Indians of North America -- Great Plains Search this
Type:
Archival materials
Photographs
Date:
ca 1890s
Biographical / Historical:
Photographer: G. W. Parsons, O. T.
Date: Not recorded; ca. 1890's ?
Local Numbers:
OPPS NEG.55498
Local Note:
Print of same subject seen by N. Feder in Osage Tribal Museum carried caption, "Wedding on horse." Woman wears coat with epaulettes, evidently a "wedding coat;" cf. Negative Number 54993.
Besides gold bullion type epaulettes, the coat has sergeant's chevrons on the shoulders and at cuffs. This coat or one similar to it is on display at the Denver Art Museum. --Information from James Nottage, June 1973; see Guides to Photo Collection, "Military Uniform." (pjr)
Friedel Dzubas, American, b. Berlin, Germany, 1915–1994 Search this
Medium:
Synthetic polymer on canvas
Dimensions:
96 1/4 x 98 3/8 in. (244.5 x 249.9 cm)
Type:
Painting
Date:
1972
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Museum purchase with funds donated by the Smithsonian Resident Associates Program, 1975
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact 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:
Zabriskie Gallery Records, 1905-2011. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The records of the Poindexter Gallery measure 7.1 linear feet and date from 1931-1985 with the bulk of the materials dating from 1955-1978 when the gallery was active. The majority of the collection consists of artists' files documenting the gallery's relationships with its artists, including exhibitions, and containing a wide variety of materials, including photographs. Also found are the "desk files" kept by the gallery's founder, Elinor Poindexter; correspondence; and financial and legal records.
Scope and Contents:
The records of the Poindexter Gallery measure 7.1 linear feet and date from 1931-1985 with the bulk of the materials dating from 1955-1978 when the gallery was active. The majority of the collection consists of artists' files documenting the gallery's relationships with its artists, including exhibitions, and containing a wide variety of materials, including photographs. Also found are the "desk files" kept by the gallery's founder, Elinor Poindexter; correspondence; and financial and legal records.
Elinor Poindexter's desk files consist of documents she kept as a reference for both her personal needs and gallery business. Correspondence is with artists, museums, colleges and universities, and art institutes. Notable correspondents include Worcester Art Museum, Corcoran Gallery of Art, Metropolitan Museum of Art, the Solomon Guggenheim Museum, Denver Art Museum, Yale University, Oberlin College, University of Arizona, the Fogg Art Museum at Harvard University, Smithsonian Institution, and the Montana Historical Association. Additional correspondence is found throughout desk files and artists' files as well.
Artists' files are found for artists represented by the gallery, or in whom the gallery took an interest. Contents of the files vary, but may contain correspondence, photographs, sales records, exhibition files, and printed materials. There is extensive material relating to artists Richard Diebenkorn, Willem de Kooning, Giorgio Spaventa, Robert De Niro, Earl Kerkam, Franz Kline, Milton Resnick, Eleanor Dickinson, Paul Harris, Jules Olitski, among others.
The remainder of the collection consists of financial and legal files containing sales inventories and receipts, price lists, bills, loan agreements, and documents pertaining to the estate of Giorgio Spaventa, as well as photographic materials consisting of prints, negatives, slides and color transparencies of artwork.
Series 2: Correspondence, 1955-1971 (Box 1-2, 1.8 linear feet)
Series 3: Artists' Files, 1931-1983, undated (Box 2-5, 2.4 linear feet)
Series 4: Financial and Legal Files, 1955-1985 (Box 5-6, 1.0 linear feet)
Series 5: Photographic Materials, 1933-1977 (Box 6-7, 1.4 linear feet)
Biographical / Historical:
The Poindexter Gallery was founded in 1955 in New York City by Elinor Poindexter. The gallery specialized in sculpture, abstract, and figurative art and featured the works of such artists as Richard Diebenkorn, Jules Olitski, Nell Blaine, Willem de Kooning, Giorgio Spaventa, Franz Kline, Earl Kerkam, Milton Resnick and Robert De Niro, among others. The Poindexter Gallery closed in 1978.
