Search Results

Creator:

Smithsonian Institution Archives  Search this

Type:

YouTube Videos

Uploaded:

2014-04-28T18:00:37.000Z

YouTube Category:

Education  Search this

Topic:

Museum administration  Search this

See more by:

SIArchives

Data Source:

Smithsonian Institution Archives

YouTube Channel:

SIArchives

EDAN-URL:

edanmdm:yt_7wHYs1ewfoA

Creator:

Smithsonian American Art Museum  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2021-06-30T14:26:46.000Z

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_V7qhn8Q51hI

Creator:

Archives of American Art  Search this

Type:

YouTube Videos

Uploaded:

2023-04-26T20:50:24.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

SmithsonianAAA

Data Source:

Archives of American Art

YouTube Channel:

SmithsonianAAA

EDAN-URL:

edanmdm:yt_-jv8ddKzZv4

Creator:

Smithsonian Education  Search this

Type:

YouTube Videos

Uploaded:

2014-03-13T20:06:41.000Z

YouTube Category:

Education  Search this

Topic:

Education  Search this

See more by:

SmithsonianEducation

Data Source:

Smithsonian Education

YouTube Channel:

SmithsonianEducation

EDAN-URL:

edanmdm:yt_nlBKMDB56eE

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

YouTube Videos

Uploaded:

2021-05-18T13:00:14.000Z

YouTube Category:

Education  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt__vzmOHh28bs

Creator:

Wiedenman, Charlotte  Search this

Phelps, Claudia, Nee Lea  Search this

Former owner:

The Garden Club of Aiken (Aiken, South Carolina )  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Digital images

Slides (35mm transparencies)

Place:

Rose Hill Estate (Aiken, South Carolina)

United States of America – South Carolina – Aiken County – Aiken

Scope and Contents:

2 35mm slides (1942) and 24 digital images (2023, May 6) and 2 file folders

General:

Rose Hill was the estate of Sheffield and Claudia (nee Lea) Phelps. The 4.14 acre estate encompasses an entire city block at one of the highest points in Aiken, South Carolina. It was built as a winter retreat for the Phelps family of Teaneck, New Jersey on the site of an antebellum plantation that had burned. Aiken is situated in the western sand hills of South Carolina, a high sandy ridge situated across the midlands of the State. It is known for its sandy, rapidly draining soil and thus a lower annual humidity compared to other areas in South Carolina. The sandy soil also provides excellent footing for equestrian pursuits. Due to its favorable climate, Aiken became a health and sporting retreat in the late 1800s to early 1900s and thus a "Winter Colony" of wealthy Northerners was formed. Those that could afford a second home would build estates that were typical of the English Country aesthetic with pleasure grounds having both formal and woodland areas using native trees and shrubs as well as exotic ornamentals that looked as if they naturally belonged.

Mrs. Phelps designed her garden after the house was constructed in 1901. The front half of the property includes the home, the garden and a former tennis court; the back half was the working portion of the property with a large stable, dog kennel, carriage house and dependency cottages. Claudia Phelps was both a gardener and keen plant collector. She sourced plants from around the globe through familial connections, her travels abroad and through trade with fellow gardeners. Fruitlands Nursery in Augusta, Georgia, now the home of the Augusta National, was a local source for many of the plants at Rose Hill. Mrs. Phelps was a highly regarded Camellia japonica collector and Rose Hill has many old varieties that one does not typically see in the large retail garden centers. She produced a pamphlet on camellia cultivation and kept detailed lists of her collection. Her botanical book collection was donated to the Thomas Cooper Library of the University of South Carolina. Most notable in the collection were the rare books about camellias.

The garden demonstrates strong axes with hedges of cherry laurel and azaleas that line the garden paths. The pathways lead to water features and a summer tea cottage. Situated between the walkways are expanses of lawn that are dotted with ornamentals especially winter blooming plants like camellias and native azaleas. She made use of the iron cemented sandstone that is unique to the sand hills region. It is frequently found in old Aiken gardens. She used it to edge pathways and beds, to build seating areas, pediments, fountains, planters, and pond edging. The former tennis courts were converted by Mrs. Phelps first to a boxwood maze and then later to a lawn with a brick gazebo in the center. Legend recounts that the tennis court encouraged too much drinking and gambling so she converted the court into a garden area and placed a gazebo in the center.

In 1924, Mrs. Phelps invited 24 women to Rose Hill to form the Garden Club of Aiken, South Carolina's first garden club. In 1930, she would go on to help found the Garden Club of South Carolina and would be elected its first president and only lifetime president. She patterned many of the endeavors of the Garden Club of Aiken after those of the Garden Club of America.

The Rose Hill garden fell into considerable neglect in the late 1980s. Using garden notes from Mrs. Phelps' lead gardener, her great-granddaughter, Stephanie Wilds, was able to return the garden to much of its original layout. Today Rose Hill retains many relics that were described in the 1935 book, Carolina Gardens, by E.T.H. Shaffer. He remarks that Mrs. Phelps beautifully combines plants native to South Carolina, the Southeast and those from far off places. Mrs. Phelps died in 1955. Her daughter, Claudia Lea Phelps, also an active member of the Garden Club of Aiken and the Garden Club of South Carolina, lived at the property her entire life. She died in 1974. Rose Hill is a private property that has operated as an inn and events facility for the past twenty years.

Persons associated with the garden's design: Claudia Phelps (nee Lea) (plant collector, designer, gardener, 1898-1955); Claudia Lea Phelps (gardener, 1924-1974); Stephanie Wilds (gardener, 1991-2003).

