Records document the preparation and management of Duke Ellington's 1963 tour of Asia.
Scope and Contents:
The Naomi Huber Brown Papers contain black and white photographs, correspondence, business contracts, travel itineraries, list of band members, newspaper reviews, a concert program and Brown's personal diary documenting Duke Ellington's 1963 State Department tour of the Middle East and Asia. The material is arranged alphabetically. Of particular interest is a program from a November 1 and 3 Karachi, Pakistan concert, and photographs autographed by Ellington, Louis Armstrong, and Isaac Stern.
Arrangement:
Collection is arranged into one series.
Biographical/Historical note:
Naomi Huber Brown was the United States Foreign Service officer that was responsible for the administration of Duke Ellington's State Department tour of the Middle East and Asia in 1963. Her duties included scheduling travel and making arrangements for the members of the Ellington Orchestra, and the distribution of appropriate currencies to the band members as they toured each country.
Provenance:
Collection donated by Naomi Huber Brown, July 15, 1991.
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:
Jazz musicians -- 1960-1970 -- United States Search this
Primarily audiotapes, sheet music, and photographic images. Also: correspondence, newspaper clippings, magazine articles, itineraries, awards, and ephemera.,Of particular interest are recordings or photographic images, including the personalities listed below, and President and Mrs. Tubman of Liberia; also, two interviews and three recordings of Cat Anderson as guest with various university and college jazz bands.
Arrangement:
Collection is divided into four series.
Series 1: Music
Series 2: Original tapes and recordings
Series 3: Photographs
Series 4: Miscellaneous
Biographical/Historical note:
Cat Anderson (Sept 12, 1916 - April 29, 1981) was one of the premier trumpet players of the Duke Ellington Orchestra. Known for his effortless high notes, he was a strong section leader and a great soloist whose style exhibited humor and precision. He grew up in Jenkins= Orphanage in Charleston, SC, received basic music training there, and participated in many of their famous student ensembles. He formed and played with the Cotton Pickers, a group of orphanage teens while still a young man. Before joining Ellington in 1944, he played in several big bands, including Claude Hopkins and Lionel Hampton. Anderson left the Ellington organization from 1947 through 1949 again to lead his own group. From 1959 to1961 and after 1971 Anderson free lanced, working with the Ellington orchestra intermittently. He died in 1981 after receiving honors from the US Air Force, the Prix du Disque de Jazz, and the City of Los Angeles.
Related Archival Materials:
Related artifacts include: awards, plaques, mutes, trumpet mouth pieces, and the Jon Williams/Cat Anderson simulator in the Division of Cultural and Community Life (now Division of Cultural and Community Life). See accession: 1998.3074.
Provenance:
The collection was donated to the National Museum of American History in January 1998, by Dorothy Anderson, Cat Anderson's widow. It was acquired through negotiations with her, her brother, Mr. John Coffey and her nephew, Andrew Brazington. The materials were picked up from Mr. John Coffey of upper N.W. Washington, DC on January 21, 1998.
Restrictions:
Collection is open for research. Master tapes not available to researchers.
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 status of items varies. Signed copies of releases on file.
Publicity photograph for United Artists Corp. Front contains handwritten note and autograph; note: "From Louis Armstong, to [Milt Gabler?], Commodore Music Shop." Photographer unidentified.
Local Numbers:
AC0849.0000004.tif (AC Scan, Front)
Exhibitions Note:
Shown in exhibition "Jazz Photographs: Composed and Improvised," Archives Center display cases, National Museum of American History, March 28-May 10, 2005.
Collection Restrictions:
The collection is open for research use. Some materials restricted; but most are available for unrestricted research access on site by appointment.
Several items of personal correspondence contained private medical information about living individuals. The originals were removed and will remain sealed until 2030. Copies with the sensitive information redacted are available for research use in the collection.
Access to audio recordings for which no reference copy exists requires special arrangements with Archives Center staff. Please ask the reference archivist for additional information.
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.
Goodman, Benny (Benjamin David), 1909-1986 Search this
Extent:
1 Photograph (Silver gelatin on paper, 4-13/16" x 3-1/4")
Type:
Archival materials
Photographs
Date:
1937
Scope and Contents:
Photograph taken at Brunswick Studio in connection with jam session for Milt Gabler's Commodore Records. Photographer unidentified.
Local Numbers:
AC0849.0000002.tif (AC Scan, Front)
Exhibitions Note:
Shown in exhibition "Jazz Photographs: Composed and Improvised," Archives Center display cases, National Museum of American History, March 28-May 10, 2005.
Collection Restrictions:
The collection is open for research use. Some materials restricted; but most are available for unrestricted research access on site by appointment.
Several items of personal correspondence contained private medical information about living individuals. The originals were removed and will remain sealed until 2030. Copies with the sensitive information redacted are available for research use in the collection.
Access to audio recordings for which no reference copy exists requires special arrangements with Archives Center staff. Please ask the reference archivist for additional information.
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.
Photograph taken at Brunswick Studio, jam session for Milt Gabler's Commodore Records.
Local Numbers:
AC0849.0000003.tif (AC Scan, Front)
Exhibitions Note:
Shown in exhibition "Jazz Photographs: Composed and Improvised," Archives Center display cases, National Museum of American History, March 28-May 10, 2005.
Collection Restrictions:
The collection is open for research use. Some materials restricted; but most are available for unrestricted research access on site by appointment.
Several items of personal correspondence contained private medical information about living individuals. The originals were removed and will remain sealed until 2030. Copies with the sensitive information redacted are available for research use in the collection.
Access to audio recordings for which no reference copy exists requires special arrangements with Archives Center staff. Please ask the reference archivist for additional information.
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.
The papers of government arts administrator and novelist Livingston L. Biddle, Jr. (1918-2002) measure 40.2 linear feet and date from circa 1940 to 2002. The papers are comprised of biographical materials, correspondence, interviews, writings, numerous files reflecting his work to establish the National Endowment for the Arts (NEA), political committee files, personal legal records, printed materials, scrapbooks, and photographs. Throughout the collection are video and sound recordings.
Scope and Contents:
The papers of government arts administrator and novelist Livingston L. Biddle, Jr. (1918-2002) measure 40.2 linear feet and date from circa 1940 to 2002. The papers are comprised of biographical materials, correspondence, interviews, writings, numerous files reflecting his work to establish the National Endowment for the Arts (NEA), political committee files, personal legal records, printed materials, scrapbooks, and photographs. Throughout the collection are video and sound recordings.