Related Materials:
Among other resources relating to the Poindexter Gallery records in the Archives of American Art is an oral history with gallery owner, Elinor Poindexter, conducted by Paul Cummings on September 9, 1970.
Provenance:
The Poindexter Gallery records were donated over a period from 1968-1978 by the Poindexter Gallery via owners Elinor Poindexter and art director Harold Fondren. A 2006 accession was donated by Christie Poindexter Dennis, daughter of Elinor.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of sculptor Arnold Rönnebeck and painter Louise Emerson Ronnebeck measure 4.24 linear feet and date from 1884-2002. The collection contains biographical material, family and professional correspondence, sketches and drawings, writings, a scrapbook, and printed material. There are also numerous photographic prints, copy prints, negatives, and 7 glass plate negatives of the Rönnebecks and their artwork, travels, family, and friends, including Charles Demuth, Marsden Hartley, Alfred Stieglitz, and Tony Luhan.
Scope and Content Note:
The papers of sculptor Arnold Rönnebeck and painter Louise Emerson Ronnebeck measure 4.24 linear feet and date from 1884-2002. The collection contains biographical material, family and professional correspondence, sketches and drawings, writings, a scrapbook, and printed material. There are also numerous photographic prints, copy prints, negatives, and 7 glass plate negatives of the Rönnebecks and their artwork, travels, family, and friends, including Charles Demuth, Marsden Hartley, Alfred Stieglitz, and Tony Luhan.
Biographical materials include articles on the Rönnebecks by Betsy Fahlman, curriculum vitae, and documentation on the Emerson family. Correspondence is primarily between Arnold Rönnebeck to Louise, and also includes letters in German to Arnold's sister Irmgard Rönnebeck. Among the professional and personal correspondence from friends and family to both of the Rönnebecks are letters from Kenneth Hayes Miller to Louise Ronnebeck.
Writings include essay drafts, notes, and poetry by the Rönnebecks, including Arnold Rönnebeck's "Paint-As-You-Go Plan." There is a scrapbook of clippings covering Louise Ronnebeck's work. Additional printed material includes Christmas cards, clippings, and exhibition announcements and catalogs of both the Rönnebecks' work. Artwork consists of drawings and sketches by Arnold Rönnebeck.
Photographic materials include photographs of the Rönnebecks and their travels to Arizona, Colorado, New Mexico, New York, and Europe. The series also contains photos, copy prints, negatives, and 7 glass plate negatives of artist friends, and formal and informal documentation of their works of art and public and private art commissions.
Arrangement:
The collection is arranged as 7 series.
Missing Title
Series 1: Biographical Materials, 1926-2002 (9 folders; Box 1, OV 7)
Series 2: Correspondence, 1909-1998 (0.6 linear feet; Box 1, 5)
Series 3: Writings, 1920-1944 (6 folders; Box 1, 5)
Series 4: Scrapbook, 1926-1966 (1 folder; Box 1)
Series 5: Printed Material, 1923-1999 (0.5 linear feet; Box 1-2)
Series 6: Artwork, 1915-1950 (2 folders; Box 2, 5)
Series 7: Photographic Materials, 1884-1976 (2.6 linear feet; Box 2-6)
Biographical Note:
Sculptor Arnold Rönnebeck (1885-1947) was part of the "Stieglitz circle" and settled in Denver where he served as director of the Denver Art Museum from 1926-1931. Rönnebeck married Louise Emerson (1901-1980) in 1926. Emerson was a painter and muralist who worked on New Deal mural commissions in Colorado and Wyoming.
Arnold Rönnebeck was born in Nassau, Germany and was a noted sculptor and lithographer. From 1905 to 1907, Rönnebeck studied architecture at the Royal Art School in Berlin and spent a year studying sculpture in Munich. In 1908, he moved to Paris where he furthered his studies in sculpture under Aristede Maillol and Emile Bourdelle. From 1914 to 1918, Rönnebeck served as an officer in the German Imperial Army during World War I. In 1923, he emigrated to the United States where he became part of the Stieglitz circle.