Related Materials:

The University of South Carolina University Libraries in Columbia, South Carolina

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 -- South Carolina -- Aiken  Search this

Private gardens  Search this

Landscape gardens  Search this

Formal gardens  Search this

Historic landscapes  Search this

Allées  Search this

Benches  Search this

Containers  Search this

Exedrae (site elements)  Search this

Fountains  Search this

Garden walks  Search this

Sculptures  Search this

Teahouses  Search this

Tennis courts  Search this

Terraces  Search this

Wall fountains  Search this

Genre/Form:

Digital images

Slides (35mm transparencies)

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File SC016

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / South Carolina

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6a0bd962f-9976-4567-a25f-1bfb413d6a6a

EDAN-URL:

ead_component:sova-aag-gca-ref12433

Creator:

McCrary, Michael B., 1936-2020  Search this

Extent:

12 Sound tape reels (1/4 inch open reel)

12 Sound cassettes (DAT) (copies)

Culture:

Taos Pueblo  Search this

Yakama (Yakima)  Search this

Warm Springs  Search this

Type:

Collection descriptions

Archival materials

Sound tape reels

Sound cassettes (dat)

Sound recordings

Place:

Oregon -- Celilo

Date:

1955

circa 1960

Summary:

This collection includes ¼ inch open reel audio tapes recorded and collected by Michael B. McCrary of music and songs from Taos, New Mexico, Warm Springs, Oregon, and Celilo Salmon Festival in Oregon.

Scope and Contents:

This collection includes 12 ¼ inch open reel audio tapes, all of which are approximately 9.5 inches in length. The reels were transferred onto Digital Audio Tape (DAT) in 1993, and sound cassettes were also made around that time for access purposes.

Reels 1-6 were made over three nights in 1955 at the Celilo Salmon Festival at Celilo Falls in Oregon. This was one of the last festivals before the Falls were submerged by the Dalles Dam. McCrary states in a 1967 letter that he did not make these recordings himself but does not list who did.

Reels 7-10 were made in Taos, New Mexico by Michael McCrary at the house of Tony Lujan (Taos Pueblo). These reels are undated but were likely recorded sometime around 1960 and includes Taos stories and songs.

Reels 11-12 are labeled "Warm Springs," but further research needs to be done to determine whether these were made at the same time as the Celilo Salmon Festival recordings.

Arrangement:

Arranged by Reel number.

Celilo Salmon Festival:

During the Celilo Salmon Festival, or First Salmon Feast, members of the Yakama (Yakima) and Warm Springs communities celebrate the return of the salmon every year to the Columbia Basin. Typically, around the second or third week of April, the celebration marks the opening of fishing season. Historically, the feast was held at the Celilo Falls. However, in 1957, the Celilo falls, along with the fishing platforms and village of Celilo, were submerged by slackwater from the newly built Dalles Dam.

Tony Lujan and Mabel Dodge Luhan, Taos, New Mexico:

Antonio "Tony" Lujan was born January 2, 1879. A Taos Pueblo tribal member and leader, Tony married Mabel Dodge Luhan in 1923 who had moved from New York to Taos, New Mexico to start an artist colony in 1917. Tony and Mabel bought 12 acres of land and built a house that would become a destination for artists and writers. Mabel died in 1962 and Tony, a year later in 1963. Their house in now a National Historic Landmark.

Provenance:

Gift of Michael B. McCrary, 1966.

Restrictions:

Collection is closed until the materials have been digitized and further tribal community consultation.

Rights:

Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information, please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.

Topic:

Tiwa language  Search this

Genre/Form:

Sound recordings

Citation:

Identification of specific item; Date (if known); Michael B. McCrary audio recordings from Celilo Falls, Oregon and Taos, New Mexico, reel #, NMAI.AC.442; National Museum of the American Indian Archives Center, Smithsonian Institution.

Identifier:

NMAI.AC.442

Archival Repository:

National Museum of the American Indian

GUID:

https://n2t.net/ark:/65665/sv4b0d13b11-11a2-45e2-9737-007797a11c95

EDAN-URL:

ead_collection:sova-nmai-ac-442

Creator:

Spero, Nancy, 1926-2009  Search this

Names:

A.I.R. Gallery (New York, N.Y.)  Search this

Galerie Lelong (New York, N.Y.)  Search this

Golub, Leon, 1922-2004  Search this

Mendieta, Ana, 1948-1985  Search this

Sosa, Irene  Search this

Extent:

26.4 Linear feet

19.12 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Sound recordings

Interviews

Video recordings

Documentary films

Motion pictures

Date:

1940s-2009

Summary:

The papers of painter, collage artist, and printmaker Nancy Spero measure 26.4 linear feet and 19.12 GB and are dated 1940s-2009. Biographical material, correspondence and other files documenting Spero's personal and professional relationships, interviews and writings, records of Spero's many exhibitions and projects, files highlighting the major subjects that galvanized her, business records, printed and photographic material, and digital and video recordings, offer detailed insight into the career of one of the earliest feminist artists.

Scope and Contents:

The papers of painter, collage artist, and printmaker Nancy Spero measure 26.4 linear feet and 19.12 GB and are dated 1940s-2009. Biographical material, correspondence and other files documenting Spero's personal and professional relationships, interviews and writings, records of Spero's many exhibitions and projects, files highlighting the major subjects that galvanized her, business records, printed and photographic material, and digital and video recordings, offer detailed insight into the career of one of the earliest feminist artists.