Biographical materials consist of awards; diplomas; genealogy records; resumes; and files for Biddle's work at Fordham, his nomination for the National Medal of Arts award, and about his second wife Catharina Baart. Correspondence is with family, friends, and professional and political contacts such as Jane Alexander, President Jimmy Carter, Armand Hammer, Nancy Hanks, Edward Kennedy, Lady Bird Johnson, Sandra Day O'Connor, Claiborne Pell, Robert Rauschenberg, Slava Rostropovich, and others.
Interviews with Biddle include transcripts, four sound recordings, and two video recordings of Biddle with R.A. Davis, Bob Edwards, Peter Jessup, Susan King, Bob Schieffer, and Louann Temple.
Among the writings are journals, articles, poetry, speech notes, manuscript drafts of Our Government and the Arts: A Perspective from the Inside and Sam Bentley's Island, one video recording of "Art/Work/USA" by Barbara Rose, and one sound recording of a film introduction entitled "The Eagle".
Files concerning the establishment and early years of the National Endowment of the Arts consist of correspondence; congressional briefing books, committee files, and reports; financial material; drafts of the National Foundation on the Arts and Humanities Act of 1965; one sound reel titled "Swearing-In of L.L. Biddle, Jr.," and three video recordings. Additional files concerning Biddle's work for congressional committees and political campaigns include correspondence, meeting agendas and notes, and printed material concerning multiple arts organizations and the political campaigns for Jimmy Carter, Walter Mondale, and Claiborne Pell. Family and real estate records, a partnership agreement, and will are in personal legal records.
Printed materials include booklets, clippings, event invitations and programs, flyers, magazines and journals, and posters autographed by Jacob Lawrence, Fritz Scholder, and John Glenn. Additionally, one commercial sound cassette recordings of National Public Radio's program Performance Today is also found. Two mixed-media scrapbooks contain memorabilia from Biddle's professional life and international travel.
Photographs are of family, travel, and friends and colleagues at various events. Six video recordings are home movies of Bryn Mawr and documentaries about St. Katherine Drexel. Artwork in the form of pencil and watercolor sketches is by Ruth Asawa Lanier, Barb Maxwell, Pat Oliphant, James Rosenquist, and Howard N. Watson.
Arrangement:
The collection is arranged as 11 series.
Missing Title
Series 1: Biographical Material, circa 1950-2002 (2.5 linear; Box 1-3, 41, OV 43)
Series 2: Correspondence, 1956-2001 (2 linear feet; Boxes 3-5)
Series 3: Interviews, 1978-2002 (0.5 linear feet; Boxes 5-6)
Series 4: Writings, 1940-2002 (12 linear feet; Boxes 6-18)
Series 5: National Endowment for the Arts, 1964-2000 (10 linear feet; Boxes 18-27, 42)
Series 6: Committees and Political Campaigns, 1944-2001 (3.5 linear feet; Boxes 27-30)
Series 7: Personal Legal Records, 1952-1986 (1 linear foot; Boxes 30-31)
Series 8: Printed Materials, circa 1950-2000 (3.5 linear feet; Boxes 31-34, 41, OV 44)
Series 9: Scrapbooks, 1970-1998 (0.3 linear feet; Boxes 34, 42)
Series 10: Photographs and Video Recordings, circa 1950-2002 (4.6 linear feet: Boxes 34-40, OV 44)
Series 11: Artwork, 1976-1989 (0.3 linear feet; Box 40, OV 44)
Biographical / Historical:
Livingston L. Biddle, Jr. (1918-2002) was a federal government arts administrator and novelist active in Philadelphia, Pennsylvania and Washington, D.C.
Livingston L. Biddle was born in Bryn Mawr, Pennsylvania in 1918 to a distinguished and wealthy family. He graduated from Princeton University in 1940. During World War II, Biddle volunteered as an ambulance driver in Africa for the American Field Services.
While working as a special assistant to Rhode Island Democratic Senator Claiborne Pell in the 1960s, Biddle drafted the legislation for the National Foundation on the Arts and Humanities Act of 1965, which led to the creation of the National Endowment of the Arts (NEA) one year later. Biddle served as deputy chairman of the NEA from 1966 to 1967, as congressional liaison director in 1975, and as chairman from 1977 to 1981. In 1976, he served as director of the Congressional Subcommittee on Education, Arts, and Humanities.
Also a writer, Biddle wrote four novels, all set in Philadelphia, including Sam Bentley's Island published in 1961. From 1968 to 1970, he was a professor and chairman of Fordham University's arts division. Biddle also published a non-fiction book about his experiences establishing and working for the National Endowment for the Arts (NEA) titled Our Government and the Arts: A Perspective from the Inside in 1988.
Biddle married artist Catharina Baart in 1973 after his first wife, Cordelia Frances Fenton, died in 1972. Biddle died in Washington, D.C. in 2002.
Provenance:
The Livingston L. Biddle, Jr. papers were donated in 2013 by Thomas O'Callaghan, a close friend of Biddle's who inherited the papers.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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.
Papers relating to products developed and marketed by Joseph Enterprises, Inc., including the Chia Pet and the Clapper. The collection includes internal business documentation including correspondence, design drawings, and photographs. Print advertising and packaging samples as well as audiovisual materials make up an important part of the collection. The video collection includes commercials for the Chia and Clapper products as well as clips of product mentions in popular entertainment. In addition, there are two recorded oral history interviews with Joseph Pedott.
Scope and Contents:
The collection documents the Chia Pet, the Clapper, and other products of Joseph Enterprises, Inc. Other materials include packaging and advertising campaigns by Joseph Pedott Advertising & Marketing for other companies.
While fragmentary and limited in extent, these materials illustrate the progress of Joe Pedott's career from a one-man advertising agency to a modest scale, enduring marketing business. The papers include early advertising work for small local clients and for a national client (Eversharp/Parker Pen) and well as early television for a variety of retail products. There is little on unsuccessful products, often just a few advertisements. The materials are complemented by the oral history interviews.
Arrangement:
Collection organized into eight series.
