelson papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-snelkenn

Collection Creator:

Snelson, Kenneth, 1927-2016  Search this

Extent:

1.8 Linear feet (Boxes 20-22)

Type:

Archival materials

Date:

1951-2004

Scope and Contents:

Photographic material dates from 1951-2004 and includes photographic prints, slides, negatives, contact sheets, and transparencies, as well as notes that Snelson kept about camera types and photographic processes. Primary subjects include artwork, New York City, studio spaces, and travel destinations. Although personal photographs are included here, a bulk of the material pertains to Snelson's fine art photography in which he experiments with panoramic photography and stereoscopic photography. Snelson organized many photographs by the type of camera he used, which can be found under the "Camera Type" heading.

Collection 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.

Collection 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.

Collection Citation:

Kenneth Snelson papers, 1947-2016. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.snelkenn, Series 5

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Kenneth Snelson papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-snelkenn-ref5

Collection Creator:

Sanchez, Emilio, 1921-1999  Search this

Extent:

(boxes 1-3; 51 folders)

Type:

Archival materials

Date:

1922-1979, undated

Scope and Contents note:

This series contains primarily color snapshots, in addition to some black and white photgraphs, several negatives and slides, and a series of contact sheets. There are family and personal photographs; photographs taken on travels intended to be used as sources for artwork; and photographs of works of art by Sanchez. Family and personal photographs include two photographs of Sanchez with his family, including his father; photographs of Sanchez at the Fortuny Exposition in Madrid in 1964 and at a 1966 exhibition in New York City; snapshots of him on his travels; and photographs of his "father, Pepino, and girlfriend" standing by Paris posters of Sanchez's 1953 exhibition at Bernheim-Jeune in Paris.

Arrangement note:

Photographs are arranged by general subject category and then chronologically. Negatives can be found at the end of the series.

Collection Restrictions:

The collection is open for research. Use requires an appointment.

Collection 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.

Collection Citation:

Emilio Sanchez papers, 1922-2012. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.sancemil, Series 3:

See more items in:

Emilio Sanchez papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-sancemil-ref28