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Historic footage of Bamiyan statues

Creator:
Human Studies Film Archives  Search this
Type:
YouTube Videos
Uploaded:
2007-01-25T17:02:12.000Z
YouTube Category:
Travel & Events  Search this
Topic:
Anthropology  Search this
See more by:
HSFAFilmClips
Data Source:
Human Studies Film Archives
YouTube Channel:
HSFAFilmClips
EDAN-URL:
edanmdm:yt_RDbrZaoXh4I

Arg-é Bam (Bam Citadel), Iran, 1956

Creator:
Human Studies Film Archives  Search this
Type:
YouTube Videos
Uploaded:
2008-04-21T20:14:23.000Z
YouTube Category:
Travel & Events  Search this
Topic:
Anthropology  Search this
See more by:
HSFAFilmClips
Data Source:
Human Studies Film Archives
YouTube Channel:
HSFAFilmClips
EDAN-URL:
edanmdm:yt_xDvmvjoGA7s

Washington Arts Scene in the 1960s

Creator:
Smithsonian American Art Museum  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2017-01-13T00:59:04.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
See more by:
americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_fXofyq9AZmk

Inka Engineering Symposium 9: Closing Remarks

Creator:
National Museum of the American Indian  Search this
Type:
Symposia
YouTube Videos
Uploaded:
2013-11-19T18:32:11.000Z
YouTube Category:
Education  Search this
Topic:
Native Americans;American Indians  Search this
See more by:
SmithsonianNMAI
Data Source:
National Museum of the American Indian
YouTube Channel:
SmithsonianNMAI
EDAN-URL:
edanmdm:yt_bxEy8EyU3cU

John Hiller lantern slide collection

Donor:
Hiller, John  Search this
Extent:
0.75 Cubic feet (216 lantern slides:, color autochromes; , 3.25 x 4 inches.)
Type:
Collection descriptions
Archival materials
Lantern slides
Autochromes (photographs)
Date:
circa 1910-1920
Summary:
The John Hiller Lantern Slide Collection contains 216 glass autochromes dated circa 1910-1920 documenting homes and gardens, house interiors, scenes from domestic and foreign travel, flower arrangements, and people in Europe and unidentified locations.
Scope and Contents Note:
The John Hiller Collection contains 216 glass autochromes dated c. 1910-1920. The images cover a wide array of subjects and regions, with many of them showing landscapes and travel destinations. Some show house interiors, flower arrangements, or casual groups of people. Several of the autochromes show historic towns and ruins in Greece and Switzerland along with some in Croatia, Italy, Bulgaria and Austria. Scattered amongst these are slides of various unidentified sites and gardens. It is not known if any of the unidentified images show sites in the United States.

The photographer(s) of these images is unknown. The uniformity of the type of tape used to seal each of the autochromes suggests that the images are likely the work of one photographer or photo studio rather than a collection compiled by an individual from multiple sources.
Provenance:
John Hiller, an employee in the Smithsonian's Office of Exhibits Central, donated the collection to the Archives of American Gardens in 2005. The collection had been on deposit in the Archives for a few years prior to it being formally donated.
Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Gardens -- Europe  Search this
Cultural landscapes  Search this
Seascapes  Search this
Flower arrangement  Search this
Genre/Form:
Lantern slides
Autochromes (photographs)
Citation:
Smithsonian Institution, Archives of American Gardens, John Hiller lantern slide collection.
Identifier:
AAG.HLR
See more items in:
John Hiller lantern slide collection
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb6b87bd2c9-2a57-4d86-b7cd-731e6d77d5aa
EDAN-URL:
ead_collection:sova-aag-hlr
Online Media:

Newport -- Warren House-Tunnard Garden

Former owner:
Tanner Family  Search this
Gardner, Samuel F.  Search this
Lawton, Robert  Search this
Lawton, Penelope  Search this
Austin, Samuel Reverend  Search this
Henderson, Francis  Search this
Brinley, Fanny S.  Search this
Lawrence, Sallie C.  Search this
Paul, Allen G.  Search this
Paul, Florence S.  Search this
Warren, George  Search this
Warren, Katherine Urquhart  Search this
Preservation Society of Newport County  Search this
Gardener:
Pleitez, Eusebio  Search this
Landscape designer:
Tunnard, Christopher  Search this
Provenance:
Newport Garden Club  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
Warren House-Tunnard Garden (Newport, Rhode Island)
United States of America -- Rhode Island -- Newport -- Newport
Scope and Contents:
The folder includes worksheets, site plans, photocopies of articles.
General:
This Modernist garden was created right after World War II, designed by Christopher Tunnard. It still survives today, perhaps the only existing commissioned landscape design by the man who influenced many of the United States most celebrated postwar architects and landscape architects. At only 65' x 42', the garden has an extreme austerity in design with a hint of luxury in its fountains, thick hedges and sculpture. The plants are cut and trimmed into an ordained shape, and the pattern is designed to be seen from the ground, where its curves interlock and turn back on themselves. Only two kinds of trees are used - lime (Tilia) and arbor vitae (Thuja); and three kinds of permanent plants - ivy (Hedera), box (Buxus) and yew (Taxus). The lime trees will eventually be pleached into an architectural block to throw the ground pattern into even greater contrast. The ivy is in slightly raised mounds, edged in places with small summer flowers. The bedding plants are purple and white petunias with carnations and lemon-yellow thunbergias." The sculpture, 'Chimerical Font,' by Jean Arp, is golden bronze centered on a plinth in a black lacquered rectangular pool. The other pools (two circular, one biomorphic) are shallow and painted white. Of note are the unusual shapes of the pruned boxwoods in the shapes of question marks and semi-colons; the colorful flowers; and the 6th linden along the left and end wall, now covered in Boston ivy, and originally painted white to complete a design that very much relied on strong figure-ground relationship.
Christopher Tunnard (1910-1979) was born in Canada, moved to England in 1929 and received a diploma from the Royal Horticultural Society the following year. The period of the eclectic Arts and Crafts movement (which he characterized as "romantic trivialization" of garden design) prompted him to introduce his Modernist views of landscape design. This approach avoided decoration, sentimentality and classical allusion "in favor of functional minimalist designs that provided a friendly and hospitable milieu for rest and recreation." After 10 years practicing garden and landscape work, he immigrated to America at the invitation of Walter Gropius to teach at Harvard's Graduate School of Design (1938-1943). Following the War, Tunnard taught city planning at Yale, advancing to professor and chairman of this department; he did little garden design from that point forward, making this 1949 garden probably one of his last commissions. For the final thirty years of his life, Tunnard put his energies into urban planning and the preservation of historic buildings; his publications in this area include "Man-made America: Chaos or Control?" (1963) which won the 1964 National Book Award in Science, Philosophy and Religion. It is perhaps ironic that Christopher Tunnard ended up of very much the same sentiment as his American patron, Mrs. George W. (Katherine) Warren, founder of the Preservation Society of Newport County (1945). In "Pioneers of American Landscape Design," (2000), Lance Neckar notes that "by the time of his death, he had come full circle to be identified with conservation-and-preservation-oriented attributes toward city revitalization which were antithetical to the Modern movement" that Tunnard had originally espoused.
Tunnard's patrons, George and Katherine Warren, who purchased the property on Mill Street in 1933, chose a part of Newport that was then considered "the other side of the tracks" by their social set, most of whom resided out on Ocean Drive. In New York, where the couple lived "off season," Katherine Warren collected modern art and was on the Advisory Committee of the Museum of Modern Art. Interesting to note that the garden was commissioned in 1949 and distinguished by its functional, minimalist modern design in sharp contrast with its early Federal-style house. The Warrens also added two glass-enclosed rooms on the first and second floors of their home on the garden side, presumably to enjoy this new garden to its full extent. Mrs. Warren died in 1976, bequeathing her home to the Preservation Society of Newport County, which moved its offices to this location in 1977. While the Preservation Society of Newport County owned the property, the garden was heavily shaded by a large beech tree and had become overgrown. It was maintained as they found it without major renovation. The current owner moved into the Mill Street house in 1994 and restored the Tunnard garden in 2001 and has proven to be a conscientious caretaker of this rare, nationally significant garden.
Persons associated with the garden include Tanner Family (former owners, 1776-1807); Samuel F. Gardner (former owner, 1807-1809); Robert Lawton (former owner, 1809-1810); Penelope Lawton (former owner, 1810-1822); Reverend Samuel Austin (former owner, 1822-1826); Francis Henderson (former owner, 1826-1857); Fanny S. Brinley (former owner, 1857-1863); Sallie C. Lawrence (former owner, 1863-1886); Allen G. Paul (former owner, 1886-1916); Florence S. Paul (former owner, 1916-1932); George and Katherine Warren (former owners, 1932-1977); Preservation Society of Newport County (former owner, 1977-1994); Christopher Tunnard (landscape designer, 1949); Eusebio Pleitez (gardener, 2001- ).
Related Materials:
Warren House-Tunnard Garden related holdings consist of 1 folder (10 digital images)
Additional photographs are also located in the collections of the Preservation Society of Newport County.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Gardens -- Rhode Island -- Newport  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File RI201
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Rhode Island
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb61a6cdb7b-8abf-4457-9f57-0199646f406f
EDAN-URL:
ead_component:sova-aag-gca-ref10575