Series 1: Oral History Interviews, September 2004, April 2008
Series 2: Chia Pet, 1981-2005, undated
Series 3: The Clapper, 1976-1985, undated
Series 4: Scribe Ett, 1981, 1984, undated
Series 5: Eversharp Pen Company, undated
Series 6: Various Products, 1985, undated
Series 7: Newspaper Clippings, 1989-2004, undated
Series 8: Audiovisual Materials, 1979-2005, undated
Subseries 8.1, Commercials, 1979-2005
Subseries 8.2, Promotions, 1996-2001
Biographical / Historical:
Joseph Pedott was born April 14, 1932 in Chicago. He attended the University of Illinois, where he and friend Daryl Peters, began the advertising company, Pedott & Peters. They successfully began producing commercials for automotive and retail companies and made a large amount of money by the time they reached the age of twenty-one. After making a bad business investment the partners focused on completing college. They began building up the company upon graduation.
Pedott and Peters worked together for several years before deciding to dissolve the partnership. Pedott then began working for R. Jack Scott, a Chicago advertising agency. Pedott worked for Scott for just over two years and during that time, out-performed those with more experience in the advertising field. Pedott left Chicago for San Francisco in 1956. He worked briefly at a small firm on commission before forming his own agency, Joseph Pedott Advertising & Marketing. Pedott's firm was innovative in advertising techniques. The company was the first to use "dealer tagging," a technique used at the ends of television commercials. During the last five seconds of the commercial consumers would learn where the advertised item could be purchased.
While attending a Chicago house wares show Pedott noticed the Chia Pet. He spoke with the product owner and learned that while the product was selling well, the owner was losing money on every Chia sold. Pedott bought the name and concept and reworked the manufacturing of the product after a trip to Mexico to witness first hand how the Chias were made. Later pedott moved Chia manufacturing to China. Pedott created a new company, Joseph Enterprises, Inc., (JEI) to manufacture the Chias. Joseph Pedott Advertising ran the advertising campaigns for all of JEI's products while continuing to work for non JEI clients.
After improving the quality of the product, the "new" Chia arrived on the market in 1982 and quickly expanded throughout the country, sold largely at drugstores. Today, the Chia Pet has large name recognition among the American public and continues to be a popular gift, especially at Christmas time. The line has expanded beyond the original ram and bull shapes to include a variety of animals (pig, elephant, kitten, dinosaur, etc.) as well as famous cultural icons such as Jerry Garcia, Bugs Bunny and various Looney Tunes characters, and Homer and Bart Simpson. In addition, the Chia Herb Garden entered the market in the mid-1990s.
Pedott's other success, the Clapper, came about through the advertising campaign for the Great American Turn On. Pedott discovered that the original product did not work properly and felt the owners were cheating their customers. JEI bought the product, including the patent, and reworked the electrical wiring to ensure that the company was selling a high quality product. As with the Chia Pet, The Clapper and its advertising, like the Chia, are familiar to a large number of Americans.
Note: Material for this section was taken from Joe Pedott Oral History Interview Abstract, September 20, 2004, Joseph Pedott Papers, Archives Center, National Museum of American History, Smithsonian Institution.
Related Materials:
Materials in the National Museum of American History
The Division of Culture and the Arts (now Division of Cultural and Community Life) holds artifacts related to this collection (Accession # 2005.3116) that include:
1. Chia Pet Handmade Clay Decorative Planter with Chia Seeds, Chia pet dog
2. Chia Pet Handmade Clay Decorative Planter with Chia Seeds, Chia pet ram
3. Chia Pet Handmade Clay Decorative Planter with Chia Seeds, Chia pet bull
4. Chia Pet Handmade Clay Decorative Planter with Chia Seeds, Chia-saurus
5. Chia Pet Handmade Clay Decorative Planter with Chia Seeds, Chia Shrek character
6. Handmade Clay Decorative Planter with Chia Seeds, Donkey from Shrek
7. Chia Pet Handmade Clay Decorative Planter with Chia Seeds, Jerry Garcia Chia
8. Bigmouth: A portable, plastic garbage bag holder
9A. CD Mobile antenna with packaging
9B. CB Mobile monitor with box
10. Video recorder with packaging
11. Metal detector with packaging
12. Pen set with frame and packaging
13. Light switch with box
14. Light switch with packaging
15. Jar lid opener with box
16. Tapeless measure with packaging
17A. Pen, engraving
17B. Pen, engraving with packaging
17C. Pen, engraving with packaging
17D. Pen, engraving with packaging
18A. Knife, Pumpkin cutter
18B. Knife, Pumpkin cutter
18C. Knife, Pumpkin cutter
18D. Knife, Pumpkin cutter
18E. Knife with packaging
18F. Pumpkin cutter with packaging
Provenance:
The collection was donated by Joseph Pedott, 2005.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The papers of art historian and writer Peter Howard Selz measure 31.5 linear feet and 0.696 GB and date from 1929 to 2018, with the bulk of the materials from 1950 to 2005. The papers document Selz's long career via correspondence, writings, professional files, project files, membership and association records, artists' research files, exhibition files, personal business records, printed and digital materials, and nine scrapbooks.
Scope and Contents:
The papers of art historian and writer Peter Howard Selz measure 31.5 linear feet and 0.696 GB and date from 1929 to 2018, with the bulk of the materials from 1950 to 2005. The papers document Selz's long career via correspondence, writings, professional files, project files, membership and association records, artists' research files, exhibition files, personal business records, printed and digital materials, and scrapbooks.
Correspondence is with colleagues, artists, museums, and galleries concerning a wide variety of topics, including exhibitions and publications. The bulk of the correspondence consists of alphabetical files (two linear feet) that includes correspondence with artists. Notable correspondents include Pol Bury, Alexander Calder, Gordon Onslow Ford, Alberto Giacometti, Morris Graves, Philip Guston, Dimitri Hadzi, Jacques Lipchitz, Georgia O'Keeffe, Ad Reinhardt, Mark Rothko, Jean Tinguely, and others. Eight additional files of chronological correspondence is with curators, arts organizations, and publishers. Additional correspondence is found in the professional files, project files, membership files, artists' research files, and exhibition files.
The bulk of the writings series is comprised of files related to Selz's books and includes typescript drafts and galleys, printed and digital material, correspondence, and publishing contracts. Files are found for Art in Our Times, Art of Engagement, Beyond the Mainstream, and Theories of Modern Art. Other writings consist of drafts of articles, essays, notes, and lectures by Selz. Also included are writings by others, including materials related to Paul Karlstrom's biography of Selz.
