Skip to main content Smithsonian Institution

Search Results

Collections Search Center
105 documents - page 1 of 6

Pyongyang: Women drawing water from the Taedong River

Creator:
Mowry, Eli, 1880-1970  Search this
Collection Creator:
Mowry, Eli, 1880-1970  Search this
Extent:
0 Items (black and white silver gelatin print)
Type:
Archival materials
Photographic prints
Photographs
Place:
Korea
Pyongyang (Korea)
North Korea -- Pyongyang -- Pyongyang
Scope and Contents:
Korean women filling pots of water in the river. A penciled caption points to an airfield in the distance.
평양
Arrangement:
Photographs are numbered individually with no attempt to organize by subject.
Local Numbers:
FSA A2010.04 012
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Photographic prints
Photographs -- 1900-1950 -- Black-and-white photoprints -- Silver gelatin
Collection Citation:
Mowry Family Photographs of Korea, FSA.A2010.04. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Gift of Miriam Stein, 2010.
Identifier:
FSA.A2010.04, Item FSA A2010.04 012
See more items in:
Mowry Family Photographs 1909-1940
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a2010-04-ref3

Pyongyang: Drawing water

Creator:
Mowry, Eli, 1880-1970  Search this
Collection Creator:
Mowry, Eli, 1880-1970  Search this
Extent:
0 Items (black and white silver gelatin print)
Type:
Archival materials
Photographic prints
Photographs
Place:
Korea
Pyongyang (Korea)
North Korea -- Pyongyang -- Pyongyang
Scope and Contents:
Korean men drawing water from an ice covered river.
평양
Arrangement:
Photographs are numbered individually with no attempt to organize by subject.
Local Numbers:
FSA A2010.04 014
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Photographic prints
Photographs -- 1900-1950 -- Black-and-white photoprints -- Silver gelatin
Collection Citation:
Mowry Family Photographs of Korea, FSA.A2010.04. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Gift of Miriam Stein, 2010.
Identifier:
FSA.A2010.04, Item FSA A2010.04 014
See more items in:
Mowry Family Photographs 1909-1940
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a2010-04-ref67

Drawing water

Creator:
Mowry, Eli, 1880-1970  Search this
Collection Creator:
Mowry, Eli, 1880-1970  Search this
Extent:
0 Items (black and white silver gelatin print)
Type:
Archival materials
Photographic prints
Photographs
Place:
Korea
Pyongyang (Korea)
North Korea -- Pyongyang -- Pyongyang
Scope and Contents:
Korean women filling water pots at a riverbank.
평양
Arrangement:
Photographs are numbered individually with no attempt to organize by subject.
Local Numbers:
FSA A2010.04 146
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Photographic prints
Photographs -- 1900-1950 -- Black-and-white photoprints -- Silver gelatin
Collection Citation:
Mowry Family Photographs of Korea, FSA.A2010.04. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Gift of Miriam Stein, 2010.
Identifier:
FSA.A2010.04, Item FSA A2010.04 146
See more items in:
Mowry Family Photographs 1909-1940
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a2010-04-ref71

Drawing water

Creator:
Mowry, Eli, 1880-1970  Search this
Collection Creator:
Mowry, Eli, 1880-1970  Search this
Extent:
0 Items (black and white silver gelatin print)
Type:
Archival materials
Photographic prints
Photographs
Place:
Korea
Pyongyang (Korea)
North Korea -- Pyongyang -- Pyongyang
Scope and Contents:
Korean men filling water cans at a riverbank.
평양
Arrangement:
Photographs are numbered individually with no attempt to organize by subject.
Local Numbers:
FSA A2010.04 147
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Photographic prints
Photographs -- 1900-1950 -- Black-and-white photoprints -- Silver gelatin
Collection Citation:
Mowry Family Photographs of Korea, FSA.A2010.04. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Gift of Miriam Stein, 2010.
Identifier:
FSA.A2010.04, Item FSA A2010.04 147
See more items in:
Mowry Family Photographs 1909-1940
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a2010-04-ref72

Joseph Cornell Study Center Collection

Artist:
Cornell, Joseph  Search this
Names:
Benton, Elizabeth Cornell  Search this
Cornell, Robert  Search this
Extent:
196.8 Linear feet
186 Nitrate negatives
Type:
Collection descriptions
Archival materials
Nitrate negatives
Photographs
Place:
New York, New York
Date:
1750-1980, bulk 1930-1972
Summary:
The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.
Scope and Contents:
The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.

Correspondence is with collectors, museums, galleries, artists, friends, family, charity organizations, admirers and those admired by Cornell, and World War II European pen pals. Discussions about the appreciation, donation, sale, purchase, and exhibition of Cornell's works are frequent, with the inclusion of shipping and loan documentation or notices of payment installments. Galleries and museums frequently request that Cornell agree to an exhibition, which he often declines, and fans request free works be mailed or affordable works be sold to them. With friends, artists, and those he admired, Cornell discussed topics that fascinate him, included bits of poetry or philosophical musings, sent clippings or a collaged letter, and occasionally discussed a project or work in process. After World War II, when so many were displaced by the war in Europe, Cornell answered ads for pen pals in the "Christian Science Monitor," often responding to requests for clothing or other goods, and sometimes exchanging many letters over several years. Family correspondence is with his mother, sisters, brother, and others, and often notes activities of the day, foods eaten, and general musings, as well as occasionally mentioning a project or artwork. Correspondents of note include Stan Brakhage, Betty Freeman, Charles Henri Ford, Allegra Kent, Yayoi Kusama, Roberto Matta, Marianne Moore, Octavio Paz, Sonia Sekula, Pavel Tchelitchew, Parker Tyler, Dorothea Tanning, and Betsy von Furstenberg, among others.

Cornell was often preoccupied with his thoughts, feelings, memories, a project or thematic "exploration," and jotted notes on seemingly any surface available. Notes and musings are on napkins, the backs of envelopes, newspaper clippings, and paper bags from record and magazine stores. Frequently, an observation would trigger a lengthy nostalgic moment, or a "feé," fairy-like child or girl, would capture his imagination and lead him to thoughts of 18th-century ballerinas and silent film stars. Cornell wrote longer diary notes, sometimes expanding on an earlier notation or emotion, and often wrote when he experienced trouble sleeping or woke early. Drafted letters to imaginary muses or admired individuals are interspersed among diaries, often revealing Cornell's yearnings to find emotional intimacy and human connection. Over time, Cornell revisited his notes and occasionally made further notations about renewed thoughts on a topic, dating the note with "revisited" or "reviewed." Notes are often written in a stream-of-consciousness style, for example, jumping from the mention of a record album or composer, to a ballerina of the same period, a note about a French poet, the memory of childhood, or an observation made earlier in the day, all in the space of a few lines. Notes about artistic processes or meanings behind works or images do occasionally emerge from the tangled, poetic notations. Notes also often provide insights into Cornell's internal emotional state and give clues about his intentions behind an artwork or a particular thematic fixation.

Financial materials document Cornell's professional and personal business activities, including the sale of artworks, annual expenses for supplies and household incidentals, payments and schedules for personal assistants, receipts for donations to charities and nonprofits, and tax documents. There is also information about who worked as assistants, or "helpers," in his later years and where Cornell purchased art supplies. Additionally, specific details are documented through receipts and invoices, such as what kind of paint he purchased. Estate records include preparations made for Cornell's artworks after his death, and clippings about other deceased artist's estates show that he thought often about such arrangements in his later years.

Exhibition files highlight several select solo exhibitions for Cornell, as well as preparations and planning for the "Robert Cornell: Memorial Exhibition" in honor of his brother in 1966. Also included are several early exhibition catalogs and announcements, including "Surréalisme" (January 9-29, 1932) and "Exhibition of Objects (Bibloquet) by Joseph Cornell" (December 6-31, 1939) at the Julien Levy Gallery, and "Romantic Museum: Portraits of Women, Constructions and Arrangements by Joseph Cornell" (December 1946) at the Hugo Gallery.

Film projects and collected film materials consist of files related to Cornell's various experimental film projects: "Aviary," "Cappuccino," "Centuries of June," "Fable for Fountains," "Nymphlight," "Serafina's Garden," and unrealized film scenario "Monsieur Phot." Files include film-making notes, correspondence, and photographs. Cornell's interest in film also led him to collect film-related materials, such as film stills, film posters, and screening programs. Scattered correspondence documents the interest other institutions and individuals had in purchasing and viewing his collection. Though most of his collected film stills and movie posters were donated to the Anthology Film Archives, film stills from "Escape Me Never" (1935) and "The Passion of Joan of Arc" (1928) are still within the collection, as well as film-screening programs for Cornell's collection of films.

Writing and design projects document Cornell's work authoring articles and designing issues of specialty dance magazine "Dance Index," and his layouts for popular magazines like "Good Housekeeping," "House and Garden," and "Mademoiselle." Other writing projects include brochures dedicated to opera singers Maria Malibran and Giulia Grisi, "Maria" and "Bel Canto Pet." Materials used for these brochures, such as copper photo engraving plates, are also found. Design work includes a series of Christmas cards created with The Museum of Modern Art as well as traced patterns ("textile tracings") and design clippings from Cornell's time working as a "textile designer" for Traphagen Commercial Textile Studio.

Cornell acquired troves of source material from bookstalls, antique stores, sporting good and department stores, hardware stores, and magazine and record shops. He kept boxes and files of material on admired individuals, such as actresses, artists, dancers, and singers, as well as on art projects or thematic "explorations." Files are on general topics such as American history, scientific phenomena, animals, plants, and humankind, as well as on series of artworks, such as "Castles," "Homage to the Romantic Ballet," and "Medici Slot Machines." Focused "exploration" projects include "Celestial Theatre," "Colombier," "GC 44," and "Switzerland," among others. Materials include photographs, photostats, maps, book fragments, autographed letters, notes, collage clippings and cutouts, collected prints and engravings, box and collage fragments, and scattered artifacts.

Collected ephemera includes large amounts of blank postcards and greeting cards, stamps, collected bus and train tickets, food labels and packaging, decals, and other materials. Artifacts are three-dimensional collected objects and source objects, which include found objects from the streets, dried flowers, and pieces of nature gathered from walks around his neighborhood. Cornell may have gathered materials because they inspired a memory or nostalgic feeling, or because they fit with a bin of other similar objects to select from for an artwork in progress.

Photographs found within the collection are of Cornell at work and as a child with family. Also found are assorted personal and family photographs, photographs of Cornell's attic and garage storage, and photographs of his Utopia Parkway house. Photographs of artwork include few installation photographs, in addition to photographs of Cornell's boxes and collages. Collected photographic materials include vintage photographs, such as tintypes, a cyanotype, stereoscopic glass slides, albumen prints, cabinet cards, and cartes-de-visite. Cornell also collected cased photographs, such as daguerreotypes, ambrotypes, and one opalotype. Negatives and photostats were often produced from various prints and even other photographs and used in Cornell's boxes and collages. Images are of men and women, actors, authors, dancers, performers, well-known men and women, royalty, places, and artwork. Photographs of note include those by Hans Namuth of Willem and Lisa de Kooning and of Edward Hopper's bedroom; photographs by Henri Cartier-Bresson; a photograph by Julia Margaret Cameron; photographs by Brassai; and a photogravure by Alfred Stieglitz from "Camerawork."

Also found in the collection are works of art by others, including a sketch by Pavel Tchelitchew, as well as artwork by Cornell, such as unfinished collages, Rorschach drawings or ink blots, and childhood artwork. Printed material includes assorted bulletins, flyers, exhibition materials for other artists, journals, and sent printed membership and charity materials. Magazines, including "View," are also included, and often have annotations by Cornell or a note to "cut" or "review" with page numbers. A large amount of magazine and newspaper clippings are in the collection, sometimes collected with a group of like material by Cornell, and at other times simply gathered in heaps. Occasional annotations are also found on the clippings.

Cornell's personal library and book collection includes over 2500 titles, ranging from fiction, poetry, and cinema, to history, science, and travel. Notable among the titles are "Baedeker's" travel guides that Cornell often sourced for his "Hotel" box series, as well as an influential publication by Max Ernst, "La Femme 100 têtes," which includes a typed letter and exhibition flyer tucked within. Books often have annotations, some fairly extensive, by Cornell, and assorted collected items, notes, and correspondence tucked between pages. Pages were often cut by Cornell, either to make photostats and use in a box, or to file with other thematic "explorations." A wide range of authors and topics provide insight into Cornell's interests and to ideas behind artwork and diary notes. Cornell's collection of record albums includes over 145 records. These contain inserted notes and clippings and are often referenced in diary notes Cornell made, noting a recent album or song listened to while at work in his studio.