Ng'ambo atlas historic urban landscape of Zanzibar Town's 'other side' Department of Urban and Rural Planning, Zanzibar ; African Architecture Matters ; text, Antoni Folkers [and three others] ; editors, Antoni Folkers and Iga Perzyna

Title:
Historic urban landscape of Zanzibar Town's 'other side'
Author:
Zanzibar Department of Urban and Rural Planning  Search this
African Architecture Matters  Search this
Editor:
Folkers, Antoni  Search this
Perzyna, Iga  Search this
Physical description:
192 pages illustrations (chiefly color), maps, plans, portraits 42 cm
Type:
Books
History
Place:
Tanzania
Zanzibar (Zanzibar)
Zanzibar
Date:
2019
20th century
21st century
Topic:
City planning--History  Search this
Architecture  Search this
Zanzibar  Search this
Tanzania  Search this
towns  Search this
architecture  Search this
urban planning  Search this
urban development  Search this
dwellings  Search this
buildings  Search this
urban history  Search this
City planning  Search this
History  Search this
Call number:
T49.H67 1938
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_106322

Stemming the Tide Symposium: Cultural Landscapes and Historic Urban Landscapes

Creator:
Smithsonian American Art Museum  Search this
Type:
Symposia
YouTube Videos
Uploaded:
2020-03-31T18:10:53.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
See more by:
americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_io6snM8g4yg

The Course of Empires Symposium, Morning Session

Creator:
Smithsonian American Art Museum  Search this
Type:
Symposia
YouTube Videos
Uploaded:
2017-10-20T16:44:48.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
See more by:
americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_viK0iB9B3Kw

Vistas and Dreams 3: James E. Snead

Creator:
National Museum of the American Indian  Search this
Type:
Symposia
YouTube Videos
Uploaded:
2016-12-14T19:21:40.000Z
YouTube Category:
Education  Search this
Topic:
Native Americans;American Indians  Search this
See more by:
SmithsonianNMAI
Data Source:
National Museum of the American Indian
YouTube Channel:
SmithsonianNMAI
EDAN-URL:
edanmdm:yt_XOYfMoEP8Kc

Smithsonian Folklife Festival records: 1992 Festival of American Folklife

Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Names:
Smithsonian Folklife Festival  Search this
Extent:
1 Cubic foot (approximate)
Type:
Collection descriptions
Archival materials
Correspondence
Digital images
Business records
Contracts
Notes
Sound recordings
Plans (drawings)
Negatives
Audiotapes
Memorandums
Slides (photographs)
Audiocassettes
Photographic prints
Video recordings
Videotapes
Date:
June 25-July 5, 1992
Summary:
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 1992 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 5 series.