Professional files document curatorial and teaching positions at the Chicago Institute of Design, Pomona College, University of California, Berkeley, and the Museum of Modern Art. The series includes contracts, recommendations, syllabi, and correspondence.
Project files document Selz's professional work on specific art projects, panels, and symposiums. There is extensive documentation of Selz's work as project director of Christo's Running Fence, as well as other environmental art work projects by Christo, the Berkeley Art Project, Disney Art Project, "Funk Art" symposium, and the "Art and Politics in the 20th Century" symposium. Project files contain a wide variety of materials, such as correspondence, printed material, financial records, reports, photographs, and other documents. There are 2 tape reels, 1 VHS, and 1 sound cassette.
Membership and association records document Selz's involvement with or membership in various art councils, trustee boards, such as the College Art Association, Art in Chicago Advisory Committee, Bay Area Rapid Transit (B.A.R.T.) Art Council, and the San Francisco Crafts and Folk Art Museum Advisory Board, among others. Materials include meeting minutes, bulletins, correspondence, and memoranda.
Artists' Research Files consist of a wide variety of research materials Selz compiled about artists for lectures, writings, projects, exhibitions, etc. Files vary and may include original and photocopied correspondence, photographic material, resumes, printed and digital material, and writings. There is also 1 sound cassette. Files are found for Bedri Baykam, Max Beckmann, Fletcher Benton, Ciel Bergman, Barbara Chase-Riboud, Bruce Conner, Jean Dubuffet, Lyonel Feininger, Leon Golub, Dimitri Hadzi, Rico Lebrun, Harold Paris, Irving Petlin, among many others.
Exhibition files include catalogs, reviews, clippings, writings, correspondence, and other material documenting exhibitions organized by Selz. Limited materials are found for the MOMA Art Nouveau exhibition. More extensive documentation is found for Seven Decades of Modern Art, 1895-1965, The Joint Show (1967), The American Presidency in Political Cartoons (1976), American Modern Art Between the Two World Wars (1979), German Realism in the Twenties: Artist As Social Critic (1980), Twelve Artists from the German Democratic Republic (1989), a Richard Lindner Retrospective (1996), Spaces of Nature (1999), Color and Fire: Defining Moments in Studio Ceramics, 1950-2000 (2000), and a Nathan Oliviera Retrospective (2002), among others. Some of the materials are in digital format.
Personal business records are related to the Mark Rothko estate and Kate Rothko's legal case against Marlborough Gallery, Inc. Also included in this series are Peter Selz's school transcripts, bequests, royalty statements, house designs, and other material.
Printed materials include clippings, prints of articles written by Peter Selz, exhibition announcements and invitations, and photocopies of artwork images.
There are nine disbound scrapbooks dating from the 1940s up through 2012 containing clippings, exhibition announcements, and photographs of art events, Selz, and artists. This series also includes materials from the 2018 addition that may have previously been compiled in binders.
Arrangement:
This collection is arranged as 10 series. When possible the original order of Peter Selz was maintained. However, multiple accessions were merged and integrated.
Missing Title
Series 1: Correspondence, 1942-2013 (2.3 linear feet; Box 1-3, Box 37)
Series 2: Writings, 1942- circa 2014 (8.3 linear feet; Box 3-10, OV 32, Box 37, 0.035 GB; ER01, ER12)
Series 3: Professional Files, 1949-2012 (1 linear feet; Box 11, Box 37)
Series 4: Project Files, 1962-2015 (2.8 linear feet; Box 12-14, OV 33, Box 37)
Series 5: Membership and Association Records, 1958-2014 (1.1 linear feet; Box 14-15, Box 37)
Series 6: Artists' Research Files, 1955-2014 (7.9 linear feet; Box 15-22, OV 34-35, 0.520 GB; ER02-ER08)
Series 7: Exhibition Files, 1959-2014 (5.2 linear feet; Box 23-27, Box 38, 0.093 GB; ER09-ER11)
Series 8: Personal Business Records, 1929-2014 (1.2 linear feet; Box 28-29, OV 36, Box 38)
Series 9: Printed Material, 1957-2014 (0.3 linear feet; Box 29, Box 38)
Series 10: Scrapbooks, 1947-2018 (1.4 linear feet, Box 29-31, Box 38)
Biographical / Historical:
Peter Howard Selz (1919-2019) was a pioneering historian of modern art, professor, and writer who taught at the University of California, Berkeley, from 1965-1988 and founded and directed the Berkeley Art Museum from 1965-1973.
Selz was born in 1919 in Munich, Germany to Eugene Selz and Edith Drey Selz. In 1936, the family fled Nazi Germany and immigrated to the United States. Selz attended Columbia University from 1937 to 1938 and became a naturalized citizen in 1942. During World War II, Selz served in the U.S. Army in the Office of Strategic Services. He married writer Thalia Cheronis in 1948 but they later divorced in 1965; he married several times afterwards.
After the war, Selz attended and taught at the University of Chicago where he received a Ph. D. in German Expressionism. He spent a year in Paris, 1949-1950, at the Sorbonne and École du Louvre on a Fulbright grant. He received a second Fulbright grant in 1953 to study at the Royal Museums of Art and History in Belgium. From 1953-1955, Selz also taught at the Chicago Institute of Design.
In 1955 Peter Selz accepted a position to chair the art history department at Pomona College in Claremont and relocated to California for a few years. He also became director of the college's art gallery.
In 1958 Selz moved to New York City to become curator of painting and sculpture at the Museum of Modern Art and was there through the transformative mid-1960s. While at MOMA, he organized several significant exhibitions of modern art, including the 1960 Jean Tinguely "Homage to New York," a sculpture that destroyed itself (and started a fire) in the sculpture garden of the museum; New Images of Man (1959), the Art Nouveau show (1960), and the Art of Assemblage (1961). He also launched important retrospectives, including the first Rodin retrospective in the United States and a comprehensive exhibition of Alberto Giacometti's work in 1965.
In 1965, Peter Selz returned to California to become the founding director of the Berkeley Art Museum at the University of California, Berkeley, a position he held until 1973. He organized exhibitions of Funk, film, and ceramicists like Peter Voulkos and Robert Arneson. Peter Selz later became project director for Christo's "Running Fence", the 24.5-mile long fabric fence over the Marin County hills in 1976. He also served concurrently as a professor of art history at UC until retiring in 1988.