Biographical material includes biographical notes and curricula vitae, as well as several video recordings of documentaries about Spero by Patsy Scala and Irene Sosa which feature original footage of Spero at work. Correspondence is personal and professional, and includes letters from artists including Judy Chicago and Ana Mendieta, writers and curators such as Deborah Frizzell and Susanne Altmann, regarding Spero exhibition catalogs, monographs, and articles, and personal news from family members such as Spero's sons, and correspondence related to other aspects of Spero's career.

Interviews of Spero include transcripts, published interviews, and video recordings. Writings include many of Spero's statements about her work, as well as notes, published versions of articles written by Spero, and video recordings of talks and panel discussions she participated in.

Exhibition files for over 75 shows document the extent to which Spero's work has been widely exhibited in her lifetime with numerous solo exhibitions, including major retrospectives in London, Paris, Barcelona, and Madrid, and dozens of group exhibitions in which she participated over the course of her career.

Gallery and museum files supplement the exhibition files by further documenting Spero's dealings with numerous galleries and museums, including Galerie Lelong, which represents Spero's estate, Barbara Gross Galerie, the first gallery in Germany to represent Spero, the Museum of Fine Arts, Boston, the National Gallery of Canada, and many others. The series also documents Spero's involvement with A.I.R. Gallery, the first independent women's art venue in the United States.

Professional files document other aspects of Spero's career including, but not limited to, awards she received, organizations she participated in or contributed to, publishing projects related to her work, and individual projects she executed such as an installation at the Harold Washington Library in Chicago and the Artemis, Acrobats, Divas & Dancers mosaic tiles she created for the Metropolitan Transit Authority for the 66th Street/Lincoln Center subway station. Also included here are files related to works of art such as Codex Artaud, and Notes in Time.

Subject files, contents of which were presumably used as source material for Spero, document subjects of interest to her, many of which were incorporated into her work and consists primarily of printed material. Broad subject categories include animal rights and conservation, feminism, war, and women. One set of folders documents "museum and political actions" undertaken by Spero and other activists during the 1960s-1970s to fight for equal representation of women in the arts and challenge the male-dominated hierarchy of the art world. Subject files include multiple news articles on torture, rape, and other atrocities committed particularly against women during wartime and by repressive and autocratic political regimes, and also include source material on the archetypal images of women that were fundamental to her interpretation of the female experience.

Printed material documents Spero's entire career from the late 1950s on. Announcements, exhibition catalogs, invitations, news clippings, and periodicals provide comprehensive coverage of her many exhibitions and other events. Printed material also documents the activities of a few other artists, primarily from the 2000s, and includes periodicals, primarily about art, and video recordings of documentaries about art and various other subjects.

Photographic material includes photographs of Nancy Spero from the 1940s on, photos of Spero with family and friends, and photographs of artwork including the heads of Spero's 2007 Maypole: Take No Prisoners which was the last major work completed before her death, originally realized for the Venice Biennale. Also found are a few installation shots and prints, slides, and digital images of Notes in Time at A.I.R. Gallery in 1979.

Arrangement:

The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Material, 1950-2009 (Box 1, FC 30; 0.85 linear feet, ER01-ER04; 9.58 GB)

Series 2: Correspondence, 1946-2009 (Boxes 1-4, 27; 2.75 linear feet)

Series 3: Interviews, 1973-2007 (Boxes 4-5; 0.6 linear feet)

Series 4: Writings, 1950-2007 (Boxes 5-6; 1 linear foot)

Series 5: Exhibition Files, circa 1976-2009 (Boxes 6-9, 27, OV 28; 3.3 linear feet, ER09-ER10, ER14-ER17; 1.5 GB)

Series 6: Gallery and Museum Files, 1972-2009 (Boxes 9-14; 5.1 linear feet; ER05-ER08, ER12-ER13; 2.962 GB)

Series 7: Professional Files, circa 1967-2008 (Boxes 14-17, RD 29; 3.5 linear feet; ER15; 0.74 GB)

Series 8: Subject Files, 1950s-2009 (Boxes 17-19, 27, OV 28; 2.4 linear feet)

Series 9: Business Records, circa 1976-2008 (Boxes 19-20; 0.7 linear foot)

Series 10: Printed Material, 1949-2009 (Boxes 20-25, 27, OV 28; 5.5 linear feet)

Series 11: Photographic Material, 1940s-2009 (Boxes 25-27; 0.7 linear foot; ER18-ER19; 0.151 GB)

Biographical / Historical:

Nancy Spero (1926-2009) was a figurative painter, printmaker, and collage artist based in New York City whose work was executed primarily on paper from the 1960s on, and often incorporated text. Spero was among the first feminist artists and a political activist whose convictions were expressed relentlessly in her work. Using archetypal representations of women to examine the range of female experience, Spero centered "woman as protagonist" whilst simultaneously examining the suffering women have long been subjected to through structural inequality, the systematic abuses of repressive political regimes, and the atrocities of war.

Born in Cleveland, Nancy Spero lived in Chicago from the time she was a very young child until completing her studies at the School of the Art Institute of Chicago (BFA 1949) where she met her future husband, painter Leon Golub (1922-2004). Spero studied briefly in Paris and lived in New York City, returning to Chicago after her marriage in 1951. The couple and their two sons lived in Italy from 1956 to 1957. In 1959, after a few years in New York, the family moved to Paris where Spero developed an interest in existentialism and produced a series of black paintings. Spero and Golub returned to New York in 1964 with their three sons.