Missing Title

Series 1: Program Books, Festival Publications, and Ephemera

Series 2: The Changing Soundscape in Indian Country

Series 3: Creativity and Resistance: Maroon Culture in the Americas

Series 4: New Mexico

Series 5: Workers at the White House
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.

The 1992 Festival of American Folklife was produced by the Smithsonian Center for Folklife Programs and Cultural Studies and cosponsored by the National Park Service.

For more information, see Smithsonian Folklife Festival records.
Introduction:
The Columbus Quincentenary that was commemorated in 1992 gave pause to reflect on the forces that over the preceding 500 years had shaped social life in the Americas. The Festival programs on New Mexico, Maroons, and American Indian musics illustrated important historical and ongoing processes through which communities establish cultural identities in complex and dynamic social circumstances.

"The Changing Soundscape in Indian Country," produced jointly with the National Museum of the American Indian, explored ways that Indian musicians and their communities creatively adapted elements from the musical traditions brought to this continent from Europe, Africa, and elsewhere. Although many of the forms of this Indian music are non-Indian in origin, the themes and performance styles clearly address Indian experience and aesthetic expectations. In their creative hands, as Festival visitors could experience first-hand, external musical influences became part of the self-definition of Indian identity and trenchant commentary on what had been happening in "Indian Country" over the past five centuries.

Nowhere is the connection between creativity and self-definition more clear than in the cultural identities of contemporary Maroon peoples, whose ancestors escaped plantation slavery in the Americas and founded independent societies. Faced with the task of constructing and defending their positions, Maroons creatively defined themselves from a variety of sources. While their political institutions, expressive arts, religions, and other social forms were predominantly African in origin, they drew from a broad range of African cultures, and from European and Native American cultures as well. Much of the aesthetic component of Maroon cultures - their vibrant traditions of verbal and visual arts, shared with Festival visitors on the National Mall - encourages the cohesiveness of their society and voices themes that embody common experience and interest.

The Spanish Conquest established the Western Hemisphere's European presence and its most widely spoken language. While the original conquerors' culture did not value the Native cultures it encountered, over the centuries segments of Hispanic and Native American and later English-speaking and other populations engaged one another, by necessity, in ways that gave rise to today's rich array of cultural identities. New Mexico's distinctive cultural landscape took shape in this way, represented by some peoples who sustain their cultural identities through centuries-old combinations of Indian and European forms of thought and action, and by others whose basis of identity lies in reaffirming the wisdom and relevance of ancestral ways. Festival visitors could witness how, in New Mexico, cultural identity reflects the changes that continue to be wrought from the varieties of these social encounters.

The 1992 Festival also marked the 200th anniversary of the White House. Not a king's palace but rather "the people's house," the White House is at once national symbol, executive office and conference center, ceremonial setting, museum, tourist attraction, and family residence. The Festival revealed the culture of White House workers, who supported this broad array of functions over a span of history shaped by remarkable events, people and social change. White House workers had made the White House work with their labor and dedication. The Festival's living exhibition presented some of the skills, experiences, and values through which they gave shape to their occupational identities, calling visitors' attention to an important human component of the 200 year institutional history.

The 1992 Festival took place during two five-day weeks (June 25-29 and July 2-5) between Madison Drive and Jefferson Drive and between 10th Street and 13th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan).

The 1992 Program Book included schedules and participant lists for each program; keynote essays provided background on the Festival and each of the four programs, with shorter essays spotlighting particular traditions and offering a forum for statements from Maroon spokespeople.