Peter Selz was a member of the College Art Association's board of directors for two terms, 1958-1964 and 1966-1971. Selz is a prolific writer, and the author or co-author of numerous books, exhibition catalogs, and articles. Notable books include German Expressionist Painting (1957), Art in a Turbulent Era (1965), Art in Our Times (1981), and Sam Francis (1975).
In 1988 Peter Selz was named emeritus professor at University of California, Berkeley. In 1993 he was on the acquisitions committee of the Museums of Fine Arts, San Francisco. In 2012, Selz curated The Painted Word exhibition. Selz died in 2019 in Albany, California.
Related Materials:
The Archives of American Art also holds oral history interviews of Peter Selz conducted by Paul J. Karlstrom on July 28, 1982, October 12, 1982, and November 3, 1999.
Provenance:
The Peter Howard Selz papers were donated to the Archives of American Art by Peter Selz in multiple installments from 1976 through 2014. Additional papers were donated in 2018 by Gabrielle Selz, Peter Selz's daughter.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
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.
Peter Howard Selz papers, 1929-2018, bulk 1950-2005. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the 2014 processing of this collection was provided by the Frederick Hammersley Foundation. Funding for the processing of the 2018 addition was provided by Gerald and Bente Buck.
Photographs of artwork include copyprints of works by Copley from various museums and art collections. Some photographs include detailed annotations on the verso. Most photographs are arranged alphabetically by sitter or grouped by theme. Miscellaneous photographs found here are unsorted copyprints of works by Copley. Researchers should note that many additional photographs can be found attached to correspondence and notes within the other series in this collection.
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 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:
Jules David Prown research material on artists, 1935-2018. Archives of American Art, Smithsonian Institution.
3 Video recordings (published videos or video series)
99 Linear feet (714,405 feet (332 hours) 16mm film, 435 hours video tape, 309 hours audio tape, 21 published film and video titles, 29 unpublished film and video titles, 14 linear feet paper records)
The John Marshall Ju/'hoan Bushman Film and Video Collection contains full film and video projects (outtake material), film production elements and edited films and videos, audio tapes, still photographs, negatives, transparencies, slides, published and unpublished writing by John Marshall and others, study guides for edited films, Nyae Nyae Development Foundation and Advocacy files, maps, and production files that include letters, shot logs, translations, transcriptions, editing logs, treatments, and proposals spanning from 1950-2000. This material comprises Marshall's long-term documentary record of the Ju/'hoansi of the Nyae Nyae region of the Kalahari Desert in northeastern Namibia. A great deal of the film and video footage focuses on one particular extended family, that of Toma Tsamko, whose ancestral home is at /Gautcha, an area with a large salt pan and a permanent waterhole. The life stories of some family members are captured in the footage; appearing as children in the 1950's, middle-aged parents in the 1980's, and pensioners in the final years of visual documentation. The Marshall Collection also documents other Ju/'hoansi living in Nyae Nyae and elsewhere, their relationships with neighboring ethnic groups, and national politics that affected Ju/'hoansi. Marshall also documented the local political body (the Nyae Nyae Farmers' Cooperative, or NNFC), the foundation he started (the Nyae Nyae Development Foundation of Namibia, or NNDFN), and the ways in which both groups worked with and were affected by international development organizations and foreign aid during the 1990's.
Scope and Contents:
The John Marshall Ju/'hoan Bushman Film and Video Collection contains full film and
video projects (outtake material), film production elements and edited films and videos,
audio tapes, still photographs, negatives, transparencies, slides, published and
unpublished writing by John Marshall and others, study guides for edited films, Nyae
Nyae Development Foundation and Advocacy files, maps, and production files that
include letters, shot logs, translations, transcriptions, editing logs, treatments, and
proposals spanning from 1950-2000.
This material comprises Marshall's long-term documentary record of the Ju/'hoansi of
the Nyae Nyae region of the Kalahari Desert in northeastern Namibia. A great deal of the
film and video footage focuses on one particular extended family, that of Toma Tsamko,
whose ancestral home is at /Gautcha, an area with a large salt pan and a permanent
waterhole. The life stories of some family members are captured in the footage;
appearing as children in the 1950's, middle-aged parents in the 1980's, and pensioners in
the final years of visual documentation. Beginning in 1978, Marshall often conducted
lengthy and in depth interviews with many family members, in which they reflect on past,
present, and future, and often comment on specific film footage from earlier years which
was shown to them during the interviews. The collection is not limited to the /Gautcha
family, however; it also documents other Ju/'hoansi living in Nyae Nyae and elsewhere,
their relationships with neighboring ethnic groups, and national politics that affected
Ju/'hoansi. Marshall also documented the local political body (the Nyae Nyae Farmers'
Cooperative, or NNFC), the foundation he started (the Nyae Nyae Development
Foundation of Namibia, or NNDFN), and the ways in which both groups worked with
and were affected by international development organizations and foreign aid during the
1990's. The collection also documents changes to the landscape and wildlife of the Nyae
Nyae region.
Arrangement:
This collection is arranged in 13 series: (1) Unedited Film and Video Projects, 1950-1978, 1981-2003; (2) Published Films and Videos, 1952-2002; (3) Unpublished Films and Videos, 1959-1962, circa 1965; (4) Audio, 1950s, 1978-1990; (5) Field Notes, Shot Logs, Translations, 1951-2000; (6) Production Files, 1952-2004; (7) Correspondence, 1968-2003 [bulk 1993-2000]; (8) Nyae Nyae Development Foundation & Advocacy Files, 1975-2003 [bulk 1984-2003]; (9) Published and Unpublished Writing, 1957-1958, 1980-1999, 2007; (10) Study Guides, 1974, 1982; (11) Writings by Others & Press, 1952-1953, 1965-2005; (12) Photographs, 1930s, 1946-2003; (13) Maps, 1872, 1879, 1914, 1933-1989.