The papers of Cornell's mother, Helen Storms Cornell, and his brother, Robert Cornell, are also included in the collection. Both lived with Cornell his whole life, spending the most time with him at their home at 3708 Utopia Parkway. Financial materials document shared responsibilities for billing, utilities, household fixes and chores, and expenditures, and Helen kept detailed financial records in a series of ledgers. Robert notes when he borrowed money from Cornell, or when he means to pay Cornell back for the purchase of a typewriter. Activities documented in diaries also occasionally cross paths with Cornell, noting his visitors or an exchange of letters continued after introductions through Cornell. Personal activities, such as Robert's interest in his train collection and his drawing projects and cartoon series, are also documented.
Arrangement:
The Joseph Cornell Study Center Collection is arranged into 15 series:

Series 1: Biographical Material, 1917-1972 (Boxes 1, 98, OV118; 0.9 linear feet)

Series 2: Correspondence, 1813, 1934-circa 1973 (Boxes 1-8, 86; 6.5 linear feet)

Series 3: Diaries and Notes, 1940-1976 (Boxes 8-10, 98-99, 135, OV108, OV119; 3.5 linear feet)

Series 4: Personal Business and Estate Records, 1950-1978 (Boxes 10-14; 4.1 linear feet)

Series 5: Exhibition Files, 1932-1973 (Box 14; 0.3 linear feet)

Series 6: Film Projects and Collected Film Materials, circa 1924-1972 (Boxes 14-16, 100, 133; 1.6 linear feet)

Series 7: Writing and Design Projects, circa 1910s, 1936-1962 (Boxes 16-18, 86, 100, 131-132, OV109-OV111, OV120-OV122; 3.6 linear feet)

Series 8: Source Material, 1750-circa 1911, 1926-1972 (Boxes 19-49, 86-92, 96, 100-105, 126-130, 132-137, OV112-OV115, OV125; 42.2 linear feet)

Series 9: Artifacts and Ephemera, 1768, circa 1839-1972 (Boxes 49-52; 3.2 linear feet)

Series 10: Photographic Material, circa 1800s-1972 (Boxes 52-56, 80-86, 93, 106, 128, 133, OV116, OV123-OV124; 7.5 linear feet)

Series 11: Artwork, circa 1810-1972 (Boxes 56-57, 107, OV117; 1.2 linear feet)

Series 12: Printed Material, 1855-1972 (Boxes 57-76, 94-96, 107; 16 linear feet)

Series 13: Book Collection and Personal Library, 1722-1980 (99.8 linear feet)

Series 14: Record Album Collection, circa 1925-1974 (3.2 linear feet)

Series 15: Cornell Family Papers, 1910-1980 (Boxes 77-79, 97, 107; 3.2 linear feet)
Biographical / Historical:
Joseph Cornell (1903-1972) was a self-taught assemblage and collage artist, and filmmaker, active in New York City. He was born in Nyack, New York on December 24, 1903, and died of heart failure at his home in Queens, New York on December 29, 1972. The oldest of four children, he was born Joseph I. Cornell to his mother, Helen Storms Cornell (1882-1966), and his father, Joseph I. Cornell (1875-1917). Cornell had two younger sisters, Elizabeth ("Betty") Cornell Benton (1905-2000) and Helen ("Sissy") Cornell Jagger (1906-2001), as well as one brother, Robert Cornell (1910-1965), who had cerebral palsy.

Cornell attended the Phillips Academy, a preparatory boarding school in Andover, Massachusetts, beginning shortly after his father's death in 1917. He attended for four years but did not receive a diploma, and soon began work as a textile salesman for the William Whitman Company in Manhattan. His work took him, by foot, through the city, visiting secondhand bookshops on Fourth Avenue, browsing music stores and magazine shops, and catching early shows at the Metropolitan Opera House. He would occasionally wait outside the stage doors for favorite singers and dancers to emerge, requesting signatures on photographs or bits of costumes.

Around 1926, Cornell joined the Christian Science Church, joined by his brother Robert shortly thereafter, and both continued to be lifelong members. Cornell kept a number of books in his personal library on Christian Science teachings and regularly subscribed to "The Christian Science Monitor."

After living in several rental houses in Bayside, New York, Cornell's mother purchased a house for the family in 1929 in Flushing, Queens. Cornell, along with his mother and brother, would live at 3708 Utopia Parkway, for the rest of their lives. His two sisters soon married and moved away, eventually settling in Westhampton, Long Island and in the poultry-farming business.

With no formal art training to speak of, Cornell's first work was a Max Ernst-inspired collage, "Untitled (Schooner)," created in 1931. He was especially inspired by Ernst's collage novel, "La Femme 100 têtes," published in 1929. French artist Odilon Redon was also among the few artists Cornell named as an influence on his art. His first sculptural works were small, cardboard pill boxes with bits of ephemera, costume adornments, and nature hidden inside. Cornell also created a series of glass bell jar works, placing small trinkets and Victorian-era-like compositions within. It was these early collages and bell jar works that were included in Cornell's debut exhibition, "Surréalisme" (January 9-29, 1932), a group show at the Julien Levy Gallery. Cornell designed the announcement for the show and exhibited alongside Max Ernst, Man Ray, Pierre Roy, Pablo Picasso, Marcel Duchamp, Eugène Atget, George Platt Lynes, Jean Cocteau, and Salvador Dalí. Months later, Cornell was invited to have his first solo show, "Objects by Joseph Cornell: Minutiae, Glass Bells, Shadow Boxes, Coups d'Oeil, Jouets Surréalistes" (November 26-December 30, 1932), also at the Julien Levy Gallery.

In 1932, after eleven years of work, Cornell was laid off from the William Whitman Company due to the Great Depression. Soon after, he took on more responsibility in the church, working part-time as an attendant in the Christian Science Reading Room in Great Neck, New York. Beginning in 1933, he taught Sunday school classes for three years and in 1935, became the Sunday school librarian. However, his religious activities and artistic ventures continued to remain separate.

In the early 1930s, Cornell progressed from movie lover to filmmaker. When Julien Levy began his New York Film Society in 1933, holding screenings of various experimental films in the gallery, Cornell began buying and collecting films and film stills in earnest. He set up a 16-millimeter projector in his home to screen favorites, such as those by Georges Méliès, D.W. Griffith, and Louis Feuillade. His collection quickly grew to over 2,500 film stills and several hundred films, and included silent era films, such as nature documentaries, goofy newsreels, travelogues, early cartoons, and slapstick comedies, as well as several feature films. In 1933, Cornell wrote a screenplay, or "scenario," entitled "Monsieur Phot." Between 1935 and 1937, Cornell also occasionally created publicity photomontages for Universal and Columbia studios. Of the nearly thirty films Cornell created, periods of activity can generally be separated into two areas: collage films of the late 1930s, consisting of combined elements from films in his own collection, and films he directed in the 1950s, which were collaborations with other filmmakers set in New York City. "Rose Hobart," Cornell's most celebrated collage film, was created and shown in the Julien Levy Gallery in 1936 and includes clipped footage from "East of Borneo." Later films were directed and filmed with cinematographers Stan Brakhage, Rudy Burckhardt, and Larry Jordan.

In 1934, Cornell began a job at the Traphagen Commercial Textile Studio as a "textile designer," a job he held for six years. Continuing to work at his kitchen table in the evenings, Cornell completed his first assemblage box construction, "Untitled (Soap Bubble Set)," in 1936. It was first exhibited at The Museum of Modern Art's show, "Fantastic Art, Dada and Surrealism" (December 9, 1936-January 17, 1937). This work was also the first to be acquired by a museum, purchased for $60.00 by the Wadsworth Atheneum in Massachusetts in 1938. Cornell's European debut was also in 1938, as one of three Americans represented in the "Exposition Internationale du Surréalisme" (January 17-Febuary 24, 1938) at the Galerie Beaux-Arts in Paris, alongside Man Ray and Anne Clark.

At the end of 1939, Cornell began corresponding with poet Charles Henri Ford, founder of avant-garde magazine "View," Pavel Tchelitchew, and Parker Tyler. After his "Soap Bubble Sets," this period saw the development of Cornell's homages to singers and actresses, including "Untitled (Fortune-Telling Parrot for Carmen Miranda)," the destroyed "Garbo (Greta Garbo in the Legendary Film 'The Crystal Mask,' c. 1845)," and "Dressing Room for Gilles." He also began using photostats of art reproduction prints, as with the print of Jean Antoine-Watteau's painting, "Pierrot" (circa 1719), used in his "Gilles" box.

In the 1940s, the Romantic ballet emerged as Cornell's new topic of interest. Through his friend Pavel Tchelitchew, Cornell was introduced to the School of American Ballet and New York City Ballet founders, Lincoln Kirstein and George Balanchine. Cornell collected dance memorabilia and had a great love of the Romantic ballet. His favorite dancers were primarily ballerinas of the nineteenth century, including Fanny Cerrito, Marie Taglioni, Fanny Elssler, Lucille Grahn, and Carlotta Grisi. Cornell's "Homage to the Romantic Ballet" works largely took the shape of jewel-box style wooden boxes with glass overlays and included bits of velvet, tulle, sequins, crystals, and chiffon, occasionally collected from dancers themselves. His most well-known work of this series is "Taglioni's Jewel Casket" (1940). Cornell also admired several living ballet dancers, including Tamara Toumanova, Zizi Jeanmaire, and Allegra Kent, who would all make their way into Cornell's box works and/or collages. Collecting for the "exploration," "Portrait of Ondine," Cornell's cased portfolio dedication to Fanny Cerrito and her role in the ballet "Ondine," began in the 1940s, though not completed until around 1960.

In late 1940, Cornell quit his job at Traphagen to concentrate on freelance commercial magazine design and editorial work during the day and his artwork at night. That same year, Charles Henri Ford started "View" magazine to promote Surrealists and Neo-Romantics in New York City and often asked Cornell to contribute. Published in the December 1941-January 1942 issue, one of his early contributions was a collage dedication to stage actress Hedy Lamarr: "Enchanted Wanderer: Excerpt from a Journey Album for Hedy Lamarr" (1941). Along with writing the accompanying text, he created a photomontage of Lamarr with her face overlaying the painted portrait of a Renaissance boy by Italian painter Giorgione. Peggy Guggenheim, at the advice of Marcel Duchamp, purchased multiple Cornell works prior to opening her new gallery, Art of This Century. Cornell also befriended Roberto Matta Echaurren, another Surrealist living in exile, who introduced him to Robert Motherwell.

After deciding to fully dedicate his time to his art in early 1940, he set up a studio in his basement. Complete with floor-to-ceiling wooden shelving, he kept his large collection of boxed source material stacked with handwritten labels in cardboard boxes. Themed folders of materials such as "Stamps" or "Maps" were kept in stacks and works in progress and finished works were stored in the basement, garage, and attic. Entering a renewed period of productivity, Cornell embarked on many new and important box projects in 1942. One of the first boxes created in his new basement studio, and the first of the "Penny Arcade" or "Medici Slot Machine" series, was "Medici Slot Machine" (1942), which includes a photostat of "Portrait of Marquess Massimiliano Stampa" (1557) by Sofonisba Anguissola. Another work from this time is the first of his "Castle" or "Palace" series, "Setting for a Fairy Tale" (1942), which uses a photostat of a French building from Jacques Androuet du Cerceau's book, "Les Plus excellents bastiments de France" (1576). "Untitled (Pharmacy)" (circa 1942) was the first of his "Pharmacy" series and included twenty-two apothecary jars. Cornell tended to work in series and created thirteen "Palace" boxes between 1942 and 1951, and ultimately created six "Pharmacy" works.

In 1943, Cornell began working at an electronics company, the Allied Control Company, Inc., to do his part to contribute to the defense effort during the war. He also sent correspondence and care packages to displaced Europeans, who listed their needs in "The Christian Science Monitor." Influenced by World War II, one of his strongest works to emerge in 1943 was "Habitat Group for a Shooting Gallery." Another notable work to come out of this period, "The Crystal Cage (Portrait of Berenice)," was an excerpt from one of his album "explorations" that was published in the January 1943 issue of "View."

Cornell left his job at Allied Control in 1944, but soon began working at the Garden Centre in Flushing, owned by a fellow Christian Scientist. Cornell was often nostalgic for this time in his life, devoting an entire "exploration" of material fondly remembered as "GC 44." He rode a bicycle to work and enjoyed collecting trips gathering dried grasses, driftwood, shells, and other relics of nature on the same bicycle as he rode through the streets of Queens. During this time, he continued to tend to his projects for "Dance Index," a magazine founded in 1942 by Lincoln Kirstein, but taken over by Donald Windham in 1944. Cornell designed several covers for the magazine and was given control of the entire summer 1944 issue, which he devoted to the Romantic ballet. He also devoted a special 1945 issue to Hans Christian Andersen, making great use of the New York Public Library Picture Collection.