Nancy Spero was strongly affected by the war in Vietnam and the many social changes of the period. She became an activist and feminist, joined various organizations, and participated in a variety of demonstrations. Work such as the War series began to include political and sexual imagery, and Spero's work from here on was primarily executed on paper.

Spero was among the founding members of the women's cooperative A.I.R. Gallery established in 1972. In the 1970s archetypal representations of women in mythology, history, art, and literature became predominant in her work. Included in this vein are major series and installations, among them Torture of Women, Notes in Time on Women, The First Language, and her 66th Street/Lincoln Center subway station mosaic mural Artemis, Acrobats, Divas and Dancers.

Spero exhibited in the 1950 Salon des Independents and her first solo exhibition (in tandem with Leon Golub) was held at Indiana University in 1958. Thereafter, she showed sporadically until nearly 30 years later when her career flourished and she enjoyed international stature. Beginning in 1986, each year brought multiple solo exhibitions at galleries and museums in the United States and internationally. In addition, she continued to participate in group shows such as "Documenta" and the Venice Biennale. Her work is included in the permanent collections of museums throughout the world.

Awards and honors included the Skowhegan Medal for Works on Paper (1995), Hiroshima Art Prize shared with Leon Golub (1996), The Women's Caucus for Art award for Outstanding Achievement in Visual Arts (2003), and The Women's Caucus for Art Distinguished Artist Award for Lifetime Achievement (2005). Spero was awarded honorary Doctorates of Fine Arts by The School of the Art Institute of Chicago (1991) and Williams College (2001), and was elected a member of the American Academy of Arts and Letters (2006).

After several years of declining health, Nancy Spero died from heart failure in New York City, October 18, 2009.

Related Materials:

Also among the holdings of the Archives of American Art are an interview with Nancy Spero conducted 2008 Februay 6-July 24, by Judith Olch Richards, and the papers of Spero's husband, Leon Golub.

Provenance:

Following a gift of materials by Nancy Spero in 1979, the majority of the collection was donated by Spero's sons, Stephen Golub, Philip Golub, and Paul Golub, in 2013.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

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

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

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

Topic:

Art -- Political aspects  Search this

Feminism and art  Search this

Women artists  Search this

Women printmakers  Search this

Women painters  Search this

Genre/Form:

Sound recordings

Interviews

Video recordings

Documentary films

Motion pictures

Citation:

Nancy Spero papers, 1940s-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by The Walton Family Foundation. Funding for the digitization of the collection was provided by the Smithsonian American Women's History Initiative.

Identifier:

AAA.spernanc

See more items in:

Nancy Spero papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ee586015-b282-427f-88a2-0768b0b0e79b

EDAN-URL:

ead_collection:sova-aaa-spernanc

Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

4.65 Cubic feet (consisting of 9 boxes, 2 folders, 19 oversize folders, 8 map case folder, plus digital images of some collection material.)

Type:

Collection descriptions

Archival materials

Business ephemera

Ephemera

Date:

1885-1960

Summary:

A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Soap forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana

Scope and Contents:

This material consists primarily of printed advertisements from magazines, bills/receipts, scattered correspondence on letterhead stationery, price lists, business cards, handbills, labels, premiums, advertising cards, leaflets, patents and trademarks from manufacturers and distributors of soap. There is a substantial amount of material from some of the larger soap manufacturers which include Procter & Gamble, Lever Brothers and Colgate. Soap manufacturers tended to distribute products to consumers. There are some businesses that created products for manufacturers and exporters. There are also a number of references to perfumers, chemists and dermatologists.

A large majority of the soap manufacturers also tended to make candles. These businesses sold other products including baking powder, yeast, baking soda, saleratus, blacking, polish, leather preservatives, grease, swine, neats foot oil, hides, scraps, stocks, tallow and wool skins. Products associated with the laundry including starch, bluing, washing powders and washing fluids were also sold. Personal products such as perfumes, creams, and lotions were available.

There is a wide variety of soap consisting of bars, powders, liquids, crystal and granulated types, The soap was manufactured for personal hygiene, commercial laundry, household, chemical and medical purposes.

Images are found predominantly on the advertising cards. Most of these images are of different ethnic groups and tend to be stereotypical in nature. Irish, Native American, German and African American images represent the majority of these images. Women, children and pets, birds and scenic vistas are also visually represented.

Most of the publications are included with company related materials. Many of these publications discuss the history of the company. Other publications include a copy of Consumer Report and a book of photographs of soap bars available prior to 1940 and the wrappers published by the National Soap Sculpture Committee in New York.

Materials are organized alphabetically by name of company. There are a number of materials arranged by type including official documents, patents, trademarks, recipes, photographs and import/export documents.

Materials in the Archives Center:

Archives Center Collection of Business Americana (AC0404)

Forms Part Of:

Forms part of the Warshaw Collection of Business Americana.

Missing Title

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material

Provenance:

Soap is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.

Restrictions:

Collection is open for research. Some items may be restricted due to fragile condition.

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.

Genre/Form:

Business ephemera

Ephemera

Citation:

Warshaw Collection of Business Americana Subject Categories: Soap, Archives Center, National Museum of American History, Smithsonian Institution

Sponsor:

Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).