Biographical / Historical:
John Marshall, filmmaker and activist, was born on November 12, 1932 in Boston, Massachusetts. He grew up in Cambridge, Massachusetts and on his family's farm in Peterborough, New Hampshire. Marshall first picked up a camera in 1950, at the age of 18, during the first of several expeditions to the Kalahari organized by his father, Laurence Marshall, the founding president of the Raytheon Corporation. The whole Marshall family - including John's mother, Lorna, and sister, Elizabeth Marshall Thomas - became engaged in a multi-disciplinary study of the Ju/'hoansi. Marshall's father assigned him the task of making a documentary film record of Ju/'hoan life and culture. Between 1950 and 1958, he shot over 300,000 feet of 16mm film (157 hours).
Marshall formed a close bond with many of his Ju/'hoan subjects, particularly with Toma "Stumpy" Tsamko, leader of the /Gautcha band. Amongst Ju/'hoansi, Marshall was known as Toma Xhosi, Toma "Longface". Probably because of this close relationship, he was forced to leave South West Africa in 1958 after his visa expired, and was not allowed back for twenty years.
Throughout these years, Marshall continued to work with his extensive footage of Ju/'hoansi. He completed 15 short films, as well as the award-winning Bitter Melons. In 1968, Marshall partnered with Tim Asch to found Documentary Educational Resources (DER), to distribute and support the creation of ethnographic and educational film.
In 1978 Marshall was allowed to return to Nyae Nyae to shoot N!ai, the Story of a !Kung Woman. Finding his Ju/'hoan friends beset by illness, poverty, and growing social ills, John turned his attentions to development and advocacy work. Virtually abandoning his filmmaking career, Marshall started a foundation to assist Ju/'hoansi and spent most of the 1980's helping them establish water access, subsistence farming, and a local government. He began using film as an advocacy tool, and released several urgent, issuefocused videos to raise awareness of the Ju/'hoan struggle for self-determination.
Marshall continued his documentary record of Ju/'hoansi, directing his final shoot in 2000. A Kalahari Family (2002), his epic six-hour series, tells the story of the Ju/'hoansi from 1950-2000 and charts Marshall 's evolution from filmmaker to activist. He made his final visit to Nyae Nyae in 2004, and continued his advocacy work right up to his final days. John Marshall died due to complications from lung cancer on April 22, 2005.
John Marshall Chronology
1932 -- Born in Boston, Massachusetts
1950-1958 -- Marshall Family expeditions to study the Ju/'hoansi of Nyae Nyae
1957 -- Awarded B.A. in Anthropology from Harvard University The Hunters released
1958-1960 -- Associate Director (with Robert Gardner) of the Film Study Center, Peabody Museum, Harvard University
1960 -- Awarded G.S.A.S. in Anthropology from Yale University
1960-1963 -- Director, Bushmen Film Unit, Harvard University
1962 -- Sha//ge Curing Ceremony (early version of A Curing Ceremony), A Group of Women and Joking Relationship screened at Flaherty Seminar
1964-1965 -- Cameraman for NBC covering civil war in Cyprus
1966 -- Awarded M.A. in Anthropology from Harvard University
1967 -- Cameraman and Co-Director of Fredrick Wiseman's Titicut Follies
1968 -- Founded Documentary Educational Resources (DER) with Timothy Asch (first known as CDA, Center for Documentary Anthropology)
1968-1969 -- Cameraman and Director of film shoots for the Pittsburgh Police series, produced through the Center for Violence Studies at Brandeis University
1970-1974 -- Edited and released numerous short films, from both Ju/'hoan (!Kung) and Pittsburgh Police series
1972 -- Collaborated with Nicholas England (musicologist) on a film project documenting a family of drummers in Ghana (this film was never completed)
1972-1973 -- Travel to Botswana to film National Geographic's Bushmen of the Kalahari, produced by Wolper Productions
1974 -- If It Fits, documentary on failing shoe industry in Haverhill, MA, released
1976 -- Director and cameraman of film shoots for Smithsonian Festival of American Folklife
1978 -- Film shoot in Nyae Nyae for N!ai, The Story of a !Kung Woman
1980 -- N!ai, The Story of a !Kung Woman released and broadcast on PBS as partof the Odyssey series
1980-1982 -- Conducted genealogical survey in Nyae Nyae with Claire Ritchie
1982 -- Founded the Ju/wa Cattle Fund (later known as the Nyae Nyae Development Foundation of Namibia)
1985 -- Pull Ourselves Up or Die Out, Marshall's first "field report" edited on video, released
1989 -- Returns to Boston after Namibian independence
1991 -- To Hold Our Ground, another "field report" is aired on Namibian television shortly before a national Land Rights Conference
1993 -- The Cinema of John Marshall published
1995 -- Awarded Honorary M.F.A. from Rhode Island School of Design
2000 -- Final video shoot in Nyae Nyae
2002 -- A Kalahari Family premieres at the Margaret Mead Film Festival in New York City; released for general distribution in 2003
2004 -- Makes final visit to Nyae Nyae; presents proposal for water point protections
2005 -- Dies in Boston, Massachusetts
Orthography Note:
Ju/'hoansi are the speakers of the Ju/'hoan language. Various cultural descriptors used
over the years include !Kung which is a language group containing three dialect groups,
one of which is the Ju/'hoansi; San, which is now regarded by the Ju/'hoansi to have
negative connotations; and Bushman, which ironically (given the derogatory history of
this term) is now preferred by the Ju/'hoansi as a term of dignity. (Orthography
information provided by Dr. Polly Wiessner, University of Utah anthropologist and longtime
field worker among and researcher of the Ju/'hoansi.)
The orthography of the Ju/'hoan language has changed many times, though an official
orthography was agreed upon and accepted by the Namibian government in 1991. The
finding aid, cataloging records, and shot logs for the Marshall collection at Human Studies Film Archives
continue to use the orthography used by the Marshall family beginning in 1950. These
spellings are usually anglicized versions of the official orthography. For example, the
name ≠Oma was usually rendered by the Marshalls as Toma; the place name /Aotcha as
/Gautcha or Gautscha.
The majority of the footage was shot in a region of Namibia (formerly South West
Africa) known as Nyae Nyae. In the 1960's, a portion of the Nyae Nyae area was
officially established as a homeland for Ju/'hoansi by the South West African
administration. This area, once called Eastern Bushmanland, is now known as Eastern
Otjozondjupa, however it is still referred to as Nyae Nyae by Ju/'hoansi and others. The
Nyae Nyae Conservancy, which encompasses a large portion of Eastern Otjozondjupa,
was established in 1996.