Throughout the 1940s, Cornell continued to support himself with commercial design work for magazines like "Vogue," "Good Housekeeping," "Harper's Bazaar," "Town & Country," and "Mademoiselle." In 1946, after thirteen years at the Julien Levy Gallery, he joined the Hugo Gallery. In December 1946, Cornell's solo exhibition, "Romantic Museum at the Hugo Gallery: Portraits of Women by Joseph Cornell," celebrated his favorite movie stars, singers, and ballet dancers, and included his work created for the show, "Untitled (Penny Arcade Portrait of Lauren Bacall)." Cornell's "Greta Garbo" box, as well as "Souvenir for Singleton," an homage to Jennifer Jones and her role in the film "Love Letters," were also included in the show. In late 1948, his West Coast debut was in the exhibition, "Objects by Joseph Cornell," held at the Copley Gallery. The end of the 1940s saw the final issue of "View" magazine in 1947, the closure of the Julien Levy Gallery in April 1949, and Cornell's departure from the Hugo Gallery after his last show in November 1949.

In late 1949, Cornell joined the Charles Egan Gallery, known primarily for showing Abstract Expressionists. At this time, Cornell was working on a new series of boxes known as his "Aviary" works, most of which include a white-painted box with cutouts of birds mounted on wood. Though he had worked on bird-related boxes before, including an "Owl" series in the mid-1940s, his "Fortune Telling Parrot" (1939), and "Object 1941" (1941), these newer works were stripped of French elements and left "clean and abstract" by design. His first show at the Egan Gallery, "Aviary by Joseph Cornell" (December 7, 1949-January 7, 1950), included twenty-six "Aviary" works, nearly all created in 1949. Donald Windham agreed to write the foreword for the exhibition catalog, a single folded sheet, and Cornell gave him one of the boxes in the show, "Cockatoo: Keepsake Parakeet," in appreciation. Through the Egan Gallery, Cornell became friends with a new group of artists, including Franz Kline, Jack Tworkov, and Willem de Kooning. Cornell also held two screenings of a selection of his collected films at Subjects of the Artist, an art school founded by Robert Motherwell, Mark Rothko, David Hare, and William Baziotes.

In 1950, Cornell's second show at the Egan Gallery, "Night Songs and Other New Work" (December 1, 1950-January 13, 1951), introduced his new "Observatory" series. These works are largely defined by stark, whitewashed spaces with astronomical charts and constellations replacing colorful birds. The Museum of Modern Art purchased its first Cornell work from this show in early 1951, "Central Park Carrousel, in Memoriam" (1950).

For three months in 1951, Cornell was beset by various ailments and had trouble finding the energy to create new work. He worried more for his aging mother and the health of his brother. After a monthlong vacation with his sisters in Westhampton, he returned with renewed interest in Emily Dickinson's poetry. His whitewashed boxes took on a new form in his newest "Dovecote" series, using grids and circular cutouts. The works then transformed into homages to Dickinson, notably "Toward the Blue Peninsula: For Emily Dickinson" (circa 1953), and then to his "Hotel" series. Cornell's "Hotel" boxes include photostats of vintage European ads for hotels collected from vintage travel guides, especially "Baedeker's," adhered to the back walls of the boxes. Another new series of work, his "Juan Gris" series, was dedicated to Cubist artist Juan Gris. Between 1953 and the mid-1960s, Cornell created at least fifteen "Juan Gris" boxes, which often include a cutout of a white cockatoo in a Cubist-collage habitat. Cornell's third and last show at Egan Gallery, "Night Voyage" (February 10-March 28, 1953), included some of these newest works. After leaving Egan Gallery, his work was introduced to Chicago collectors in a solo show at the Frumkin Gallery, "Joseph Cornell: 10 Years of His Art" (April 10-May 7, 1953), which included nearly thirty pieces. Cornell's first museum retrospective was this same show held at the Walker Art Center in Minneapolis (July 12-August 30, 1953).

As New York City continued to change, Cornell grew more nostalgic for the city he had explored since the 1920s. The impending closure of the Third Avenue El train prompted him to dream up a film project to capture its last days, resulting in "Gnir Rednow," a reworking of Stan Brakhage's 1955, "Wonder Ring." During this time, Cornell joined the Stable Gallery, run by Eleanor Ward, interacting often with Robert Rauschenberg, Cy Twombly, and Joan Mitchell, remaining there until the end of the 1950s. His astronomy-themed exhibition, "Winter Night Skies" (December 12, 1955-January 13, 1956), included his "Night Skies" series of work with celestial chart fragments, Greek mythological figures, and paint-splattered "windows" representative of star-filled night skies. In 1956, he became aware of ballerina Allegra Kent, and began a series of work devoted to her, the first of which was "Via Parmigianino (Villa Allegra)" (1956), which included a photostat of a painting by Parmigianino, "The Madonna of the Long Neck" (circa 1540). In late 1957, after two years, Cornell had his last show at Stable Gallery, "Joseph Cornell: Selected Works" (December 2-31, 1957), consisting of a series of "Sand Fountain" boxes and "Space Object" or "Celestial Navigation" works. The "Sand Fountain" boxes included different colors of sand meant to flow within, often from the tops into cordial glasses. His "Celestial Navigations" included galaxy-like compositions set within the boxes, with rolling, painted cork balls, metal rings, and constellation charts, sometimes hovering over cordial glasses or clay pipes. This last Stable Gallery show earned him his first published profile, written by Howard Griffin for the December 1957 issue of "Art News." Also in 1957, he won the Kohnstamm Prize for Construction at the Art Institute of Chicago's 62rd Annual Exhibition of Paintings and Sculpture.

Towards the end of the 1950s, Cornell spent less time creating new bodies of work, and focused more on revisiting previous series and reviewing piles of collected source material. In 1959, Cornell returned to making collages, frequently sourcing popular magazines. In December 1959, Cornell was awarded $1,500 for his "Orion" collage, entered in the Art Institute of Chicago's "63rd American Exhibition of Painting and Sculpture." Also in December, he was offered a show at Bennington College in Vermont, which he titled, "Bonitas Solstitialis: Selected Works by Joseph Cornell and an exploration of the Colombier" (November 20-December 15, 1959). The show included one of his newest "explorations" of collected material related to "colombier," or pigeon houses.

By 1962, Cornell was working diligently on new collages, using Masonite boards and colorful magazine clippings. He also began creating collages using nude images interspersed with constellation clippings or hazy blue dyes. As in previous decades and art movements, Cornell became acquainted with new artists, spending less time in the city and more time hosting visitors at his Utopia Parkway home. Visitors included artists Walter De Maria, Robert Whitman, Andy Warhol, James Rosenquist, and Robert Indiana. Tony Curtis also became a frequent visitor and friend, introduced by Richard Feigen in 1964. The early 1960s was also the first time Cornell put out an advertisement for assistants in the "Long Island Star-Journal," employing a number of young men and women who helped organize clippings and run errands. Cornell also met Joyce Hunter, a young runaway waitress at a city coffee shop, who would occupy his thoughts and diary notes for the next several years. When she was murdered at the end of 1964, Cornell paid for her funeral. He went on to make several "Penny Arcade" collages in memoriam to her, including, "Penny Arcade (re-autumnal)" (1964).

In 1964, Cornell began friendships with several women including artist Carolee Schneeman, who was his first assistant in the early 1960s. He also met artist Yayoi Kusama through art dealer Gertrude Stein. After becoming friends, she visited him often and they exchanged letters and notes. As he did with other artist friends, Cornell supported her by purchasing several of her early watercolor paintings, and they stayed connected until his death in 1972.

Cornell's life greatly changed in 1965 with the death of his brother, Robert. By this time, his mother lived with his sister in Long Island, and Cornell was alone in the Utopia Parkway house for the first time. He exchanged frequent letters and phone calls with his mother and devoted much time to thinking about Robert and Joyce, often aligning them in his diary notations. Cornell also created a series of collages dedicated to his brother's memory, incorporating photostats of Robert's hundreds of drawings into Cornell's work, as with the later collage, "The Heart on the Sleeve" (1972). Cornell's "Time Transfixed" series of collages were also dedications to Robert's memory, referencing Magritte and Robert's love of trains. He mounted an exhibition, "Robert Cornell: Memorial Exhibition" (January 4-29, 1966), at the Robert Schoelkopf Gallery, where he showed Robert's artwork alongside his newly created collage dedications.

After Robert's death, Cornell relied more heavily on assistants, going through many part-time "helpers." In October 1966, Cornell's mother died, adding her to his constant thoughts and diaries. Though he was still grieving, he was given two major retrospectives in 1967. The first was at the Pasadena Art Museum, put on by James Demetrion and Walter Hopps, "An Exhibiton of Works by Joseph Cornell" (January 9-February 11, 1967). The second retrospective was at the Guggenheim Museum just three months later, "Joseph Cornell" (May 4-June 35, 1967), organized by Diane Waldman. After these shows, he was highlighted in the December 15, 1967 issue of "Life" in the article, "The Enigmatic Bachelor of Utopia Parkway."

In 1968, Cornell was given an "award of merit," which included a medal and $1,000, by the American Academy and Institute of Arts and Letters. He was also given a medal and $1,000 by the Brandeis University Creative Arts Awards in the painting category, along with an exhibition. Days later, "The New York Times" announced Cornell the winner, along with Donald Judd, of India's first Triennale of Contemporary World Art. The Brandeis exhibition, "Boxes and Collages by Joseph Cornell" (May 20-June 23, 1968), was organized by William Seitz and concentrated on Cornell's more recent 1960s collages. Cornell was also included in the Metropolitan Museum of Art's hundredth anniversary show, "New York Painting and Sculpture: 1940 to 1970" (October 18, 1969-February 1, 1970), where twenty-two of Cornell's boxes were shown in their own gallery. At the end of 1970, Cornell was given a solo show at the Metropolitan, "Collages by Joseph Cornell" (December 10, 1970-January 24, 1971), which included forty-five of his newest collages.

Now preferring to stay closer to his home in Flushing, Cornell was more interested in sharing his art with young adults and children, than an adult audience. He hosted a group of high school students, sponsored by the Metropolitan Museum of Art's education department, at his home in conjunction with his collage show (1970-1971). He also showed his work in the art department of Queens College of the City University of New York. Cornell still hosted visitors on occasion, having Yoko Ono and John Lennon at his home at least once. Leila Hadley, Betsy von Furstenberg, and Anne Jackson also made frequent visits. With his deteriorating health, Cornell worried about what would happen to his work after his death and hired lawyer Harry Torczyner to help him plan his estate and get his affairs in order.

In 1972, Cornell had a show at the Cooper Union, a college in New York, specifically for children. He displayed his boxes and collages at child-height and had cherry soda and brownies at the opening reception on February 10. He then held a show at the Albright-Knox Art Gallery in Buffalo, also for children: "Children's Preview of the Exhibition of Joseph Cornell – Collages and Boxes (April 18-June 17, 1972). In the winter of 1972, at the request of the Phoenix House drug treatment and prevention program, Cornell contributed to a charity project compiling limited-edition lithographic prints for a portfolio, which included artists like David Hockney, James Rosenquist, and Ellsworth Kelly.

On December 29, 1972, a week after turning sixty-nine, Cornell died of heart failure at his home. He was cremated and interred near the graves of his mother, father, and brother, overlooking the Hudson River in Nyack, New York.

Works Cited:

1. Hartigan, Lynda Roscoe. "Joseph Cornell: Navigating the Imagination." New Haven, Connecticut and London: Yale University Press, 2007. Exhibition Catalog.

2. McShine, Kynaston. "Joseph Cornell." New York: Museum of Modern Art, 1980.

3. San Francisco Cinematheque and The San Francisco Museum of Modern Art. "Joseph Cornell: Films." 2007. Exhibition Program. (Presented in conjunction with SFMOMA's exhibition of "Joseph Cornell: Navigating the Imagination").

4. Schaffner, Ingrid and Lisa Jacobs. "Julien Levy: Portrait of an Art Gallery." Cambridge, Massachusetts and London: The MIT Press, 1998.

5. Solomon, Deborah. "Utopia Parkway: The Life and Work of Joseph Cornell." New York: Farrar, Straus and Giroux, 1997.
Separated Materials:
The Smithsonian Archives of American Art houses the Joseph Cornell papers, 1804-1986, bulk 1939-1972.
Provenance:
The Joseph Cornell Study Center collection was donated to the Smithsonian American Art Museum by Joseph Cornell's sister and brother-in-law, Elizabeth Cornell Benton and John A. Benton, in 1978, which prompted the creation of the Joseph Cornell Study Center. Additional materials were donated in installments by the artist's estate, the Joseph and Robert Cornell Memorial Foundation, from 1985 to 1997. Elizabeth and John A. Benton originally donated 66 linear feet of three-dimensional and non-textual source material and 50 linear feet of books to the Smithsonian Archives of American Art, which were subsequently transferred to the Smithsonian American Art Museum's Joseph Cornell Study Center in 1994 and 1995.
Restrictions:
Access to the collection requires an advanced appointment. Contact collection staff at least two weeks prior to preferred date, at AmericanArtCornellStudy@si.edu.