Identifier:

NMAH.AC.0060.S01.01.Soap

See more items in:

Warshaw Collection of Business Americana Subject Categories: Soap

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep89540a997-64c4-46ce-9c32-4b11ccc2b5b3

EDAN-URL:

ead_collection:sova-nmah-ac-0060-s01-01-soap

Creator:

Smithsonian Institution Archives  Search this

Type:

YouTube Videos

Uploaded:

2013-08-22T17:22:07.000Z

YouTube Category:

Education  Search this

Topic:

Museum administration  Search this

See more by:

SIArchives

Data Source:

Smithsonian Institution Archives

YouTube Channel:

SIArchives

EDAN-URL:

edanmdm:yt__so_CJqGFF0

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

Business records

Sound recordings

Negatives

Video recordings

Correspondence

Plans (drawings)

Memorandums

Photographic prints

Videotapes

Notes

Audiocassettes

Contracts

Slides (photographs)

Audiotapes

Digital images

Date:

June 23-July 4, 1995

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 1995 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 6 series.

Missing Title

Series 1: Program Books, Festival Publications, and Ephemera

Series 2: The Cape Verdean Connection

Series 3: The Czech Republic: Tradition and Transformation

Series 4: Heartbeat: The Voices of First Nations Women

Series 5: Russian Roots, American Branches: Music in Two Worlds

Series 6: Special Events

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 1995 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 1995 Festival featured American Indian women's musical traditions, the heritage of the Czech Republic and Czech Americans, music of Russian and Russian American groups, and the cultural life of the Cape Verdean community. These programs testified to the vitality of the human spirit, and to how people, ideas, and forms of cultural expression increasingly cross boundaries of geography, politics, language, race, and gender. Special events included evening concerts devoted to African immigrant communities in the Washington, D.C. area and a memorial concert for Festival founding director, Ralph Rinzler.

Heartbeat: The Voices of First Nations Women presented the musical culture of American Indian women. The program examined how these women express their identity through the use of a variety of musical forms - from traditional songs of home to contemporary songs of Indian life, from the appropriation of men's music to the fusion of root music with country, folk, blues, and gospel.

The Czech Republic: Tradition and Transformation provided a broad survey of the ways national, regional, ethnic, and local traditions have been defined in a complex state located at the crossroads of Central Europe. The "Velvet Revolution" of 1989 and the separation of the Czech and Slovak Republics in 1993 have prompted further examinations of cultural identity, the relationship between the state and popular expression, creativity and tradition. Czech Americans, too, have looked at these changes and the reestablishment of relationships to their ancestral homeland.

A third program, Russian Roots, American Branches: Music in Two Worlds, explored the musical culture of Old Believers and Molokans, Russian religious communities created in the 17th and 18th centuries. The program united immigrant communities long established in the United States with those from Russia, and brought together people who, although separated by generations and different social environments, have nonetheless faced parallel issues with regard to cultural persistence and adaptation.

All these programs involved complex institutional arrangements, local-level research and documentation, and strong commitment to and pride in Festival representation. The Cape Verdean Connection program well demonstrated these processes. Cape Verde is an independent island nation and former Portuguese colony located off the west coast of Africa. Cape Verdean Americans, now numbering about 400,000, most born and raised here, historically settled in New England during the 18th century, playing instrumental roles in the whaling and cranberry industries. Cape Verdeans had an important story to tell about their role in American life, their immigrant and continuing transnational cultural experience, their multiracial heritage, and their enduring sense of community - a story with much to tell others as well. Cape Verdeans provided the impetus for the Festival program, carried out most of the research in concert with Smithsonian scholars, led the effort to raise funds from governments, foundations, corporations, and individuals through benefit dances, auctions, and other community events, and, as is fitting, joined with the Smithsonian to share their experiences with the American public.

The 1995 Festival took place during two five-day weeks (June 23-27 and June 30-July 4) 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). It featured four programs and several special events.

The 1995 Program Book included schedules and participant lists for each program; essays provided background on the Festival and each of the four programs.

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; Richard Kennedy, Deputy Director; Diana Parker, Festival Director; Anthony Seeger, Director, Smithsonian/Folkways Recordngs; Peter Seitel, Senior Folklorist; Thomas Vennum, Jr., Senior Ethnomusicologist; Betty Belanus, Olivia Cadaval, Amy Horowitz, Marjorie Hunt, Diana Baird N'Diaye, Curators, Folklorists, Educational and Cultural Specialists; Carla M. Borden, John W. Franklin, Charlene James-Duguid, Program Managers; Felicia Erickson, Arlene L. Reiniger, Mary Van Meter, Program Specialists; Jeffrey Place, Archivist; Kenneth M. Bilby, Roland Freeman, Ivan Karp, Corrine Kratz, Alan Lomax, Worth Long, Yook Jung Park, Kate Rinzler, Research Associates & Collaborators

Folklife Advisory Council and Folkways Advisory Council

Roger Abrahams, Jacinto Arias, Michael Asch, Jane Beck, Don DeVito, Pat Jasper, Ella Jenkins, Jon Kertzer, Barbara Kirshenblatt-Gimblett, John Nixdorf, Bernice Reagon, John Roberts, Carol Robertson, Gilbert Sprauve, Jack Tchen, Ricardo Trimillos, Carlos Vélez-Ibáñez

National Park Service

Roger Kennedy, 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://doi.org/10.25573/data.21771155.