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

Center for Folklife Programs & Cultural Studies

Richard Kurin, Director; Diana Parker, Festival Director; Anthony Seeger, Director, Smithsonian/Folkways Recordings; Peter Seitel, Senior Folklorist; Thomas Vennum, Jr., Senior Ethnomusicologist; Olivia Cadaval, Director, Quincentenary Projects; Richard Kennedy, Program Analyst; Vivian Chen, Diana Baird N'Diaye, Folklorists; Ken Bilby, Marjorie Hunt, Curators; Carla Borden, John Franklin, Program Managers; Arlene L. Reiniger, Program Specialist; Jeffrey Place, Archivist; Betty Belanus, Frank Proschan, Nicholas Spitzer, Research Associates

Folklife Advisory Council

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

National Park Service

James M. Ridenour, Director; Robert G. Stanton, Regional Director, National Capital Region
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://folklife.si.edu/archives#shared-stewardship.
Forms Part Of:
Smithsonian Folklife Festival records: 1992 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .

Smithsonian Folklife Festival records

Smithsonian Folklife Festival records: Papers

1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Folklore  Search this
Food habits  Search this
Folk festivals  Search this
arts and crafts  Search this
World music  Search this
Folk music  Search this
Folk art  Search this
Genre/Form:
Correspondence
Digital images
Business records
Contracts
Notes
Sound recordings
Plans (drawings)
Negatives
Audiotapes
Memorandums
Slides (photographs)
Audiocassettes
Photographic prints
Video recordings
Videotapes
Citation:
Smithsonian Folklife Festival records: 1992 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1992
See more items in:
Smithsonian Folklife Festival records: 1992 Festival of American Folklife
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5f73b77d3-05ca-40f8-be62-39e38b1d04cd
EDAN-URL:
ead_collection:sova-cfch-sff-1992

African Postcard Collection

Collector:
National Museum of African Art (U.S.)  Search this
Extent:
61 Volumes
Type:
Collection descriptions
Archival materials
Volumes
Postcards
Place:
Algeria
Angola
Benin
Burkina Faso
Burundi
Cameroon
Cape Verde
Central African Republic
Chad
Congo (Democratic Republic)
Côte d'Ivoire
Mozambique
Morocco
Mali
Namibia
Rwanda
Niger
Nigeria
Somalia
South Africa
Sierra Leone
Sudan
Tanzania
Togo
Tunisia
Zimbabwe
Zambia
Uganda
Senegal
Kenya
Liberia
Ghana
Guinea
Mauritania
Madagascar
Malawi
Djibouti
Ethiopia
Gabon
Egypt
Eritrea
Africa
Date:
1898-[ongoing]
Summary:
This collection includes postcards from 45 African countries. Subjects include agriculture; animals; artists; body arts; cityscapes; cultural landscapes; dance; education; expeditions; flora; industry; leaders; marketplaces; medicine; military; missionaries; music; portraits; recreation; rites and ceremonies; and transportation, among many other topics.
Arrangement note:
Arranged by country and topic
Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Genre/Form:
Postcards
Citation:
African Postcard collection, EEPA 1985-014, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
Identifier:
EEPA.1985-014
See more items in:
African Postcard Collection
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
GUID:
https://n2t.net/ark:/65665/xo7db935b22-d87f-4afd-95bb-b2f1180fcf9d
EDAN-URL:
ead_collection:sova-eepa-1985-014
Online Media:

Keystone-Underwood Stereographs

Creator:
Keystone View Company  Search this
Underwood & Underwood  Search this
Collector:
National Museum of African Art (U.S.)  Search this
Extent:
240 Stereographs (black and white, 9 x 22 cm.)
Container:
Box 1
Box 2
Culture:
Bangi  Search this
Kongo (African people)  Search this
Zulu (African people)  Search this
Swahili-speaking peoples  Search this
Kikuyu (African people)  Search this
Maasai (African people)  Search this
Type:
Collection descriptions
Archival materials
Stereographs
Place:
Zimbabwe
South Africa
Congo (Democratic Republic)
Africa
Tanzania
Kenya
Date:
1882-1930
Summary:
The photographs document African businesses, cities, industry, landscapes, peoples and resources. The collection documents various locations within Kenya, Tanzania, Congo (Democratic Republic of), Zimbabwe, Uganda and South Africa. Peoples represented include Kikuyu, Maasai, Bangi, Chagga, Ndombe, Poto, Bangala, Zulu, and Kongo peoples. There are many images of agriculture, hunting, making pottery, mining diamonds and gold, church services at a Catholic mission, a gathering of chiefs at a court, a lion-killing ceremony, and war dances. Businesses and industries shown include coffee plantations; the DeBeers Diamond Mine; a diamond mine compound and crushing mill; fishing boats; a hemp plantation; ivory trade; a market; and the stock market.
Scope and Contents:
The photographs document African businesses, cities, industry, landscapes, peoples and resources. Place documented include Moshi Province, Mount Kilimanjaro, Mount Meru, the Serengeti Plain (Kenya), and Zanzibar in German East Africa (now Tanzania); Victoria Falls and the Zambezi River in Rhodesia (now Zimbabwe); Cape Town, Devil's Peak, Johannesburg, Kimberly, Natal Province, and Port Elizabeth in South Africa; the waterfront of Dar es Salaam, Tanzania; and Soko, Boma, Leopoldville (now Kinshasa), and Stanley Falls (now Boyoma Falls). There are also photographs of the Nile during a flood.

People portrayed include a Kikuyu man paying brideprice for a wife; Kikuyu women carrying water vessels and planting beans; Maasai women building houses; Swahili people dancing; Swahili women using a power figure to ward off evil; and Zulu men training for war. Other peoples portrayed include Bangala, Bangi, Chagga, Kongo, Ndombe and Poto.

Activities documented include buying ivory, carrying rubber, clearing the ground for a coffee plantation, fishing, gambling, grinding corn, hunting zebra, making pottery, mining diamonds and gold, peeling bark for bark cloth, picking coffee, preparing food, smoking meat, threshing beans, and tying house poles. There are also images of church services at a Catholic mission, a gathering of chiefs at a court, a lion-killing ceremony, and war dances.

Businesses and industries shown include coffee plantations in Rhodesia; the DeBeers Diamond Mine in South Africa; a diamond mine compound and crushing mill; fishing boats off Cape Town; a hemp plantation in Uganda; ivory trade in Mombasa, Kenya; a market; and the stock market in Johannesburg.
Biographical / Historical:
In 1882 the Underwood and Underwood Company began operations in Kansas. Founded by brothers Bert Elias (1862-1943) and Elmer (1860-1947) Underwood, the company pioneered the technique of selling stereographs door-to-door. By 1884, Underwood and Underwood's operations had expanded to the West Coast, and the company soon opened offices throughout the world. In the 1890s, the firm began selling images to publications such as Illustrated London News and Harper's Weekly. At its peak in the early 19th century, the company produced 25,000 images per day.

In the late 1910s, Underwood and Underwood was purchased by a competing stereograph company, the Keystone View Company.
Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Marketplaces  Search this
Cultural landscapes  Search this
Ngala (African people)  Search this
Agriculture  Search this
Industry  Search this
Genre/Form:
Stereographs
Identifier:
EEPA.1986-022
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
GUID:
https://n2t.net/ark:/65665/xo76bb797f4-6da9-4e69-9f50-0a1c7bf2ad18
EDAN-URL:
ead_collection:sova-eepa-1986-022

Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974

Creator:
Jacques Seligmann & Co.  Search this
Subject:
Hauke, Cesar M. de (Cesar Mange)  Search this
Glaenzer, Eugene  Search this
Haardt, Georges  Search this
Seligman, Germain  Search this
Seligmann, Arnold  Search this
Parker, Theresa D.  Search this
Waegen, Rolf Hans  Search this
Trevor, Clyfford  Search this
Seligmann, René  Search this
Seligmann, Jacques  Search this
De Hauke & Co., Inc.  Search this
Jacques Seligmann & Co  Search this
Eugene Glaenzer & Co.  Search this
Germain Seligmann & Co.  Search this
Gersel  Search this
Type:
Gallery records
Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Topic:
Mackay, Clarence Hungerford, 1874-1938 -- Art collections  Search this
Schiff, Mortimer L. -- Art collections  Search this
Arenberg, duc d' -- Art collections  Search this
Liechtenstein, House of -- Art collections  Search this
Art -- Collectors and collecting -- France -- Paris  Search this
Art -- Collectors and collecting  Search this
World War, 1939-1945 -- Art and the war  Search this
La Fresnaye, Roger de, 1885-1925  Search this
Art, Renaissance  Search this
Decorative arts  Search this
Art treasures in war  Search this
Art, European  Search this
Theme:
Art Gallery Records  Search this
Art Market  Search this
Record number:
(DSI-AAA_CollID)9936
(DSI-AAA_SIRISBib)212486
AAA_collcode_jacqself
Theme:
Art Gallery Records
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212486
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Online Media:

A splendid land paintings from royal Udaipur Debra Diamond and Dipti Khera, with contributions by Molly Emma Aitken, Saloni Ghuwalewala, S. Girikumar, Catherine Glynn, John Stratton Hawley, Shikha Jain, Robin Owen Joyce, Shailka Mishra, Anuja Mukherjee, Bhasha Shah, Emma Natalya Stein, Cynthia Talbot, P.M. Vasundhara, Caroline Widmer, Richard David Williams

Writer of foreword:
Mewar, Arvind Singh 1944-  Search this
Robinson, Chase F  Search this
Author:
Khera, Dipti  Search this
Aitken, Molly Emma  Search this
Ghuwalewala, Saloni  Search this
Girikumar, S  Search this
Glynn, Catherine Ann 1946-  Search this
Hawley, John Stratton 1941-  Search this
Jain, Shikha  Search this
Joyce, Robin Owen  Search this
Mishra, Shailka  Search this
Mukherjee, Anuja  Search this
Shah, Bhasha  Search this
Stein, Emma Natalya  Search this
Talbot, Cynthia  Search this
Vasundhara, P. M  Search this
Widmer, Caroline  Search this
Williams, Richard David  Search this
Container of (work): Diamond, Debra Splendid land  Search this
Organizer:
City Palace Museum, Udaipur  Search this
Host institution:
Arthur M. Sackler Gallery (Smithsonian Institution),)  Search this
Cleveland Museum of Art  Search this
Physical description:
399 pages color illustrations 30 centimeters
Type:
Exhibitions
In art
Exhibition catalogs
Place:
Udaipur (Princely State)
India
Date:
2022
Topic:
Mewar painting  Search this
ART / General  Search this
ART / Collections, Catalogs, Exhibitions / General  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1158661

Cultural landscapes

Photographer:
Geary, Christraud M.  Search this
Collection Photographer:
Geary, Christraud M.  Search this
Extent:
1 Slide (col.)
Culture:
Weh (African people)  Search this
Type:
Archival materials
Slides
Place:
Africa
Cameroon
Date:
1970
Scope and Contents:
Presbyterian church. Weh, Cameroon.
Local Numbers:
S 2 WEH CMG 70
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Mod. architecture/cityscape -- Photographs  Search this
Cultural landscapes  Search this
Collection Citation:
Christraud M. Geary photographs of Cameroon, EEPA 1993-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
See more items in:
Christraud M. Geary photographs of Cameroon
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
GUID:
https://n2t.net/ark:/65665/xo752785261-ad00-4ffe-bddf-58d368754944
EDAN-URL:
ead_component:sova-eepa-1993-001-ref513