Series 9: Artifacts and Ephemera, Series 13: Personal Library and Book Collection, and Series 14: Record Album Collection, are still undergoing processing and preservation and may not be available for research use. Record albums are unavailable for playback. Contact collection staff for full lists of publications and record albums.
Rights:
Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.
Occupation:
Collagists -- New York (State) -- New York  Search this
Topic:
Art, Modern -- 20th century -- United States  Search this
Assemblage (Art)  Search this
Assemblage artists -- New York (State) -- New York  Search this
Found objects (Art)  Search this
Sculptors -- New York (State) -- New York  Search this
Works of art  Search this
Celebrities  Search this
Filmmakers -- New York (State) -- New York  Search this
Genre/Form:
Photographs -- 1900-1950 -- Photoprints -- Silver gelatin
Photographs -- 1860-1870 -- Black-and-white photoprints -- Silver albumen -- Cartes-de-visite
Photographs -- Daguerreotypes -- 1840-1860
Citation:
Joseph Cornell Study Center collection, 1750-1980, bulk 1930-1972. Joseph Cornell Study Center, Smithsonian American Art Museum.
Identifier:
SAAM.JCSC.1
See more items in:
Joseph Cornell Study Center Collection
Archival Repository:
Smithsonian American Art Museum, Research and Scholars Center
EDAN-URL:
ead_collection:sova-saam-jcsc-1

George Kroto Lantern Slide Collection

Collector:
Kroto, George, 1873-1946  Search this
Photographer:
Tsurubuchi, H.  Search this
Ikeda, Kametaro, 1862-1915  Search this
Extent:
130 Items (glass lantern slides, color)
Type:
Collection descriptions
Archival materials
Lantern slides
Place:
Japan
Kamakura-shi (Japan)
Kyoto (Japan)
Yamanaka Lake (Japan)
Yokohama-shi (Japan)
Tokyo (Japan)
Osaka (Japan)
Hakone-machi (Japan)
Yokosuka-shi (Japan)
Japan -- Description and Travel
Date:
1901-1910
Scope and Contents:
Handcolored stereopticon slides of Japan at the beginning of the 20th century. Images includes: place views, temples, tea houses, government buildings, domestic architecture, sculpture, landscapes, market scenes, women, Samurai warriors, wrestlers, Shinto and Buddhist priests, lantern makers, and workmen winding silk. Cities depicted include: Kamakura, Kyoto, Yamanaka, Yokohama, and others. The slides are often captioned in English and Japanese. Photographers represented may include H. Tsurubuchi of Tokyo and Kametaro Ikeda (1862-1915). Women and Girl's Living Style: Slide 1: œSummer night Slide 2: œMother and a baby Slide 3: œ"Baby nurses under cherry trees." Slide 4: œ"A group of baby-nurses on a country road." Slide 5: œA tea serving lady Slide 6: œA woman with a parasol Slide 7: œA woman reading Slide 8: œ"Young girls Making tea." Slide 9: œWoman applying make-up Slide 10: œPreparing the meal Slide 11: œA woman standing Slide 12: œThree women in a room Slide 13: œA girl playing badminton Geisha Girls Slide 14: œMaiko Slide 15: œThree dancers Slide 16: œ"Geisha, Osaka" Slide 17: œ"Dancing girl. Kioto" Slide 18: œ"Concert of Koto and Shamisen" Sumo Wrestlers Slide 19: œ"Wrestlers" Slide 20: œSumo wrestling Slide 21: œ"one wrestler (Inagawa) stands in the arena." Slide 22: œ"Wrestler 'Hitachiyama'." Slide 23: œ"Wrestling" Samurai Warriors Slide 24: œGroup Samurai warriors Domestic Interior Slide 25:œ"Japanese Drawing room." Palanquins Slide 26:œ"Palanquin" Slide 27:œ"Palanquin in mountain road at Hakone." Customs and Living Style Slide 28:œ"Surf-bathing of Yuigahama, Kamakura." Slide 29:œ"Surf&#x2014bathing of Oiso, near Hakone." Slide 30:œ"Tea house at Sokokura, Hakone." Slide 31:œMt. Atago Shiba. Tokyo Slide 32:œ"Boat Excursion at the Foot of Arashiyama, Kioto." Slide 33: œA peasant Slide 34: œ"Firemen's exercise on a ladder, which always takes place early in January." Slide 35:œ"'Manzai' dance. (Street scene in New Year)." Slide 36:œ"Marriage ceremony." Slide 37:œA carp streamer on Children's Day Market Scenes/Shops Slide 38: œ"People of Imaichi coming back from market at Nikko." Slide 39œ"Workman winding silk from Cocoon." Slide 40:œ"a Ferry." Slide 41:œJapanese lantern makers Slide 42:œInsect shop Slide 43:œNursery shop Slide 44:œToy store Slide 45:œ"Odenya." Stall selling Japanese Hotch potch Slide 46:œTea house Slide 47:œ"Bath&#x2014Room" Priests Slide 48:œ"Japanese Shinto priest" Slide 49:œ"The Priests Praying to Bud[d]ha." Slide 50:œ"Buddha priests retiring from the commemoration for those who died in bo[a]ttles, held at Aoyoma cemetery, Tokyo." Slide 51:œ"Shinto Priest." Shrines Slide 52:œ"Fountain of Yasukuni Park, Tokio" Kameido Tenjin, Tokyo Slide 53:œKameido Tenjin, Tokyo Slide 54:œKameido Tenjin, Tokyo Slide 55:œYasukuni Shrine, Tokyo Slide 56:œ"The torii Hakone." Slide 57:œHigh Lantern in Sumiyoshi, Sumiyoshi shrine Slide 58:œSumiyoshi Shrine Temples Slide 59:œ"Fudo Temple, Narita near Tokio" Slide 60:œAsakusa Kanzeon Slide 61:œ"'Anamori' Temple near Tokio" Slide 62:œ"Tomb of Tokugawa-shogun at Shiba Park, Tokio" Slide 63:œUeno Tennoji Temple in Tokyo Slide 64:œ"Iyeyasu tomb Nikko." Slide 65:œ"Nis [?] of Niomon gate Nikko." Slide 66:œ"Interior Iyeyasu temple Nikko." Box 2 Temples continued Slide 67:œ"Steps to the gate of Hachiman temple, Kamakura." Slide 68:œ"Tsurugaoka Hachiman Temple, Kamakura Slide 69:œ"Five storied Pagoda, Kioto" Slide 70:œ"The back of Kiyomizu temple Kyoto." Slide 71:œ"'Biodo' Temple, Uji, near Kioto" Slide 72:œ"Tai-Kioku Temple, Kioto Proceeding Ancient Ceremony." Slide 73:œ"'Higashi' Temple, Kioto" Slide 74:œ"'Nishi-Hongan' Temple, Kioto." Slide 75:œMyokoku Temple in Sakai, Osaka City Views Slide 76:œ"'Ginza' Street, Tokio" Slide 77:œ"Shintomi Theatre, Tokio." Slide 78:œ"Nihonbashi street, Tokio" Slide 79:œ"Kudan, Tokio" Slide 80:œ"Military Museum, Tokio" Slide 81:œ"A court of Justice, Tokio" Slide 82:œ"Naval Department. Court of Justice. Dept of Justice affairs." Slide 83:œ"Overhead Railway in Tokio." Slide 84:œ"Pier at Yokohama." Slide 85:œYokohama Slide 86:œ"Navy Port of Yokosuka." Slide 87:œ"Umeda station, Osaka." Slide 88:œ"Shijiokawara, Kioto" Parks Slide 89:œJapanese Iris in Horikiri, Tokyo Slide 90:œUeno Park, Tokyo Slide 91:œ"'Ueno' Park, Tokio." Slide 92:œ"Zoological Garden at Ueno Park, Tokio." Slide 93:œ"Asakusa Park, Tokio." Slide 94:œ"Asakusa Park, Tokio." Slide 95:œ"'Asakusa' Park, Tokio" Slide 96:œ"Hibiya Park, Tokio." Slide 97:œ"'Mito' Park, near Tokio." Slide 98:œ"'Koraku' Park, Okayama." Sculpture Slide 99:œ"Bronze statue of Saigo at Ueno Park, Tokio." Slide 100:œ"Bronze statue of Warrior 'Nanko', Tokio." Slide 101:œ"stone images Nikko." Bridges Slide 102:œ"'Nijiu' Bridge of Imperial Palace." Tokyo Slide 103:œNijiu Bridge of Imperial Palace, Tokyo Slide 104:œAzuma Bridge, Tokyo Slide 105:œ"The stone bridge on the lotus pond, Hachiman temple Kamakura." Slide 106:œ"'Tenman' Bridge, Osaka." Slide 107:œ"Sanjio Bridge, Kioto." River and Falls Slide 108:œ"Ai&#x2014fishing, Tama[gawa] River." Tokyo Slide 109:œ"'Kegon' Water&#x2014fall. Niko." Slide 110:œ"'Tamadare' Waterfall." Hakone Slide 111:œTatsu no River in Oji, near Tokyo Slide 112:œ"Sea&#x2014side of Sukekawa, Mito" Scenery, Landscapes Slide 113:œ"Futami&#x2014[ga]Ura, Ise." Slide 114:œ"Matsu&#x2014shima, Sendai." Slide 115:œ"Snow-view of Ayase, Tokio." Slide 116:œ"View of Hakone." Slide 117:œFull cherry blossoms at Mukojima Slide 118:œ"Cherry blossoms at the cliff of Kamonyama." Slide 119:œ"Cherry&#x2014Blossom on The Kumagai, near Tokio." Slide 120:œ"Full blossoms on Cherry Road, Yokohama" Mt. Fuji Slide 121:œ"Snow&#x2014Crowned Fuji from Ushinuma." Slide 122:œ"View of Mt Fuji" Slide 123:œ"Mt. Fuji from Tagonoura" Slide 124:œ"Mt. Fuji from Tagonoura" Slide 125:œ"Mt. Fuji on a moon light night." Slide 126:œ"Mt. Fuji viewed from Shoji lake." Slide 127:œ"Mt. Fuji viewed from Yamanaka lake & its refelec(sic)tion." Slide 128:œ"Spring View of Mt. Fuji from Gotemba." Slide 129:œ"Mt. Fuji viewed from Nishinoumi lake." Slide 130:œ"Mountain Guide of Mt. Fuji."
Arrangement:
1 linear foot : arranged by slide number and by topic
Box 1 : Women and daily life (1-13). Geisha (14-18). Sumo Wrestlers (19-23). Group of samurai (24). Palanquins (26-27). Customs (28-37). Market Scenes/Shops (38-47). Priests (48-51). Shrines (52-58). Temples (59-66).
Box 2 : Temples (c'td.) (67-75). City Views (76-88). Parks (89-98). Sculpture (99-101). Bridges (102-107). River and Falls (108-112). Scenic Landscapes (113-120). Mt. Fuji (121-130).
Biographical / Historical:
American engineer George Kroto (1873-1946) assembled this collection to document Japanese art and culture, while living in Japan from 1901-1910 under the employ of Takata & Co., Tokyo.
Local Numbers:
FSA A1992.02
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Lantern slides -- 1900-1950
Citation:
George Kroto Lantern Slide Collection. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C.
Identifier:
FSA.A1992.02
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_collection:sova-fsa-a1992-02
Online Media:

Ernst Herzfeld Papers

Topic:
Papyrus
Creator:
Herzfeld, Ernst, 1879-1948  Search this
Names:
Kaiser-Friedrich-Museum  Search this
Verlag Philipp von Zabern  Search this
Anistās Mārī, al-Karmilī, ab, 1866-1947  Search this
Becker, Carl Heinrich, 1876-1933  Search this
Bell, Gertrude Lowthian, 1868-1926  Search this
Berchem, Max van, 1863-1921  Search this
Herzfeld, Ernst, 1879-1948  Search this
Krefter, Friedrich, 1898-1995  Search this
Meyer, Eduard, 1855-1930  Search this
Sarre, Friedrich Paul Theodor, 1865-1945  Search this
Extent:
150 Linear feet (circa 30,000 items)
Type:
Collection descriptions
Archival materials
Blueprints
Journals (accounts)
Photographs
Clippings
Notebooks
Drawings
Sketchbooks
Articles
Paper squeezes
Correspondence
Diaries
Sketches
Rubbings
Place:
Turkey
Mesopotamia
Bakun, Tall-e (Iran)
Iran
Iraq
Lebanon
Persepolis (Iran)
Pasargadae (Extinct city)
Taq-e Bostan Site (Iran)
Sāmarrāʼ (Iraq)
Syria
Date:
1903-1947
Summary:
An outstanding scholar in the field of Iranian studies, Ernst Herzfeld (1879--1948) explored all phases of Near Eastern culture from the prehistoric period to Islamic times. This collection documents Herzfeld's excavations at Samarra, Persepolis, Pasargadae, and Aleppo and includes correspondence; field notebooks; drawings; sketchbooks; inventories of objects; "squeeze" copies of architectural details; and photographs.
Scope and Contents:
Papers (1899--1962) of German born archaeologist Ernst Emil Herzfeld (1879--1948), a preeminent scholar of Near Eastern and Iranian studies. The collection measures 150 linear feet (circa 30,000 items) and documents Herzfeld's work as a pioneer in the field and sheds light on his excavations at Samarra, Persepolis, Pasargadae, and Aleppo. Formats include correspondence; field notebooks; drawings; sketchbooks; inventories of objects; "squeeze" copies of architectural details; and photographs.
Arrangement:
This collection is organized into seven series.