Forms Part Of:

Smithsonian Folklife Festival records: 1995 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:

Folk art  Search this

arts and crafts  Search this

Food habits  Search this

Folk music  Search this

Folklore  Search this

World music  Search this

Folk festivals  Search this

Genre/Form:

Business records

Sound recordings

Negatives

Video recordings

Correspondence

Plans (drawings)

Memorandums

Photographic prints

Videotapes

Notes

Audiocassettes

Contracts

Slides (photographs)

Audiotapes

Digital images

Citation:

Smithsonian Folklife Festival records: 1995 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.SFF.1995

See more items in:

Smithsonian Folklife Festival records: 1995 Festival of American Folklife

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5d0f338f7-ff86-4399-82c5-39d8a73d9b35

EDAN-URL:

ead_collection:sova-cfch-sff-1995

Maker:

Hausa artist  Search this

Fulbe artist  Search this

Medium:

Gourd

Dimensions:

H x W x D: 36.2 x 11.2 x 10.8 cm (14 1/4 x 4 7/16 x 4 1/4 in.)

Type:

Sculpture

Geography:

Kano, Nigeria

Date:

Late 20th century

Topic:

Household  Search this

male  Search this

Credit Line:

Gift of Mildred A. Morton

Object number:

2000-29-33

Restrictions & Rights:

Usage conditions apply

See more items in:

National Museum of African Art Collection

Data Source:

National Museum of African Art

GUID:

http://n2t.net/ark:/65665/ys717f0fb25-4ca5-4ae9-bc2b-f7e80e057a8a

EDAN-URL:

edanmdm:nmafa_2000-29-33

Maker:

Ghada Amer, born 1963, Egypt  Search this

Medium:

Cast and polished stainless steel

Dimensions:

H x W x D: 182.9 × 157.5 × 137.2 cm (72 × 62 × 54 in.)

Type:

Sculpture

Geography:

Egypt

Date:

2012

Topic:

female  Search this

Credit Line:

Museum purchase, Women's Initiative Fund

Object number:

2018-2-1

Restrictions & Rights:

Usage conditions apply

Copyright:

© 2012 Ghada Amer

See more items in:

National Museum of African Art Collection

On View:

NMAfA, Overlook Gallery (1136)

Data Source:

National Museum of African Art

GUID:

http://n2t.net/ark:/65665/ys76f354394-4b2c-4f84-a4f4-1f76f9968a08

EDAN-URL:

edanmdm:nmafa_2018-2-1

Photographer:

Sears, Thomas Warren, 1880-1966  Search this

Collection Creator:

Sears, Thomas Warren, 1880-1966  Search this

Sears & Wendell  Search this

Olmsted Brothers  Search this

Harvard University  Search this

American Society of Landscape Architects  Search this

Extent:

1 Negatives (photographic) (black-and-white, 3.5 x 6 in.)

Type:

Archival materials

Negatives (photographic)

Negatives

Place:

Germany -- Saxony -- Bad Muskau

Germany -- Saxony -- Dresden Region -- Bad Muskau

Date:

1906 Sep

General:

Original was a nitrate negative which has been digitized and the nitrate negative destroyed. There are two digital images, one showing a detail.

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:

Chairs -- sprung metal  Search this

Benches, iron  Search this

Outdoor furniture  Search this

Gardens -- Germany -- Muskau Park  Search this

Genre/Form:

Negatives

Collection Citation:

Smithsonian Institution, Archives of American Gardens, Thomas Warren Sears photograph collection.

Identifier:

AAG.SRS, Item GRM001026

See more items in:

Thomas Warren Sears photograph collection

Thomas Warren Sears photograph collection / Series 1: Photographic Images / International / Germany / GRM001: Muskau -- Puklar-Muskau

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6e1012225-5f12-483c-bf8f-2164d6af450c

EDAN-URL:

ead_component:sova-aag-srs-ref2743

Creator:

Dixon, Joseph K. (Joseph Kossuth)  Search this

Extent:

168 Lantern slides

8 Photographic prints

0.2 Linear feet

Culture:

American Indians  Search this

Diné (Navajo)  Search this

Havasupai (Coconino)  Search this

Hopi  Search this

Osage  Search this

Pikuni Blackfeet (Piegan)  Search this

White Mountain Apache  Search this

Apsáalooke (Crow/Absaroke)  Search this

Type:

Collection descriptions

Archival materials

Lantern slides

Photographic prints

Date:

1870s-1926

Summary:

This collection consists of 168 glass lantern slides depicting Indigenous groups throughout North America. It also includes a small number of photographs, newspaper clippings, and publications written by and about Joseph K. Dixon, and his work as a photographer working with Native Americans during the early decades of the twentieth century.

Content Description:

The Joseph K. Dixon lantern slide collection consists of Lantern Slides, Photographs, and Printed Materials. Series 1: Lantern Slides, 1870s-1920s, includes 168 glass lantern slides, many hand-colored. The lantern slides were used by Dixon in lectures to promote his advocacy work on behalf of Native American citizenship. While Dixon himself was a photographer of many important photographs of Native peoples, the majority of the images for these glass lantern slides were not taken by Dixon, but rather collected by him for use in his lectures as he traveled around the country. Series 2: Photographs, 1870s-1920s, includes 8 photographs collected by Dixon and perhaps used in research for his lectures. Series 3: Printed Materials, 1905-1926, includes a small number of early twentieth-century publications and news clippings either written by Dixon or written about his work with the Indigenous peoples of North America.

Scope and Contents:

Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research.

Arrangement:

This collection is arranged into three series. Series 1: Lantern Slides, 1870s-1920s, Series 2: Photographs, 1870s-1920s, and Series 3: Printed Materials, 1905-1926.