Cultural landscapes

Photographer:
Geary, Christraud M.  Search this
Collection Photographer:
Geary, Christraud M.  Search this
Extent:
1 Slide (col.)
Type:
Archival materials
Slides
Place:
Africa
Date:
1969
Scope and Contents:
Residence of the missionary at the Presbyterian Mission Station. Bafut, Cameroon.
Local Numbers:
S 2 BFT CMG 69
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Mod. architecture/cityscape -- Photographs  Search this
Landscape -- Photographs  Search this
Cultural landscapes  Search this
Collection Citation:
Christraud M. Geary photographs of Cameroon, EEPA 1993-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
See more items in:
Christraud M. Geary photographs of Cameroon
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
GUID:
https://n2t.net/ark:/65665/xo71a37c559-0ea0-4c60-869b-2c3c027e40b2
EDAN-URL:
ead_component:sova-eepa-1993-001-ref590

Cultural landscapes

Photographer:
Geary, Christraud M.  Search this
Collection Photographer:
Geary, Christraud M.  Search this
Extent:
1 Slide (col.)
Type:
Archival materials
Slides
Place:
Africa
Scope and Contents:
Residence of the missionary at the Presbyterian Mission Station. Bafut, Cameroon.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Landscape -- Photographs  Search this
Mod. architecture/cityscape -- Photographs  Search this
Cultural landscapes  Search this
Collection Citation:
Christraud M. Geary photographs of Cameroon, EEPA 1993-001, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
See more items in:
Christraud M. Geary photographs of Cameroon
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
GUID:
https://n2t.net/ark:/65665/xo7c4f0097d-7bed-488e-82fc-9c9d389fd3be
EDAN-URL:
ead_component:sova-eepa-1993-001-ref591

16. Bénin Achèvement d'une toiture à Ekiti

Creator:
Society of African Missions  Search this
Lescuyer, Maurice  Search this
Extent:
1 Postcard (collotype; black and white, 9.5 x 13.5 cm.)
Container:
Volume 1
Type:
Archival materials
Postcards
Postcards
Picture postcards
Place:
Africa
Nigeria
Date:
circa 1934
Scope and Contents:
Printed text on recto reads: "16. Bénin -- Achèvement d'une toiture à Ekiti." Translated caption reads: [Benin -- Completion of a roof in Ekiti.] Additional printed text on recto reads: "Missions Africaines, 150 Cours Gambetta, Lyon." Manuscript message on verso. Printed text on verso reads: "Phototypie Mce Lescuyer, 16, r. des Remparts-d'Ainay, Lyon."
Local number:
EEPA NR-07-05
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Cultural landscapes  Search this
Architecture  Search this
Vernacular architecture -- Africa  Search this
Construction -- Africa  Search this
Benin (Kingdom)  Search this
Genre/Form:
Picture postcards
Collection Citation:
African Postcard collection, EEPA 1985-014, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
Identifier:
EEPA.1985-014, Item EEPA NR 2010-025-0001
See more items in:
African Postcard Collection
African Postcard Collection / Series 34: Nigeria (NR)
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
GUID:
https://n2t.net/ark:/65665/xo79d288ec2-5a20-4bae-b404-4decb5774057
EDAN-URL:
ead_component:sova-eepa-1985-014-ref8665

Cultural landscapes

Photographer:
DeCorse, Christopher R.  Search this
Collection Photographer:
DeCorse, Christopher R.  Search this
Extent:
1 Slide (col.)
Type:
Archival materials
Slides
Color slides
Place:
Africa
Ghana
Ghana
Ghana
Date:
1986
Scope and Contents:
Independence Arch, Accra. The date on the slide is AUG 86.
Local Numbers:
GH 29-27

S 2 GHA 29-27 CDC 86
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Mod. architecture/cityscape -- Photographs  Search this
Cultural landscapes  Search this
Genre/Form:
Color slides
Identifier:
EEPA.1993-028, Item EEPA.1993-028-0517
See more items in:
Christopher DeCorse photographs
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
GUID:
https://n2t.net/ark:/65665/xo73d52b88c-e199-4538-9652-65c17a9d0435
EDAN-URL:
ead_component:sova-eepa-1993-028-ref1023

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