In 1925, Rönnebeck visited Mabel Dodge Luhan at her ranch in Taos, New Mexico, where he met his future wife, the painter Louise Emerson, born Mary Louise Harrington Emerson in 1901. After their marriage, the Rönnebecks lived in Denver where Arnold Rönnebeck worked as director of the Denver Art Museum and continued to execute commissioned works, including bas reliefs, portrait busts, and sculptures. He died in Denver, Colorado in 1947. Throughout the 1950s and 1960s, Louise Emerson Ronnebeck continued to receive commissions for frescoes and murals in Colorado and Bermuda and died in Denver, Colorado in 1980.
Related Material:
Correspondence between Arnold Rönnebeck and Alfred Stieglitz and Marsden Hartley is located at the Beinecke Rare Book and Manuscript Library at Yale University.
Provenance:
The papers were donated in 2001 by Ursula Moore Works and Arnold Rönnebeck, the artists' daughter and son.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Arnold Rönnebeck and Louise Emerson Ronnebeck papers, 1884-2002. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
This collection consists of 35 reprints of historical images gathered for Anne Noggle's books, For God, Country, and the Thrill of It: Women Airforce Service Pilots in World War II (published 1990) and A Dance with Death: Soviet Airwomen in World War II (published 1994).
Scope and Contents:
This collection consists of 35 large-format black and white photographic reprints of historical images gathered for Anne Noggle's books, For God, Country, and the Thrill of It: Women Airforce Service Pilots in World War II and A Dance with Death: Soviet Airwomen in World War II. From For God, Country and the Thrill of it there are 21 images (including nine not used in the book) relating to training of the Women Airforce Service Pilots (WASPs) at Sweetwater, Texas. From A Dance with Death there are 12 images (including two not used in the book) relating to Soviet air personnel assigned to the 588th Night Bomber Regiment (later renamed the 46th "Taman" Guards Night Bomber Aviation Regiment, also nicknamed by the Germans as die Nachthexen or "Night Witches"), the 125th Guards Bomber Regiment, and the 586th Fighter Regiment (Air Defense). Women pilots pictured include Marina Raskova, Lydia (Lilya) Litvyak, Anna Timofeyeva-Yegorova, and other Heroes of the Soviet Union.
Arrangement:
Photographs are arranged into two series; Series 1 consists of photographs relating to WASP training at Avanger Field, Sweetwater, Texas; Series 2 consists of Soviet World War II photographs. Folders containing photographs used in Noggle's books are arranged in page number order.
Biographical / Historical:
With the entry of the United States into World War II, many American women pilots longed to volunteer their skills to serve their country but were barred from flying for the US military due to their gender. Some American women pilots, including well-known racing pilot Jacqueline "Jackie" Cochran, had already offered their services to the British Air Transport Auxiliary (ATA), ferrying aircraft from the manufacturers to and between air bases and freeing up male Royal Air Force (RAF) pilots for other duties. Cochran's experience with the ATA led her to lobby long and hard for a similar organization in the US. Initially, two organizations were formed to allow American women pilots to participate in the war effort. On September 10, 1942, the Women's Auxiliary Ferrying Squadron (WAFS), consisting of commercially licensed women pilots under the leadership of Nancy Harkness Love, was created as part of the US Army Air Corps' Air Transport Command. On November 16, 1942, a women pilot training program designed to supply pilots for the WAFS was begun under Cochran's leadership as the Women's Flying Training Detachment (WFTD). Initially based at Howard Hughes Municipal Airport in Houston, Texas, the WFTD was soon moved to Avenger Field at Sweetwater, Texas. On August 5, 1943, the WAFS and the WFTD were merged to form the Women Airforce Service Pilots (WASP), with Cochran as director of the WASP and its training division and Love as director of the ferrying division. Between November 17, 1942, and December 7, 1944, the 1,074 women who earned WASP wings flew 60 million miles for the US Army Air Corps. From light aircraft, the WASPs advanced quickly to fly every type of Air Corps aircraft in use at the time. Except for aerial gunnery and formation flying, these women received the same training as the male pilots. WASPs ferried planes, towed anti-aircraft artillery training targets, flew tracking, simulated bombing missions, performed radio control, flight tested aircraft, gave instrument instruction and performed many other duties. Their work allowed more men to participate in aviation combat roles.