Biographical / Historical:

Joseph K. Dixon (1858-1926) was born in New York, and received a bachelor of divinity degree from the Rochester Theological Seminary before becoming a lecturer for the Eastman Kodak photographic company in 1904. Two years later he was hired to work in Wanamaker's Philadelphia-based department store, and by 1908 he was chosen to lead the three Wanamaker expeditions (1908-1913) to document the lives and cultures of Native peoples of the United States. His expedition work for Rodman Wanamaker resulted in the 1913 published book, The Vanishing Race. For the remainder of his life, Dixon frequently lectured on and continued to photograph the lives of Native Americans.

Related Materials:

The NMAI Archives Center collections include two related collections on Joseph K. Dixon: NMAI.AC.111 Joseph K. Dixon photographs from the 1909 Wanamaker Expedition, and NMAI.AC.309 Corcoran Gallery of Art collection of Joseph K. Dixon Wanamaker Expedition photographs. Other photographic collections of Joseph K. Dixon's work and Rodman Wanamaker's expeditions exist in the Smithsonian Institution's National Anthropological Archives, and the Mathers Museum of World Cultures at Indiana University.

Provenance:

Gift from the family and descendants of Joseph Kossuth Dixon in 2022.

Restrictions:

Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 3:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).

Rights:

Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.

Some photographs in this collection are restricted due to cultural sensitivity.

Topic:

World's fairs  Search this

World War, 1914-1918  Search this

Genre/Form:

Lantern slides -- Lectures

Citation:

Identification of specific item; Date (if known); Joseph K. Dixon lantern slide collection, NMAI.AC.419; National Museum of the American Indian Archives Center, Smithsonian Institution.

Identifier:

NMAI.AC.419

See more items in:

Joseph K. Dixon lantern slide collection

Archival Repository:

National Museum of the American Indian

GUID:

https://n2t.net/ark:/65665/sv4483b916d-75b9-4297-aaf2-3b5743af8bda

EDAN-URL:

ead_collection:sova-nmai-ac-419

Collection Creator:

Dixon, Joseph K. (Joseph Kossuth)  Search this

Extent:

168 Lantern slides

Culture:

Hopi  Search this

Diné (Navajo)  Search this

Havasupai (Coconino)  Search this

Pikuni Blackfeet (Piegan)  Search this

Osage  Search this

Type:

Archival materials

Lantern slides

Date:

1870s-1920s

Scope and Contents:

The Lantern Slides are arranged in numerical order, presumably following how Joseph K. Dixon would have presented the materials in his lectures and presentations. Possible thematic groupings created by Dixon include depictions of Native clothing, warfare, games, hunting, religious celebrations, weaving, and food production, among others.

Collection Restrictions:

Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 3:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).

Collection Rights:

Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.

Some photographs in this collection are restricted due to cultural sensitivity.

Collection Citation:

Identification of specific item; Date (if known); Joseph K. Dixon lantern slide collection, NMAI.AC.419; National Museum of the American Indian Archives Center, Smithsonian Institution.

Identifier:

NMAI.AC.419, Series 1

See more items in:

Joseph K. Dixon lantern slide collection

Archival Repository:

National Museum of the American Indian

GUID:

https://n2t.net/ark:/65665/sv4a2a55a65-23b4-47b4-8690-863bf0646f5c

EDAN-URL:

ead_component:sova-nmai-ac-419-ref1

Collection Creator:

Dixon, Joseph K. (Joseph Kossuth)  Search this

Extent:

8 Photographic prints

Culture:

Diné (Navajo)  Search this

Havasupai (Coconino)  Search this

Hopi  Search this

Osage  Search this

Pikuni Blackfeet (Piegan)  Search this

Type:

Archival materials

Photographic prints

Date:

1870s-1920s

Scope and Contents:

The photographs were collected by Joseph K. Dixon and may have been used to help facilitate his research on Native American communities. Photographs include depictions of a Hopi village, a Hopi woman grinding corn, a Havasupai (Coconino) mother and child, and a photograph of the church in Auburn, New York, where Dixon worked as a minister, among others.

Collection Restrictions:

Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 3:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).

Collection Rights:

Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.

Some photographs in this collection are restricted due to cultural sensitivity.

Collection Citation:

Identification of specific item; Date (if known); Joseph K. Dixon lantern slide collection, NMAI.AC.419; National Museum of the American Indian Archives Center, Smithsonian Institution.

Identifier:

NMAI.AC.419, Series 2

See more items in:

Joseph K. Dixon lantern slide collection

Archival Repository:

National Museum of the American Indian

GUID:

https://n2t.net/ark:/65665/sv40aa4e102-5c77-4e0a-9a7d-6b51689c5abc

EDAN-URL:

ead_component:sova-nmai-ac-419-ref2

Collection Creator:

Dixon, Joseph K. (Joseph Kossuth)  Search this

Extent:

0.2 Linear feet

Culture:

Apsáalooke (Crow/Absaroke)  Search this

Diné (Navajo)  Search this

White Mountain Apache  Search this

Havasupai (Coconino)  Search this

Type:

Archival materials

Date:

1905-1926

Scope and Contents:

The printed materials consist of a small number of early twentieth-century publications and news clippings either written by Joseph K. Dixon or written about his work with the Indigenous peoples of North America. Some of these materials include Dixon's celebration of Native involvement on the part of the U.S. military in World War, as well as an exhibition of Dixon's photography at the 1915 San Francisco World's Fair.

Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research.

Collection Restrictions:

Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 3:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).

Collection Rights:

Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.

Some photographs in this collection are restricted due to cultural sensitivity.

Topic:

World's fairs  Search this

World War, 1914-1918  Search this

Collection Citation:

Identification of specific item; Date (if known); Joseph K. Dixon lantern slide collection, NMAI.AC.419; National Museum of the American Indian Archives Center, Smithsonian Institution.