Filmography:
JU/'HOAN BUSHMAN FILM SERIES
1952 -- First Film [also known as !Kung Bushmen of the Kalahari] (by Lorna Marshall)
1957 -- The Hunters
1959 -- A Curing Ceremony
1961 -- A Group Of Women
1962 -- A Joking Relationship
1966 -- !Kung Bushmen Hunting Equipment (directed by Lorna Marshall)
1969 -- N/um Tchai: The Ceremonial Dance of the !Kung Bushmen
1969 -- An Argument About A Marriage
1970 -- The Lion Game
1970 -- The Melon Tossing Game
1971 -- Bitter Melons
1972 -- Debe's Tantrum
1972 -- Men Bathing
1972 -- Playing With Scorpions
1972 -- A Rite of Passage
1972 -- The Wasp Nest
1974 -- Baobab Play
1974 -- Children Throw Toy Assegais
1974 -- The Meat Fight
1974 -- Tug-Of-War
1980 -- N!ai, the Story of a !Kung Woman
1985 -- Pull Ourselves Up Or Die Out
1990 -- To Hold Our Ground: A Field Report
1991 -- Peabody Museum !Kung San Exhibit Video
2002 -- A Kalahari Family
In addition to Marshall's many published films on the Ju/'hoansi, he was also involved in a variety of other film projects. He shot and co-directed Titicut Follies, a film by Fredrick Wiseman. Working in association with the Lemburg Center for Violence Studies at Brandeis University, he shot and directed a series of short films about a police squad in Pittsburgh, PA, known as the Pittsburgh Police series. He also shot and directed If It Fits, a film about the failing shoe industry in Haverhill, MA. Marshall was also the subject of two television programs: Bushmen of the Kalahari, a National Geographic special which aired in the United States, and a Japanese program called Forty Years in the Kalahari, part of the television series, Our Wonderful World. All of these, as well as Marshall's Ju/'hoan films, are included in this filmography.
PITTSBURGH POLICE SERIES
1970 -- Inside/Outside Station 9
1971 -- Three Domestics
1971 -- Vagrant Woman
1972 -- 901/904
1972 -- Investigation of a Hit and Run
1973 -- After the Game
1973 -- The 4th, 5th, & Exclusionary Rule
1973 -- A Forty Dollar Misunderstanding
1973 -- Henry Is Drunk
1973 -- The Informant
1973 -- A Legal Discussion of a Hit and Run
1973 -- Manifold Controversy
1973 -- Nothing Hurt But My Pride
1973 -- Two Brothers
1973 -- $21 or 21 Days
1973 -- Wrong Kid
1973 -- You Wasn't Loitering
OTHER FILMS
1967 -- Titicut Follies (Co-Director, Cinematographer; film by Fredrick Wiseman)
1972 -- Ghana Drumming (uncompleted; collaboration with Nicholas England)
1974 -- Bushmen of the Kalahari (by Wolper Productions for National Geographic)
1975 -- Vermont Kids (series of short films; released in 2007)
1976 -- Festival of American Folklife (uncompleted; shot for Smithsonian Institution)
1978 -- If It Fits
1988 -- Our Wonderful World: Forty Years in the Kalahari (by Nippon A-V Productions)
Related Materials:
The Human Studies Film Archives holds several related collections, including:
• The Nicholas England Collection, which consists of audio recordings from 1951-1961. This collection contains both originals and duplicates of audio tapes recorded during the Marshall Expeditions. (2005.9)
• The Journal of Robert Gesteland, kept during the Marshall !Kung Expedition VI, 1957-58. (2007.17)
• Master copies of the full film record of Bushmen of the Kalahari (1974), a television
program featuring John Marshall's 1973 visit to the /Gwi San of Botswana, produced by Wolper Productions for National Geographic. (2008.12)
• Reference copies of the full video record of Our Wonderful World: Forty Years in the
Desert, Nippon A-V's 1988 Japanese television program about John Marshall and the Ju/Wa Bushman Development Foundation. (2009.2.1)
• Master copies of the videotape "library" kept by John Marshall for reference and stock footage purposes. Compiled from various sources, the videos include news programs, documentaries, and raw footage of Ju/'hoansi and other San peoples from the 1920's --1990's, as well as interviews with John Marshall and his mother, Lorna
Marshall. (2009.2)
• Additional audio recordings, including interviews with Ju/'hoansi made by John Marshall and others. (2009.3)
• Full film record of [Ghana Drumming, 1972], an uncompleted project undertaken by John Marshall and Nicholas England, which documents a family of musicians. (2008.11)
The Papers of Timothy Asch, held at the National Anthropological Archives, contain
information on Asch's work with John Marshall at Harvard University from 1959-1963,
their collaboration in founding DER, and details on the use of Marshall's Ju/'hoan
footage in the development of MACOS (Man, A Course of Study).
There are also several closely related collections held at the Peabody Museum of
Archaeology and Ethnology, Harvard University. These collections relate to the 1950's
Marshall Expeditions and include: Expeditionary Notebooks and Journals of Lorna and
Laurence Marshall; Journal of Elizabeth Marshall Thomas; the Marshall Family
Photograph Collection; and the Records of the South West Africa Expeditions, 1950-
1959. The Harvard Film Archive, Harvard University, holds film prints of several of
Marshall's published films on the Ju/'hoansi, including The Hunters.
Provenance:
The John Marshall Ju/'hoan Bushman Film and Video Collection was received over several years of accessioning from different parties.
Restrictions:
The John Marshall Ju/'hoan Bushman Film and Video Collection is open for research. Please contact the Archives for availabilty of access copies of audio visual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Materials relating to Series 6 Production Files are restricted and not available for research until 2048, 2063, 2072. Kinship diagrams in Series 13 are restricted due to privacy concerns. Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and maps.
Rights:
Contact the repository for terms of use. Information on reproduction and fees available from repository.
The descriptive typed divider pages aren't in the original. They are ONE This is a list of accession numbers for the 1978 Marshall !Kung footage.; TWO This is a list of the way the workprint was broken down in 1978.; THREE This is a thematic index of the footage organised by reel numbers and general subject.; FOUR This is a list, in numerical order, of all the latent edge code numbers on the original negative (which print through on the prints).; FIVE This is the sync rush log prepared in 1978.; SIX This is a list of sound roll numbers, their contents, and the corresponding camera rolls.