The Russian Civil War which followed the Bolshevik Revolution of October 1917 provided new opportunities for women in previously male-dominated areas; Marxist ideology considered men and women to be equal citizens in both rights and responsibilities. Aviation became increasingly popular in the Union of Soviet Socialist Republics (USSR) throughout the 1920s and 1930s, with many women receiving training alongside men in aviation and aircraft mechanics through local aero clubs. In September 1938, three Soviet women made a record-setting long distance flight across the Soviet Union in the Tupolev (ANT-37bis) DB-2B "Rodina" ("Motherland"). The previous year, Marina Raskova, navigator for the flight, had become the first female staff instructor at the Zhukhovski Air Academy; Raskova later trained as a pilot and became a popular role model for young women who went on to serve as military pilots and navigators during World War II. After the Nazis invaded the USSR in June 1941, Raskova was able to convince Soviet leaders that women were a valuable asset and could play a useful military role. Young women recruited to join the 122nd Composite Air Group were sent to the Engels Military Aviation School where they were divided into four groups to train as pilots, navigators, mechanics, or armorers, based on their previous experience. They received the same training as the male recruits. In early 1942, three regiments which had been formed out of the 122nd Composite Air Group were activated: the 586th Fighter Regiment (Air Defense), the 587th Bomber Aviation Regiment (later renamed as the 125th Guards Bomber Regiment), and the 588th Night Bomber Regiment (later renamed the 46th "Taman" Guards Night Bomber Aviation Regiment, also nicknamed by the Germans as die Nachthexen or "Night Witches"). By the end of the war the three regiments had flown a combined total of over 30,000 combat sorties, and many of the airwomen had been awarded the title Hero of the Soviet Union for their wartime service.
Anne Noggle (1922--2005) was a fine art photographer recognized for her feminist artwork on women, aging, and self-portraiture. Noggle served as a Woman Airforce Service (WASP) pilot from 1943--1944, was a stunt pilot and crop duster after the war, and was a captain in the Air Force from 1953--1959. Noggle remained an active pilot throughout her lifetime. At 38 years old, Noggle pursued a college education and received a Bachelor of Arts degree in art and art history, and a Master of Arts degree in photography from the University of New Mexico. She was the curator of photography at the New Mexico Museum of Art from 1970--1976 and taught photography as an adjunct professor at the University of New Mexico 1970--1984, which is recognized for their prestigious photography program. Noggle received numerous awards for her photographic work, including a grant from the National Endowment for the Arts and a John Simon Guggenheim Memorial Foundation Fellowship. Her work is in the permanent collections of the New Mexico Museum of Art, Albuquerque Museum, California Museum of Photography, Denver Art Museum, Minneapolis Institute of the Art, the National Gallery of Canada, the San Francisco Museum of Modern Art, the Harn Museum at the University of Florida in Gainesville, and the Harry Ransom Center at the University of Texas in Austin. Noggle also was the author of several books, including For God, Country, and the Thrill of It: Women Airforce Service Pilots in World War II, and A Dance with Death: Soviet Airwomen in World War II, which featured her portrait photography of the women fliers.
Related Materials:
The Smithsonian National Air and Space Museum Art Collection includes 117 print photographs created by photographer Anne Noggle.
Provenance:
Anne Noggle Foundation, Gift, 2021, NASM.2021.0014
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Women's Air Force Service Pilots (WASP) and Soviet Women Pilots Photographs [Noggle], Acc. NASM.2021.0014, National Air and Space Museum, Smithsonian Institution.