Series 1: Travel journals

Series 2: Sketchbooks

Series 3: Notebooks

Series 4: Photographic files 1-42

Series 5: Drawings and maps

Series 6: Squeezes

Series 7: Samarra Expedition
Biographical / Historical:
The Ernst Herzfeld Papers document the career of Ernst Herzfeld (1879--1948), a German architect, archaeologist, and historian of Islamic and Pre-Islamic studies. After training as an architect he studied archaeology under Delitzch from 1903 to 1906 at the excavations at Assur in Mesopotamia. A student of Latin, Greek, Arabic, Persian, Turkish, and Hebrew, Herzfeld received a doctorate in Humanistic Studies at universities in Munich and Berlin in 1907. His work with Friedrich Sarre to survey the monuments of the Tigris-Euphrates valleys resulted in landmark studies in architectural history, published in 1911 and 1920.

In 1920 Herzfeld was appointed to the chair of Historical Geography in Berlin and began his excavation at Samarra. Herzfeld's work there led to a six-volume publication. He published widely throughout his life on the sources of Islamic architecture and ornament, including the Royal Palace at Persepolis.

From 1934 until the end of his life Herzfeld spent his time producing many books and articles, lecturing, and working at the Institute for Advanced Study at Princeton (1936--1945.) Many of his works continue to be published post-humously.

1879 July 23 -- Born in Celle, Germany.

1897 -- Received diploma from Joachimsthaler Gymnasium, Berlin.

1897-circa 1898 -- Fulfilled military service.

circa 1899 -- Studied architecture at the Technical University and Assyriology, art history, and philosophy at the Friedrich-Wilhems Universität in Berlin.

1903 -- Passed exam in structural engineering.

1903-1905 -- Assistant to Walter Andrae (1875-1956) in Assur.

1905-1906 -- Traveled throughout Iran and Iraq.

1907 -- Excavation in Cilicia. Passed oral exam in February. Awarded doctorate in Humanistic Studies by Friedrich-Wilhems Universtät zu Berlin. After receiving Ph.D. traveled extensively in Syria and Iraq with Friedrich Sarre, director of the Islamic Museum in Berlin.

1910 -- Herzfeld and Sarre jointly publish, Iranische Felsreliefs (Berlin, 1910).

1911-1913 -- Field Director under direction of Sarre during expedition to Samarra.

circa 1914 -- Drafted into service in France and Poland during World War I. Sent to Iraq where he functioned as a surveyor.

1916 -- Father died.

1917 -- Appointed associate professor for Historical Geography and Art History of the Ancient Orient at Berlin. Along with Friedrich Sarre and others, founded the German-Persian Society to increase cultural and economic exchange between Germany and Persia.

1920 -- Appointed world's first full professor of Near Eastern Archeology. Begins excavation at Samarra.

1922 -- Mother died.

1923-1934 -- In Persia, where he completed many excavations and studies.

1928 -- Excavation at Pasargadae.

1931-1934 -- Appointed director of the Oriental Institute of the University of Chicago and moved to Persepolis.

1934 -- As grandson of Jews, Nazi legislation expelling state employees of Jewish descent forced Herzfeld to retire as a professor employed by the state. Moved to London.

1936 -- Delivered Lowell Lectures. Moved to Boston. Lectured on Iranian history and appointed a member of the Princeton Institute for Advanced Study.

1944 -- Retired from Princeton University.

1948 January 20 -- Died.
Provenance:
Ernst Herzfeld donated his papers to the Freer Gallery of Art in 1946.
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Ayyubids  Search this
Art of the Islamic World  Search this
Antiquities  Search this
History  Search this
Excavations (Archaeology)  Search this
Pottery  Search this
Description and Travel  Search this
Decoration and ornament  Search this
Ancient Near Eastern Art  Search this
Aerial photography  Search this
Abbasids  Search this
Religious buildings  Search this
Numismatics  Search this
Inscriptions  Search this
Architectural drawing  Search this
Genre/Form:
Blueprints
Journals (accounts)
Photographs
Clippings
Notebooks
Drawings
Sketchbooks
Articles
Paper Squeezes
Correspondence
Diaries
Sketches
Rubbings
Citation:
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
Identifier:
FSA.A.06
See more items in:
Ernst Herzfeld Papers
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_collection:sova-fsa-a-06
Online Media:

Records of Samarra Expeditions

Creator:
Herzfeld, Ernst, 1879-1948  Search this
Names:
Dietrich Reimer Verlag (Berlin, Germany)  Search this
Kaiser-Friedrich-Museum  Search this
Verlag Philipp von Zabern  Search this
Anistās Mārī, al-Karmilī, ab, 1866-1947  Search this
Becker, Carl Heinrich, 1876-1933  Search this
Bell, Gertrude Lowthian, 1868-1926  Search this
Berchem, Max van, 1863-1921  Search this
Herzfeld, Ernst, 1879-1948  Search this
Meyer, Eduard, 1855-1930  Search this
Sarre, Friedrich Paul Theodor, 1865-1945  Search this
Collection Creator:
Herzfeld, Ernst, 1879-1948  Search this
Extent:
186 Items (Field notes: drawings, sketches, sketchbooks, correspondence, notebooks, photographs, blueprints, notes, diaries, prints, journals (accounts), publications, articles, clippings, rubbings.)
Type:
Archival materials
Articles
Blueprints
Clippings
Correspondence
Drawings
Diaries
Journals (accounts)
Notebooks
Photographs
Rubbings
Sketchbooks
Sketches
Place:
Asia
Iran
Iraq
Lebanon
Syria
Mesopotamia
Bakun, Tall-e (Iran)
Sāmarrāʼ (Iraq)
Date:
1906-1945
Scope and Contents:
The material from the excavations at Samarra, except for the photographs mounted in Photo Files 19--3, and drawings which are in Series 5: Drawings.
"Two campaigns of excavation at Samarra in Iraq, carried out by Ernst Herzfeld on behalf of the Kaiser Friedrich Museum in Berlin between the years 1911 and 1913 mark the beginning of large-scale archaeological research on Islamic antiquities. During this time, Herzfeld was supported for brief periods by the swiss architect Samuel Guyer, Commander von Ludloff, various technical assistants, and finally Friedrich Sarre, who was the director of the Islamic department at the museum and initiator of the expedition. For most of the time, however, all tasks that today would be divided among a team of archaeologists rested solely on Herzfeld's shoulders: coordinating hundreds of workmen at various sites, measuring buildings, drawing architecture and objects, and cataloging finds, but also negociating with local authorities who were often uncooperative. Still working at a time when the success of a venture such as the Samarra expedition was measured by its spectacular finds in both architecture and precious objects, the immense responsibility for bringing this expedition through the unexplored territories of Islamic archaeology to a successful conclusion presented an enormous physical and psychological challenge. In an effort that from the perspective of modern archaeology must be called Herculean, he excavated and examined nineteen sites [Great Mosque of al-Mutawakkil, Congregational Mosque of Madinat al-Mutawakkiliyya, Shiite Shrine Complex, Qubbat al-Ṣulaibiyya; palaces of Balkuwārā, Ṣūr ʿĪṣā, and the Qaṣr al-ʿĀshiq; the Cemetery at Shabbat al-Hawā; Mausoleum of Imām al-Dūr; Tall al-ʿAlīq; Ḥarba Bridge and finally the residential architecture at al-Quraina, al-Qāṭūn, al-Jubairiyya, and west of Ṣūr ʿĪṣā, and the baths] and collected a stupendous corpus of material, one that in many respects still forms the foundation for our knowledge of the city of Samarra and ʼAbbāsid art in the 3rd/9th centuries. What is astonishing is that Herzfeld himself considered his achievements during the first campaign in Samarra to be merely a dress rehearsal for the more ambitious second campaign which focused on the Dār al-Khilāfa." [Leisten, Thomas, 2003: "Excavation of Samarra, v. I. Architecture : Final report of the first campaign 1910-1912. Verlag Philipp von Zabern, Mainz am Rhein, 2003. Preface, p.IX."]
Arrangement:
135 units of original materials; numbered subseries, kept in the order in which they arrived, and housed in document boxes.
Biographical / Historical:
"Ernst Emil Herzfeld (1879-1948) was an orientalist whose many talents led him to explore all phases of Near Eastern culture, from the prehistoric period to Islamic times and from linguistics and religion to art and architecture." [Margaret Cool Root, 1976: "The Herzfeld Archive of the Metropolitan Museum of Art. Metropolitan Museum Journal, Vol. 11, pp. 119-124."]
Local Numbers:
FSA A.06 07
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Joseph Upton's Catalogue of the Herzfeld Archive, Thomas Leisten's publication, "Excavation of Samarra, vol 1," and Alastair Northedge's publication, "An Interpretation of the Palace of the Caliph at Samarra (Dar Al-Khilafa or Jawsaq Al-Khaqani). In Ars Orientalis, Vol. 23."
Series title in Joseph Upton's Catalogue of the Herzfeld Archive reads, "Records of Samarra Expeditions."
Date/Time and Place of an Event Note:
Field notes related primarly to the two campaigns of excavation at Sāmarrāʼ (Iraq), carried out by Ernst Herzfeld on behalf of the Kaiser Friedrich Museum in Berlin between the years 1911 and 1913.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Papyrus  Search this
Abbasids  Search this
Aerial photography  Search this
Ancient Near Eastern Art  Search this
Antiquities  Search this
Architectural drawing  Search this
Art of the Islamic World  Search this
Decoration and ornament  Search this
Description and Travel  Search this
Excavations (Archaeology)  Search this
History  Search this
Inscriptions  Search this
Numismatics  Search this
Pottery  Search this
Religious buildings  Search this
Genre/Form:
Articles
Blueprints
Clippings
Correspondence
Drawings
Diaries
Journals (accounts)
Notebooks
Photographs
Rubbings
Sketchbooks
Sketches
Collection Citation:
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
Identifier:
FSA.A.06, Series 7
See more items in:
Ernst Herzfeld Papers
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-06-ref10431

Drawings and Maps

Creator:
Herzfeld, Ernst, 1879-1948  Search this
Names:
Herzfeld, Ernst, 1879-1948  Search this
Krefter, Friedrich, 1898-1995  Search this
Collection Creator:
Herzfeld, Ernst, 1879-1948  Search this
Extent:
1562 Drawings (visual works) (various dimensions)
70 Maps (various dimensions)
Type:
Archival materials
Drawings (visual works)
Maps
Drawings
Place:
Asia
Iran
Iraq
Lebanon
Syria
Turkey
Mesopotamia
Aleppo (Syria)
Bakun, Tall-e (Iran)
Baʻlabakk (Lebanon)
Bīshāpūr (Extinct city)
Bisutun Site (Iran)
Damascus (Syria)
Fīrūzābād (Iran)
Ḥimṣ (Syria)
Iṣfahān (Iran)
Luristān (Iran)
Nahāvand (Iran)
Naqsh-i Rustam (Iran)
Paikuli (Iraq)
Palmyra (Syria)
Pasargadae (Extinct city)
Persepolis (Iran)
Sāmarrāʼ (Iraq)
Sīstān va Balūchistān (Iran)
Taq-e Bostan Site (Iran)
Tripoli (Lebanon)
Date:
1903-1947
1899-1962
Scope and Contents:
The abbreviations used in captions of published drawings are:

IAE -- Iran in the Ancient East, Herzfeld

AMI -- Archaeologische Mitteilungen aus Iran, Herzfeld

Corpus -- Materiaux pour un Corpus Inscriptionum Arabicarum. Part II, Tome II (Aleppo), Herzfeld

ID -- Iranische Denkmä, Lieferung 3/4 Niphauanda, Herzfeld

SA-I -- Ars Islamica, IX, "Damascus:Studies in Architecture, I. The Mukarnas Dome. The Madrasa," Herzfeld

SA-II -- Ars Islamica, X. Same study, II."The Cruciform Plan. Syrian Architecture, Period of Nur al-din," Herzfeld

SA-III -- Ars Islamica, XI--II. Same study, III. "The Ayyubid Madrasa. The Turba," Herzfeld

SA-IV -- Ars Islamica, XIII--IV. Same study, IV. "The Mosque," Herzfeld

TA -- Am Tor von Asien, Herzfeld
Drawings D-405 through D-485 (water-colors) are mounted on mats numbered PI.XXXIII through PI.LXI. They were apparently prepared for some publication not yet located. Other water-colors have similar notations. The large numbers, such as No.3445, apparently refer to a catalogue or inventory, not located.
- Approximately 1,562 drawings and plans that reflect Herzfeld's fine draftmanship and architectural training , with observations on topography, landscape, archaeological remains, architecture, and artifacts. Renderings are in pencil, ink, and watercolor. The published and unpublished drawings reveal Herzfeld's working methodology, in which he often employed tracings to rework his original field sketches. In addition, there are drawings by Friedrich Krefter, the architect who worked in association with Herzfeld for many years, and by drafting assistant Karl Bergner and Donald E. McCown.
- Approximately 70 maps dating from 1899 to the 1930s, including original maps prepared by Herzfeld, Karl Bergner or Friedrich Krefter, as well as various maps from German archaeologists such as Moritz Sobernheim and Max Freiherr von Oppenheim.
Arrangement:
Drawings are arranged roughly by size and then in number sequences, housed in document boxes or in flat file folders and stored in map case drawers.
Biographical / Historical:
"Ernst Emil Herzfeld (1879-1948) was an orientalist whose many talents led him to explore all phases of Near Eastern culture, from the prehistoric period to Islamic times and from linguistics and religion to art and architecture." [Margaret Cool Root, 1976: "The Herzfeld Archive of the Metropolitan Museum of Art. Metropolitan Museum Journal, Vol. 11, pp. 119-124."]
Local Numbers:
FSA A.06 05
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Joseph Upton's Catalogue of the Herzfeld Archive."
Date/Time and Place of an Event Note:
The Papers primarly relate to Herzfeld's survey of the monuments, artifacts, and inscriptions of Western Asia between 1903 and 1947 and particularly to his excavations at Istakhr (Iran), Paikuli (Iraq), Pasargadae (Iran), Persepolis (Iran), Samarra (Iraq) and Kuh-e Khwaja (Iran), as well as various archaeological expeditions throughout Cilicia, Mesopotamia, Northern Syria, and Persia. Additional research material, probably collected by Moritz Sobernheim and Max Freiherr von Oppenheim but preserved by Ernst Herzfeld, was part of a broader project, that of Max van Berchem's "Matériaux pour un Corpus Inscriptionum Arabicarum."
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Abbasids  Search this
Ancient Near Eastern Art  Search this
Antiquities  Search this
Archaeology  Search this
Architectural drawing  Search this
Architecture  Search this
Art of the Islamic World  Search this
Cartography  Search this
Decoration and ornament  Search this
Description and Travel  Search this
Excavations (Archaeology)  Search this
Inscriptions  Search this
Numismatics  Search this
Pottery  Search this
Relief (Sculpture)  Search this
Religious buildings  Search this
Royalty (Nobility)  Search this
Sassanids  Search this
Shrines  Search this
Textile design  Search this
Genre/Form:
Drawings
Maps
Collection Citation:
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
Identifier:
FSA.A.06, Series 5
See more items in:
Ernst Herzfeld Papers
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-06-ref8672

D-767: Bistam. Tomb tower, dated 1313 (713 H.). Pen drawing of Kufic inscriptional tiles. See Neg.2931, Photo File 10--57

Creator:
Herzfeld, Ernst, 1879-1948  Search this
Names:
Herzfeld, Ernst, 1879-1948  Search this
Collection Creator:
Herzfeld, Ernst, 1879-1948  Search this
Extent:
1 Drawing (56 cm. x 38 cm.)
Container:
Item D-767
Type:
Archival materials
Drawings
Place:
Asia
Iran
Iran -- Semnan -- Bistam
Date:
1925
Scope and Contents:
- Glass plates in Ernst Herzfeld Papers: [FSA A.6 04.GN.2925; FSA A.6 04.GN.2926; FSA A.6 04.GN.2927; FSA A.6 04.GN.2928; FSA A.6 04.GN.2929; FSA A.6 04.GN.2930; FSA A.6 04.GN.2931].
- Sketchbook in Ernst Herzfeld Papers: SK-12, p.26 and 27.
Finding Aid caption reads, "Bistam. Tomb tower, dated 1313 (713 H.). Pen drawing of Kufic inscriptional tiles. See Neg.2931, Photo File 10-57."
Bistam (Iran): Flanged Tomb Tower adjoining Friday Mosque: Reconstruction of Blue Faience Kufic Inscriptional Tiles on a Background of Carved Stucco [drawing]
Arrangement:
Drawings are arranged roughly in sequential number sequences, housed in document boxes or in flat file folders by size, and stored in the map case drawers.
Local Numbers:
D-767

FSA A.6 05.0767
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Joseph Upton's Catalogue of the Herzfeld Archive.
Date/Time and Place of an Event Note:
"Ernst Herzfeld's years in Iran [Persia] from [February] 1923 to [the end of October] 1925 were made possible by a private company with limited liability called the Gesellschaft zur Förderung von Ausgrabungen und Forschungsreisen GmbH, which was founded in 1923. Its aim was to foster excavations and scientific expeditions in Asia and to publish the results. [...]. [Consequently] Herzfeld was able to travel freely in Iran and survey most major archaeological sites." [Jens Kröger, "Ernst Herzfeld and Friedrich Sarre", Ernst Herzfeld and the Development of Near Eastern Studies, 1900-1950. Edited by Ann Gunter and Stefan R. Hauser. Leiden: Brill, 2005. P.61 and P.64]
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art of the Islamic World  Search this
Archaeology  Search this
Architectural drawing  Search this
Decoration and ornament  Search this
Inscriptions  Search this
Inscriptions, Arabic  Search this
Genre/Form:
Drawings
Collection Citation:
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
Identifier:
FSA.A.06, Item FSA A.6 05.0767
See more items in:
Ernst Herzfeld Papers
Ernst Herzfeld Papers / Series 5: Drawings and Maps
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-06-ref9454

Bistam (Iran): Tomb Tower: View of the Structure's Flanges terminating with the Remains of Two Encircling Bands of Blue Faience Kufic Inscriptional Tiles on a Background of Carved Stucco

Creator:
Herzfeld, Ernst, 1879-1948  Search this
Names:
Herzfeld, Ernst, 1879-1948  Search this
Collection Creator:
Herzfeld, Ernst, 1879-1948  Search this
Extent:
1 Glass negative (b&w, 13 cm. x 18 cm.)
Type:
Archival materials
Glass negatives
Place:
Asia
Iran
Iran -- Semnan -- Bistam
Date:
1925
Scope and Contents:
- Glass plates in Ernst Herzfeld Papers: [FSA A.6 04.GN.2925; FSA A.6 04.GN.2926; FSA A.6 04.GN.2927; FSA A.6 04.GN.2928; FSA A.6 04.GN.2929; FSA A.6 04.GN.2930].
- Drawing in Ernst Herzfeld Papers: [FSA A.6 05.0767].
- Sketchbook in Ernst Herzfeld Papers: SK-12, p.26 and 27.
Handwritten notes accompanying related print in photo file 10, vol. 1 reads, "Bisṭām. Inscription of Tomb Tower."
Additional information from Finding Aid reads, "Subseries 4.8: Photo File 10 (2 vols.), "Persian Architecture and Landscapes," Subseries 4.10.1: vol. 1; Image No. 57 (Negative Number: 2931). Bistam, tomb tower. Close-up of dome and inscription."
Arrangement:
Glass Negatives, numbered from 1 to 3850, are housed in document boxes, and stored on shelves.
Local Numbers:
FSA A.6 04.GN.2931
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Joseph Upton's Catalogue of the Herzfeld Archive.
Date/Time and Place of an Event Note:
"Ernst Herzfeld's years in Iran [Persia] from [February] 1923 to [the end of October] 1925 were made possible by a private company with limited liability called the Gesellschaft zur Förderung von Ausgrabungen und Forschungsreisen GmbH, which was founded in 1923. Its aim was to foster excavations and scientific expeditions in Asia and to publish the results. [...]. [Consequently] Herzfeld was able to travel freely in Iran and survey most major archaeological sites." [Jens Kröger, "Ernst Herzfeld and Friedrich Sarre", Ernst Herzfeld and the Development of Near Eastern Studies, 1900-1950. Edited by Ann Gunter and Stefan R. Hauser. Leiden: Brill, 2005. P.61 and P.64]
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art of the Islamic World  Search this
Archaeology  Search this
Architecture  Search this
Decoration and ornament  Search this
Inscriptions  Search this
Inscriptions, Arabic  Search this
Genre/Form:
Glass negatives
Collection Citation:
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
Identifier:
FSA.A.06, Item FSA A.6 04.GN.2931
See more items in:
Ernst Herzfeld Papers
Ernst Herzfeld Papers / Series 4: Photographic Files
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-06-ref27912

Bistam (Iran): Tomb Tower: View of the Structure's Flanges terminating with the Remains of Two Encircling Bands of Blue Faience Kufic Inscriptional Tiles on a Background of Carved Stucco

Creator:
Herzfeld, Ernst, 1879-1948  Search this
Names:
Herzfeld, Ernst, 1879-1948  Search this
Collection Creator:
Herzfeld, Ernst, 1879-1948  Search this
Extent:
1 Glass negative (b&w, 13 cm. x 18 cm.)
Type:
Archival materials
Glass negatives
Place:
Asia
Iran
Iran -- Semnan -- Bistam
Date:
1925
Scope and Contents:
- Glass plates in Ernst Herzfeld Papers: [FSA A.6 04.GN.2925; FSA A.6 04.GN.2926; FSA A.6 04.GN.2927; FSA A.6 04.GN.2928; FSA A.6 04.GN.2929; FSA A.6 04.GN.2931].
- Drawing in Ernst Herzfeld Papers: [FSA A.6 05.0767].
- Sketchbook in Ernst Herzfeld Papers: SK-12, p.26 and 27.
Handwritten notes accompanying related print in photo file 10, vol. 1 reads, "Bisṭām. Inscription of Tomb Tower."
Additional information from Finding Aid reads, "Subseries 4.8: Photo File 10 (2 vols.), "Persian Architecture and Landscapes," Subseries 4.10.1: vol. 1; Image No. 58 (Negative Number: 2930). Bistam, tomb tower. Close-up of dome and inscription."
Arrangement:
Glass Negatives, numbered from 1 to 3850, are housed in document boxes, and stored on shelves.
Local Numbers:
FSA A.6 04.GN.2930
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Joseph Upton's Catalogue of the Herzfeld Archive.
Date/Time and Place of an Event Note:
"Ernst Herzfeld's years in Iran [Persia] from [February] 1923 to [the end of October] 1925 were made possible by a private company with limited liability called the Gesellschaft zur Förderung von Ausgrabungen und Forschungsreisen GmbH, which was founded in 1923. Its aim was to foster excavations and scientific expeditions in Asia and to publish the results. [...]. [Consequently] Herzfeld was able to travel freely in Iran and survey most major archaeological sites." [Jens Kröger, "Ernst Herzfeld and Friedrich Sarre", Ernst Herzfeld and the Development of Near Eastern Studies, 1900-1950. Edited by Ann Gunter and Stefan R. Hauser. Leiden: Brill, 2005. P.61 and P.64]
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art of the Islamic World  Search this
Archaeology  Search this
Architecture  Search this
Decoration and ornament  Search this
Inscriptions  Search this
Inscriptions, Arabic  Search this
Genre/Form:
Glass negatives
Collection Citation:
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
Identifier:
FSA.A.06, Item FSA A.6 04.GN.2930
See more items in:
Ernst Herzfeld Papers
Ernst Herzfeld Papers / Series 4: Photographic Files
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-06-ref27913

Bistam (Iran): Tomb Tower: View of the Structure's Flanges terminating with the Remains of Two Encircling Bands of Blue Faience Kufic Inscriptional Tiles on a Background of Carved Stucco