Identifier:

NMAI.AC.419, Series 3

See more items in:

Joseph K. Dixon lantern slide collection

Archival Repository:

National Museum of the American Indian

GUID:

https://n2t.net/ark:/65665/sv4f1f59440-c914-4b4b-8cb0-2b832a7c1470

EDAN-URL:

ead_component:sova-nmai-ac-419-ref3

Creator:

Soule, William S. (William Stinson), 1836-1908  Search this

Schwemberger, Simeon  Search this

Extent:

79 Postcards

18 Photographic prints

8 Stereographs

Culture:

Diné (Navajo)  Search this

Hopi  Search this

American Indian -- Haskell Institute  Search this

Acoma Pueblo  Search this

Lake Superior Chippewa [Lac du Flambeau, Wisconsin]  Search this

Plains Apache (Kiowa Apache)  Search this

Niuam (Comanche)  Search this

Southern Tsitsistas/Suhtai (Cheyenne)  Search this

Type:

Collection descriptions

Archival materials

Postcards

Photographic prints

Stereographs

Date:

1865-1926

Summary:

This collection consists of 105 photographic images of Native American peoples throughout the U.S., primarily in Arizona and New Mexico. A number of the postcards and photographs were sent back and forth between non-Native family members who worked in Indian Boarding Schools in Fort Defiance, AZ, among other locations.

Scope and Contents:

The Arizona and New Mexico postcard and photograph collection consists of postcards, photographic prints, and stereographs, totaling 105 photographic items. Many of the postcards and photographs date to between the early 1900s and the late 1920s and were sent between non-Native family members who worked in Indian Boarding Schools, including those at Fort Defiance and Chinle in Arizona, Chilocco in Oklahoma, Haskell in Kansas, and Lac du Flambeau in Wisconsin.

These items have been organized into three series. Series 1: Postcards, 1908-1916, includes 79 postcards. Approximately 10 postcards contain images taken by the photographer Simeon Schwemberger of Diné (Navajo) people on the Navajo Reservation, and were sold out of his studio in St. Michaels, Arizona. Series 2: Photographs, 1896-1926, includes 18 photographs. Several of these include depictions of Native and non-Native peoples in Fort Defiance in Arizona, Haskell in Kansas, and Lac du Flambeau in Wisconsin. Series 3: Stereographs, 1865-1875, includes 8 stereographic images. These stereographs contain images taken by the photographer William Stinson Soule (Will Soule) of Kiowa-Apache, Niuam (Comanche), and Southern Tsitsistas/Suhtai (Cheyenne) men near Fort Sill in Indian Territory (present-day Oklahoma), between approximately 1865 and 1875.

Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research.

Arrangement:

This collection is arranged into three series. Series 1: Postcards, 1908-1916, Series 2: Photographs, 1896-1926, and Series 3: Stereographs, 1865-1875.

Biographical / Historical:

Photographer William Stinson Soule (Will Soule) lived and worked in the region of Fort Sill, in the Indian Territory (present-day Oklahoma), in the 1860s and 1870s, regularly photographing U.S. Army personnel and Southern Plains Indian communities.

Simeon Schwemberger was a photographer originally from Cincinnati, Ohio, who settled near the St. Michaels mission church in Arizona in 1901. There he took many photographs of the Native communities of the region, later selling the images as postcards.

Provenance:

Gift from Jenene Garey in 2018 and 2021.

Restrictions:

Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 3:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).

Rights:

Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.

Citation:

Identification of specific item; Date (if known); Arizona and New Mexico postcard and photograph collection, NMAI.AC.127; National Museum of the American Indian Archives Center, Smithsonian Institution.

Identifier:

NMAI.AC.127

See more items in:

Arizona and New Mexico postcard and photograph collection

Archival Repository:

National Museum of the American Indian

GUID:

https://n2t.net/ark:/65665/sv4902d9c72-9cd3-4536-9b2e-7172c2233a34

EDAN-URL:

ead_collection:sova-nmai-ac-127

Creator:

Schwemberger, Simeon  Search this

Collection Creator:

Soule, William S. (William Stinson), 1836-1908  Search this

Schwemberger, Simeon  Search this

Extent:

79 Postcards

Culture:

Acoma Pueblo  Search this

Diné (Navajo)  Search this

Hopi  Search this

Type:

Archival materials

Postcards

Date:

1908-1916

Scope and Contents:

Many of the postcards were sent between non-Native family members who worked in Indian Boarding Schools, including those at Fort Defiance and Chinle in Arizona, Chilocco in Oklahoma, Haskell in Kansas, and Lac du Flambeau in Wisconsin. Approximately 10 postcards contain images taken by the photographer Simeon Schwemberger of Diné (Navajo) people on the Navajo Reservation, and were sold out of his studio in St. Michaels, Arizona.

Collection Restrictions:

Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 3:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).

Collection Rights:

Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.

Collection Citation:

Identification of specific item; Date (if known); Arizona and New Mexico postcard and photograph collection, NMAI.AC.127; National Museum of the American Indian Archives Center, Smithsonian Institution.

Identifier:

NMAI.AC.127, Series 1

See more items in:

Arizona and New Mexico postcard and photograph collection

Archival Repository:

National Museum of the American Indian

GUID:

https://n2t.net/ark:/65665/sv455211bba-99a8-4a16-b704-59bc6ecd2c7b

EDAN-URL:

ead_component:sova-nmai-ac-127-ref1