Collection Restrictions:
The John Marshall Ju/'hoan Bushman Film and Video Collection is open for research. Please contact the Archives for availabilty of access copies of audio visual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Materials relating to Series 6 Production Files are restricted and not available for research until 2048, 2063, 2072. Kinship diagrams in Series 13 are restricted due to privacy concerns. Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and maps.
Collection Rights:
Contact the repository for terms of use. Information on reproduction and fees available from repository.
Collection Citation:
The John Marshall Ju/'hoan Bushman Film and Video Collection, 1950-2000, Human Studies Film Archives, Smithsonian Institution.
Sponsor:
Finding aid has been funded through generous support from the Arcadia Fund.
Presents Laurence Marshall's thoughts on anthropological filmmaking; relates to
founding of the Film Study Center at Harvard
Collection Restrictions:
The John Marshall Ju/'hoan Bushman Film and Video Collection is open for research. Please contact the Archives for availabilty of access copies of audio visual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Materials relating to Series 6 Production Files are restricted and not available for research until 2048, 2063, 2072. Kinship diagrams in Series 13 are restricted due to privacy concerns. Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and maps.
Collection Rights:
Contact the repository for terms of use. Information on reproduction and fees available from repository.
Collection Citation:
The John Marshall Ju/'hoan Bushman Film and Video Collection, 1950-2000, Human Studies Film Archives, Smithsonian Institution.
Sponsor:
Finding aid has been funded through generous support from the Arcadia Fund.
The John Marshall Ju/'hoan Bushman Film and Video Collection is open for research. Please contact the Archives for availabilty of access copies of audio visual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Materials relating to Series 6 Production Files are restricted and not available for research until 2048, 2063, 2072. Kinship diagrams in Series 13 are restricted due to privacy concerns. Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and maps.
Collection Rights:
Contact the repository for terms of use. Information on reproduction and fees available from repository.
Collection Citation:
The John Marshall Ju/'hoan Bushman Film and Video Collection, 1950-2000, Human Studies Film Archives, Smithsonian Institution.
Sponsor:
Finding aid has been funded through generous support from the Arcadia Fund.
Reviews and correspondence regarding the feature film on behalf of Documentary
Educational Resources by Volkman, author of the study guide for N!AI.
Collection Restrictions:
The John Marshall Ju/'hoan Bushman Film and Video Collection is open for research. Please contact the Archives for availabilty of access copies of audio visual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Materials relating to Series 6 Production Files are restricted and not available for research until 2048, 2063, 2072. Kinship diagrams in Series 13 are restricted due to privacy concerns. Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and maps.
Collection Rights:
Contact the repository for terms of use. Information on reproduction and fees available from repository.
Collection Citation:
The John Marshall Ju/'hoan Bushman Film and Video Collection, 1950-2000, Human Studies Film Archives, Smithsonian Institution.
Sponsor:
Finding aid has been funded through generous support from the Arcadia Fund.
The John Marshall Ju/'hoan Bushman Film and Video Collection is open for research. Please contact the Archives for availabilty of access copies of audio visual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Materials relating to Series 6 Production Files are restricted and not available for research until 2048, 2063, 2072. Kinship diagrams in Series 13 are restricted due to privacy concerns. Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and maps.
Collection Rights:
Contact the repository for terms of use. Information on reproduction and fees available from repository.
Collection Citation:
The John Marshall Ju/'hoan Bushman Film and Video Collection, 1950-2000, Human Studies Film Archives, Smithsonian Institution.
Sponsor:
Finding aid has been funded through generous support from the Arcadia Fund.
Includes correspondence regarding potential co-production of the series
Collection Restrictions:
The John Marshall Ju/'hoan Bushman Film and Video Collection is open for research. Please contact the Archives for availabilty of access copies of audio visual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Materials relating to Series 6 Production Files are restricted and not available for research until 2048, 2063, 2072. Kinship diagrams in Series 13 are restricted due to privacy concerns. Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and maps.
Collection Rights:
Contact the repository for terms of use. Information on reproduction and fees available from repository.
Collection Citation:
The John Marshall Ju/'hoan Bushman Film and Video Collection, 1950-2000, Human Studies Film Archives, Smithsonian Institution.
Sponsor:
Finding aid has been funded through generous support from the Arcadia Fund.
The John Marshall Ju/'hoan Bushman Film and Video Collection is open for research. Please contact the Archives for availabilty of access copies of audio visual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Materials relating to Series 6 Production Files are restricted and not available for research until 2048, 2063, 2072. Kinship diagrams in Series 13 are restricted due to privacy concerns. Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and maps.
Collection Rights:
Contact the repository for terms of use. Information on reproduction and fees available from repository.
Collection Citation:
The John Marshall Ju/'hoan Bushman Film and Video Collection, 1950-2000, Human Studies Film Archives, Smithsonian Institution.
Sponsor:
Finding aid has been funded through generous support from the Arcadia Fund.
The John Marshall Ju/'hoan Bushman Film and Video Collection is open for research. Please contact the Archives for availabilty of access copies of audio visual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Materials relating to Series 6 Production Files are restricted and not available for research until 2048, 2063, 2072. Kinship diagrams in Series 13 are restricted due to privacy concerns. Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and maps.
Collection Rights:
Contact the repository for terms of use. Information on reproduction and fees available from repository.
Collection Citation:
The John Marshall Ju/'hoan Bushman Film and Video Collection, 1950-2000, Human Studies Film Archives, Smithsonian Institution.
Sponsor:
Finding aid has been funded through generous support from the Arcadia Fund.
The John Marshall Ju/'hoan Bushman Film and Video Collection is open for research. Please contact the Archives for availabilty of access copies of audio visual recordings. Original audiovisual material in the Human Studies Film Archives may not be played.
Materials relating to Series 6 Production Files are restricted and not available for research until 2048, 2063, 2072. Kinship diagrams in Series 13 are restricted due to privacy concerns. Various copyrights and restrictions on commercial use apply to the reproduction or publication of film, video, audio, photographs, and maps.
Collection Rights:
Contact the repository for terms of use. Information on reproduction and fees available from repository.
Collection Citation:
The John Marshall Ju/'hoan Bushman Film and Video Collection, 1950-2000, Human Studies Film Archives, Smithsonian Institution.
Sponsor:
Finding aid has been funded through generous support from the Arcadia Fund.