Creator:
Herzfeld, Ernst, 1879-1948  Search this
Names:
Herzfeld, Ernst, 1879-1948  Search this
Collection Creator:
Herzfeld, Ernst, 1879-1948  Search this
Extent:
1 Glass negative (b&w, 13 cm. x 18 cm.)
Type:
Archival materials
Glass negatives
Place:
Asia
Iran
Iran -- Semnan -- Bistam
Date:
1925
Scope and Contents:
- Glass plates in Ernst Herzfeld Papers: [FSA A.6 04.GN.2925; FSA A.6 04.GN.2926; FSA A.6 04.GN.2927; FSA A.6 04.GN.2928; FSA A.6 04.GN.2930; FSA A.6 04.GN.2931].
- Drawing in Ernst Herzfeld Papers: [FSA A.6 05.0767].
- Sketchbook in Ernst Herzfeld Papers: SK-12, p.26 and 27.
Handwritten notes accompanying related print in photo file 10, vol. 1 reads, "Bisṭām. Inscription of Tomb Tower."
Additional information from Finding Aid reads, "Subseries 4.8: Photo File 10 (2 vols.), "Persian Architecture and Landscapes," Subseries 4.10.1: vol. 1; Image No. 59 (Negative Number: 2929). Bistam, tomb tower. Close-up of dome and inscription."
Arrangement:
Glass Negatives, numbered from 1 to 3850, are housed in document boxes, and stored on shelves.
Local Numbers:
FSA A.6 04.GN.2929
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Joseph Upton's Catalogue of the Herzfeld Archive.
Date/Time and Place of an Event Note:
"Ernst Herzfeld's years in Iran [Persia] from [February] 1923 to [the end of October] 1925 were made possible by a private company with limited liability called the Gesellschaft zur Förderung von Ausgrabungen und Forschungsreisen GmbH, which was founded in 1923. Its aim was to foster excavations and scientific expeditions in Asia and to publish the results. [...]. [Consequently] Herzfeld was able to travel freely in Iran and survey most major archaeological sites." [Jens Kröger, "Ernst Herzfeld and Friedrich Sarre", Ernst Herzfeld and the Development of Near Eastern Studies, 1900-1950. Edited by Ann Gunter and Stefan R. Hauser. Leiden: Brill, 2005. P.61 and P.64]
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art of the Islamic World  Search this
Archaeology  Search this
Architecture  Search this
Decoration and ornament  Search this
Inscriptions  Search this
Inscriptions, Arabic  Search this
Genre/Form:
Glass negatives
Collection Citation:
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
Identifier:
FSA.A.06, Item FSA A.6 04.GN.2929
See more items in:
Ernst Herzfeld Papers
Ernst Herzfeld Papers / Series 4: Photographic Files
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-06-ref27914

Bistam (Iran): Tomb Tower: View of the Structure's Flanges terminating with the Remains of Two Encircling Bands of Blue Faience Kufic Inscriptional Tiles on a Background of Carved Stucco

Creator:
Herzfeld, Ernst, 1879-1948  Search this
Names:
Herzfeld, Ernst, 1879-1948  Search this
Collection Creator:
Herzfeld, Ernst, 1879-1948  Search this
Extent:
1 Glass negative (b&w, 13 cm. x 18 cm.)
Type:
Archival materials
Glass negatives
Place:
Asia
Iran
Iran -- Semnan -- Bistam
Date:
1925
Scope and Contents:
- Glass plates in Ernst Herzfeld Papers: [FSA A.6 04.GN.2925; FSA A.6 04.GN.2926; FSA A.6 04.GN.2927; FSA A.6 04.GN.2929; FSA A.6 04.GN.2930; FSA A.6 04.GN.2931].
- Drawing in Ernst Herzfeld Papers: [FSA A.6 05.0767].
- Sketchbook in Ernst Herzfeld Papers: SK-12, p.26 and 27.
Handwritten notes accompanying related print in photo file 10, vol. 1 reads, "Bisṭām. Inscription of Tomb Tower."
Additional information from Finding Aid reads, "Subseries 4.8: Photo File 10 (2 vols.), "Persian Architecture and Landscapes," Subseries 4.10.1: vol. 1; Image No. 60 (Negative Number: 2928). Bistam, tomb tower. Close-up of dome and inscription."
Arrangement:
Glass Negatives, numbered from 1 to 3850, are housed in document boxes, and stored on shelves.
Local Numbers:
FSA A.6 04.GN.2928
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Joseph Upton's Catalogue of the Herzfeld Archive.
Date/Time and Place of an Event Note:
"Ernst Herzfeld's years in Iran [Persia] from [February] 1923 to [the end of October] 1925 were made possible by a private company with limited liability called the Gesellschaft zur Förderung von Ausgrabungen und Forschungsreisen GmbH, which was founded in 1923. Its aim was to foster excavations and scientific expeditions in Asia and to publish the results. [...]. [Consequently] Herzfeld was able to travel freely in Iran and survey most major archaeological sites." [Jens Kröger, "Ernst Herzfeld and Friedrich Sarre", Ernst Herzfeld and the Development of Near Eastern Studies, 1900-1950. Edited by Ann Gunter and Stefan R. Hauser. Leiden: Brill, 2005. P.61 and P.64]
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art of the Islamic World  Search this
Archaeology  Search this
Architecture  Search this
Decoration and ornament  Search this
Inscriptions  Search this
Inscriptions, Arabic  Search this
Genre/Form:
Glass negatives
Collection Citation:
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
Identifier:
FSA.A.06, Item FSA A.6 04.GN.2928
See more items in:
Ernst Herzfeld Papers
Ernst Herzfeld Papers / Series 4: Photographic Files
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-06-ref27915

Bistam (Iran): Tomb Tower: View of the Structure's Flanges terminating with the Remains of Two Encircling Bands of Blue Faience Kufic Inscriptional Tiles on a Background of Carved Stucco

Creator:
Herzfeld, Ernst, 1879-1948  Search this
Names:
Herzfeld, Ernst, 1879-1948  Search this
Collection Creator:
Herzfeld, Ernst, 1879-1948  Search this
Extent:
1 Glass negative (b&w, 13 cm. x 18 cm.)
Type:
Archival materials
Glass negatives
Place:
Asia
Iran
Iran -- Semnan -- Bistam
Date:
1925
Scope and Contents:
- Glass plates in Ernst Herzfeld Papers: [FSA A.6 04.GN.2925; FSA A.6 04.GN.2926; FSA A.6 04.GN.2928; FSA A.6 04.GN.2929; FSA A.6 04.GN.2930; FSA A.6 04.GN.2931].
- Drawing in Ernst Herzfeld Papers: [FSA A.6 05.0767].
- Sketchbook in Ernst Herzfeld Papers: SK-12, p.26 and 27.
Handwritten notes accompanying related print in photo file 10, vol. 1 reads, "Bisṭām. Inscription of Tomb Tower."
Additional information from Finding Aid reads, "Subseries 4.8: Photo File 10 (2 vols.), "Persian Architecture and Landscapes," Subseries 4.10.1: vol. 1; Image No. 61 (Negative Number: 2927). Bistam, tomb tower. Close-up of dome and inscription."
Arrangement:
Glass Negatives, numbered from 1 to 3850, are housed in document boxes, and stored on shelves.
Local Numbers:
FSA A.6 04.GN.2927
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Joseph Upton's Catalogue of the Herzfeld Archive.
Date/Time and Place of an Event Note:
"Ernst Herzfeld's years in Iran [Persia] from [February] 1923 to [the end of October] 1925 were made possible by a private company with limited liability called the Gesellschaft zur Förderung von Ausgrabungen und Forschungsreisen GmbH, which was founded in 1923. Its aim was to foster excavations and scientific expeditions in Asia and to publish the results. [...]. [Consequently] Herzfeld was able to travel freely in Iran and survey most major archaeological sites." [Jens Kröger, "Ernst Herzfeld and Friedrich Sarre", Ernst Herzfeld and the Development of Near Eastern Studies, 1900-1950. Edited by Ann Gunter and Stefan R. Hauser. Leiden: Brill, 2005. P.61 and P.64]
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art of the Islamic World  Search this
Archaeology  Search this
Architecture  Search this
Decoration and ornament  Search this
Inscriptions  Search this
Inscriptions, Arabic  Search this
Genre/Form:
Glass negatives
Collection Citation:
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
Identifier:
FSA.A.06, Item FSA A.6 04.GN.2927
See more items in:
Ernst Herzfeld Papers
Ernst Herzfeld Papers / Series 4: Photographic Files
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-06-ref27916

Bistam (Iran): Tomb Tower: View of the Structure's Flanges terminating with the Remains of Two Encircling Bands of Blue Faience Kufic Inscriptional Tiles on a Background of Carved Stucco

Creator:
Herzfeld, Ernst, 1879-1948  Search this
Names:
Herzfeld, Ernst, 1879-1948  Search this
Collection Creator:
Herzfeld, Ernst, 1879-1948  Search this
Extent:
1 Glass negative (b&w, 13 cm. x 18 cm.)
Type:
Archival materials
Glass negatives
Place:
Asia
Iran
Iran -- Semnan -- Bistam
Date:
1925
Scope and Contents:
- Glass plates in Ernst Herzfeld Papers: [FSA A.6 04.GN.2925; FSA A.6 04.GN.2927; FSA A.6 04.GN.2928; FSA A.6 04.GN.2929; FSA A.6 04.GN.2930; FSA A.6 04.GN.2931].
- Drawing in Ernst Herzfeld Papers: [FSA A.6 05.0767].
- Sketchbook in Ernst Herzfeld Papers: SK-12, p.26 and 27.
Handwritten notes accompanying related print in photo file 10, vol. 1 reads, "Bisṭām. Inscription of Tomb Tower."
Additional information from Finding Aid reads, "Subseries 4.8: Photo File 10 (2 vols.), "Persian Architecture and Landscapes," Subseries 4.10.1: vol. 1; Image No. 62 (Negative Number: 2926). Bistam, tomb tower. Close-up of dome and inscription."
Arrangement:
Glass Negatives, numbered from 1 to 3850, are housed in document boxes, and stored on shelves.
Local Numbers:
FSA A.6 04.GN.2926
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Joseph Upton's Catalogue of the Herzfeld Archive.
Date/Time and Place of an Event Note:
"Ernst Herzfeld's years in Iran [Persia] from [February] 1923 to [the end of October] 1925 were made possible by a private company with limited liability called the Gesellschaft zur Förderung von Ausgrabungen und Forschungsreisen GmbH, which was founded in 1923. Its aim was to foster excavations and scientific expeditions in Asia and to publish the results. [...]. [Consequently] Herzfeld was able to travel freely in Iran and survey most major archaeological sites." [Jens Kröger, "Ernst Herzfeld and Friedrich Sarre", Ernst Herzfeld and the Development of Near Eastern Studies, 1900-1950. Edited by Ann Gunter and Stefan R. Hauser. Leiden: Brill, 2005. P.61 and P.64]
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art of the Islamic World  Search this
Archaeology  Search this
Architecture  Search this
Decoration and ornament  Search this
Inscriptions  Search this
Inscriptions, Arabic  Search this
Genre/Form:
Glass negatives
Collection Citation:
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
Identifier:
FSA.A.06, Item FSA A.6 04.GN.2926
See more items in:
Ernst Herzfeld Papers
Ernst Herzfeld Papers / Series 4: Photographic Files
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-06-ref27917

Bistam (Iran): Tomb Tower: View of the Structure's Flanges terminating with the Remains of Two Encircling Bands of Blue Faience Kufic Inscriptional Tiles on a Background of Carved Stucco

Creator:
Herzfeld, Ernst, 1879-1948  Search this
Names:
Herzfeld, Ernst, 1879-1948  Search this
Collection Creator:
Herzfeld, Ernst, 1879-1948  Search this
Extent:
1 Glass negative (b&w, 13 cm. x 18 cm.)
Type:
Archival materials
Glass negatives
Place:
Asia
Iran
Iran -- Semnan -- Bistam
Date:
1925
Scope and Contents:
- Glass plates in Ernst Herzfeld Papers: [FSA A.6 04.GN.2926; FSA A.6 04.GN.2927; FSA A.6 04.GN.2928; FSA A.6 04.GN.2929; FSA A.6 04.GN.2930; FSA A.6 04.GN.2931].
- Drawing in Ernst Herzfeld Papers: [FSA A.6 05.0767].
- Sketchbook in Ernst Herzfeld Papers: SK-12, p.26 and 27.
Handwritten notes accompanying related print in photo file 10, vol. 1 reads, "Bisṭām. Detail of Tomb Inscription."
Additional information from Finding Aid reads, "Subseries 4.8: Photo File 10 (2 vols.), "Persian Architecture and Landscapes," Subseries 4.10.1: vol. 1; Image No. 63 (Negative Number: 2925). Bistam, tomb tower. Close-up of dome and inscription."
Arrangement:
Glass Negatives, numbered from 1 to 3850, are housed in document boxes, and stored on shelves.
Local Numbers:
FSA A.6 04.GN.2925
General:
- Title is provided by Xavier Courouble, FSg Archives cataloger, based on Joseph Upton's Catalogue of the Herzfeld Archive.
Date/Time and Place of an Event Note:
"Ernst Herzfeld's years in Iran [Persia] from [February] 1923 to [the end of October] 1925 were made possible by a private company with limited liability called the Gesellschaft zur Förderung von Ausgrabungen und Forschungsreisen GmbH, which was founded in 1923. Its aim was to foster excavations and scientific expeditions in Asia and to publish the results. [...]. [Consequently] Herzfeld was able to travel freely in Iran and survey most major archaeological sites." [Jens Kröger, "Ernst Herzfeld and Friedrich Sarre", Ernst Herzfeld and the Development of Near Eastern Studies, 1900-1950. Edited by Ann Gunter and Stefan R. Hauser. Leiden: Brill, 2005. P.61 and P.64]
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art of the Islamic World  Search this
Archaeology  Search this
Architecture  Search this
Decoration and ornament  Search this
Inscriptions  Search this
Inscriptions, Arabic  Search this
Genre/Form:
Glass negatives
Collection Citation:
Ernst Herzfeld Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Ernst Herzfeld, 1946
Identifier:
FSA.A.06, Item FSA A.6 04.GN.2925
See more items in:
Ernst Herzfeld Papers
Ernst Herzfeld Papers / Series 4: Photographic Files
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_component:sova-fsa-a-06-ref27918

W.J. Eney Collection

Source:
Work and Industry, Division of, NMAH, SI  Search this
Creator:
Eney, William J.  Search this
Names:
Lehigh University  Search this
Former owner:
Work and Industry, Division of, NMAH, SI  Search this
Extent:
2.5 Cubic feet (5 boxes, 1 map-folder)
Type:
Collection descriptions
Archival materials
Photographs
Reports
Correspondence
Drawings
Blueprints
Date:
1929-1977
Summary:
The collection documents William J. Eney, a civil engineer whose research primarily focused on model analysis of bridges, stress test and concrete.
Scope and Contents note:
The collection relates to Eney's professional career at Lehigh University in Pennsylvania as a researcher, professor, and the director of the engineering laboratory. The papers include reports, publications, teaching materials, photographs and blueprints.
Arrangement:
1 series.
Biographical/Historical note:
William J. Eney (d. 1981) was a 1927 graduate of Lehigh University, earning a degree in civil engineering. Eney was head of the Department of Civil and Mechanical Engineering and Director of the Fritz Engineering Laboratory. In addition to teaching, he published widely, in various engineering publications and was a co-author of the textbook, Structural Steel Design.
Provenance:
Original source and date of acquisition unknown.
Restrictions:
Collection is open for research. Unprotected photographs must be handled with gloves.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Materials -- Testing  Search this
Structural design  Search this
Civil engineering  Search this
Civil engineers  Search this
Bridges  Search this
Genre/Form:
Photographs -- 20th century
Reports
Correspondence -- 20th century
Drawings -- 1900-1950
Blueprints
Citation:
William J. Eney Collection, 1929-1977, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1062
See more items in:
W.J. Eney Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1062

Niagara Falls Power Company Photographs

Collector:
History of Technology, Division of, NMAH, SI  Search this
Mechanical and Civil Engineering, Division of [former name], NMAH, SI.  Search this
Work and Industry, Division of, NMAH, SI  Search this
History of Technology, Division of, NMAH, SI  Search this
Mechanical and Civil Engineering, Division of [former name], NMAH, SI.  Search this
Work and Industry, Division of, NMAH, SI  Search this
Creator:
Niagara Falls Power Company  Search this
Names:
Tonawanda Power Company  Search this
Extent:
7 Cubic feet (14 boxes)
Type:
Collection descriptions
Archival materials
Drawings
Business records
Photographs
Place:
Tonawanda (NY)
Niagara Falls (N.Y. and Ont.)
Date:
1899 - 1919
Summary:
The collection consists of bound photograph albums and loose photographs documenting the construction of the Adams Power Station (hydroelectric plant) and allied structures of the Niagara Falls Power Company, 1899-1919.
Scope and Contents:
The collection consists of bound photograph albums and loose photographs documenting the construction of the Adams Generating Station #2 (hydroelectric plant) and allied structures of the Niagara Falls Power Company, 1899-1919. The images depict generators, wheel pits, governors, plant interiors, river views, transmission lines, turbines, and unidentified people.

The albums are arranged numericaly from one to thirty. Albums 13, 19 and 20 are missing. Each photograph has a number, date, and caption located in the lower left of the image. Typescript indices are included at the beginning of each album and the full index is linked to this finding aid.
Arrangement:
The collection is arranged into two series.

Series 1: Photograph Albums, 1899-1919

Series 2: Photographs by Subject, 1899-1908
Biographical / Historical:
In 1853, the Niagara Falls Hydraulic Power & Manufacturing Company was chartered. The company purchased the water rights and began construction of a canal (1860-1861) and was the first company to generate hydroelectric power from Niagara Falls.

The Niagara Falls Power Company was founded on September 19, 1889 after being re-organized and renamed from it's predecessor company, the Niagara River Hydraulic Tunnel, Power and Sewer Company. Edward Dean Adams, a New York financier became president of the company. Adams created a subsidiary company, the Cataract Construction Corporation to build a power tunnel before deciding on a method of power distribution. Adams also secured the help of financiers, J.P. Morgan, John Astor, and William Vanderbilt.

In 1893, alternating electrical current (AC) was selected as the standard to used and the Cataract Construction Company began using AC for power generation and transmission. From 1892 to 1894, the Niagara Falls Power Company built two powerhouses, Powerhouse #1 (1892-1894) and Powerhouse #2 (1901-1903). In 1895, the Niagara Falls Power Company began placing contracts with the Westinghouse Company for long distance electric transmission development and implementation.

In 1927, by resolution of the board of directors of the Niagara Falls Power Company, the power-houses and sub-stations were renamed in appreciation of the men who pioneered the power industry and developed it. Niagara Power Stations Number One and Two were renamed the Edward Dean Adams Statuon. Also known as the Adams Power Station. The Adams Power Station built in 1895 was not the first hydro power station at Niagara, but it was one of the largest hydroelectric power generators of it's time and it was the first large scale application of AC power in North America. General Electric and Westinghouse collaborated on the project. Engineers Thomas Evershed, George Forbes, Benjamin G. Lamme, Oliver Shallenberger, Nikola Tesla, William Stanley, Dr. Louis Bell, and Charles P. Steinmetz contributed.

Sources

http://www.edisontechcenter.org/Niagara.htm (last accessed on May 3, 2016)

Adams, Edward Dean. Niagara Power History of the Niagara Falls Power Company, 1886-1918, Volumes I-II. Niagara Falls, N.Y., printed for the Niagara Falls Power Co., 1927
Provenance:
The collection was donated to the National Museum of American History's Division of Mechanical and Civil Engineering (now Division of Work and Industry) by the Niagara-Mohawk Power Corporation, through E.B. Strowger, System Project Engineer in 1965.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Water-wheels  Search this
Power stations  Search this
Water-power  Search this
Power generation  Search this
Genre/Form:
Drawings
Business records -- 1900-1950
Photographs -- 1900-1920
Photographs -- 19th century
Business records -- 1850-1900
Citation:
Niagara Falls Power Company Records, 1899-1919, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0949
See more items in:
Niagara Falls Power Company Photographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0949

Cass Gilbert Collection

Creator:
Valentine, P. O. (33 Homestead, Park, Newark)  Search this
Gilbert, Cass, 1859-1934  Search this
Belden & Company (45 Clinton Street, Newark, N.J.)  Search this
Source:
Mechanical and Civil Engineering, Division of (NMAH, SI)  Search this
Former owner:
Mechanical and Civil Engineering, Division of (NMAH, SI)  Search this
Names:
New York Life Insurance Building.  Search this
Seaside Sanatorium (Waterford, Conn)  Search this
Supreme Court Building (Washington, D.C.)  Search this
Woolworth Building (New York, N.Y.)  Search this
Extent:
15 Cubic feet (71 boxes)
Type:
Collection descriptions
Archival materials
Drawings
Business records
Clippings
Contracts
Personal papers
Photographs
Pastels (visual works)
Pencil works
Pamphlets
Booklets
Specifications
Correspondence
Statistics
Sketchbooks
Date:
1897-1963
bulk 1897-1936
Scope and Contents:
The contents of the collection date from 1897 to 1936. The bulk of the collection consists of loose-leaf binders of photo prints of forty-one Cass Gilbert buildings under construction between 1908 and 1936. (This represents less than half of his firm's total output.) The volumes are arranged alphabetically by name of building. A few additional photo prints of buildings under construction are found in the unbound materials.

The collection also includes correspondence (1919-1932), contracts, statistical data, news clippings, booklets, and other miscellaneous Gilbert papers. There are three volumes of correspondence, specifications and blueprints, 1932-1935, for the construction of the U.S. Supreme Court Building, Washington, D.C. Also included are twenty pencil and pastel sketch books of Gilbert's travels in Europe, 1897 to 1932, and miscellaneous loose sketches (including photo prints and negatives of his studies for the George Washington Bridge. The photographic prints are mostly mounted on cloth in loose-leaf binders. Some of the photographers are identified, although many are not. Photographers included P.O. Valentine of 33 Homestead Park, Newark, New Jersey.
Arrangement:
Collection arranged into six series.

Series 1: Correspondence, 1919-1932

Series 2: Personal Papers, 1914-1963

Series 3: New York Life Insurance Building Contracts, 1934-1935

Series 4: Woolworth Building, 1911-1913

Series 5: Sketches and Sketch Books, 1897-1932

Series 6: Photoprints, 1908-1936
Biographical / Historical:
Cass Gilbert, 1859-1934, was a prominent American architect best known for his commercial and public buildings. Gilbert was born in Zanesville, Ohio and educated in St. Paul, Minnesota. After only a year of study at the Massachusetts Institute of Technology and subsequent travels in Europe, he began working for the New York firm of McKim, Mead, and White in 1880. In 1883 he returned to St. Paul where he practised briefly with James Knox Taylor, a classmate at M.I.T., designing private homes, churches, and commercial buildings. His first major commission was the Minnesota State Capitol (1895), which he modeled after the National Capitol and the dome of St. Peter's, Rome. Gilbert returned to New York in 1899 when he won the prized commission for the design of the U.S. Customs House. This was followed by many other major projects. The most famous of these was the Woolworth Building in New York (1913); with its fifty‑five stories and Gothic ornament it is considered Gilbert's greatest achievement. Firmly supportive of the European tradition and eastern academic architecture, Gilbert continued his numerous and successful designs until his death in 1934. Among his many familiar public buildings are the Treasury Annex and the Supreme Court in Washington, DC, the state capitol buildings of West Virginia and Arkansas, and the public libraries of St. Louis and Detroit.
Related Materials:
Materials at Other Organizations

Library of Congress

Cass Gilbert Archive, 1890-1939

Montana Historical Society

Cass Gilbert Papers, 1902-1910

Oberlin College Archives

Cass Gilbert Collection, 1903-1984, 2000

University of Minnesota, Archives and Special Collections

Cass Gilbert Collection, 1909-1910

United States Supreme Court, Office of the Curator
Provenance:
Gift of Emily Gilbert and Cass Gilbert, Jr. through Mr. Silvio Bedini, November 30, 1961, January 15, 1962, and later in 1962.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Engineering -- 1890-1940 -- U.S.  Search this
Bridges -- 1890-1940  Search this
Civil engineering -- 1890-1940 -- U.S.  Search this
Civil engineers  Search this
Commercial buildings -- 1890-1940 -- U.S.  Search this
Architects -- 1890-1940  Search this
Architecture -- 1890-1940 -- United States  Search this
Public architecture -- 1890-1940 -- U.S.  Search this
Genre/Form:
Drawings -- 1890-1940
Business records -- 1880-1950
Clippings -- 1900-1950
Contracts -- 1890-1940
Personal papers -- 1890-1940
Photographs -- Black-and-white photoprints -- 1900-1950
Pastels (visual works)
Pencil works
Pamphlets
Booklets
Specifications
Correspondence -- 1900-1950
Statistics
Sketchbooks -- 1890-1940
Citation:
Cass Gilbert Collection, 1897-1936, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0214
See more items in:
Cass Gilbert Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0214
Online Media:

Modify Your Search







or


Narrow By