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Head of a Woman (Fernande Olivier)

Artist:
Pablo Picasso, Spanish, b. Málaga, 1881–1973  Search this
Medium:
Bronze
Dimensions:
16 3/8 X 9 3/4 X 10 1/2 IN. (41.7 X 24.9 X 26.7 CM.) WT. 25 LB. (11.3 KG.)
Type:
Sculpture
Date:
(1909)/(cast 1960)
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966
Accession Number:
66.4050
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
Spanish Modernism
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py20cefb176-7b59-4747-90af-cc280b079a22
EDAN-URL:
edanmdm:hmsg_66.4050

Bust of Concha Ortiz y Pino de Kleven

Artist:
Una Hanbury, 1904 - 9 Feb 1990  Search this
Sitter:
Concha Ortiz y Pino de Kleven, 1910 - 30 Sep 2006  Search this
Medium:
Bronze
Dimensions:
40 x 26.4 x 21.2 cm (15 3/4 x 10 3/8 x 8 3/8" ), Accurate
Type:
Sculpture
Date:
1993
Topic:
Costume\Jewelry\Earring  Search this
Costume\Dress Accessory\Bow  Search this
Concha Ortiz y Pino de Kleven: Female  Search this
Concha Ortiz y Pino de Kleven: Education\Founder  Search this
Concha Ortiz y Pino de Kleven: Education\Educator\Teacher  Search this
Concha Ortiz y Pino de Kleven: Society and Social Change\Benefactor  Search this
Concha Ortiz y Pino de Kleven: Politics and Government\State Legislator\New Mexico  Search this
Portrait  Search this
Credit Line:
Owner: Albuquerque Museum
Object number:
92.62.1 AM
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm42135a0ed-0bfe-4532-bd07-89a9755fc56a
EDAN-URL:
edanmdm:npg_92.62.1_AM
Online Media:

Lewis Orchestral Horn

User:
Greenberg, Norman  Search this
Physical Description:
brass (overall material)
Measurements:
bell: 5 in x 12 in; 12.7 cm x 30.48 cm
horn: 3 3/4 in x 13 in x 15 in; 9.525 cm x 33.02 cm x 38.1 cm
leadpipe: 5/8 in x 7 1/4 in x 13 3/8 in; 1.5875 cm x 18.415 cm x 33.9725 cm
Object Name:
horn
Place made:
United States: Illinois, Chicago
Date made:
1982
Credit Line:
Gift of Dr. Norman C. Greenberg
ID Number:
1999.0101.01
Serial number:
SWL-75
Catalog number:
1999.0101.01
Accession number:
1999.0101
See more items in:
Cultural and Community Life: Musical Instruments
Music & Musical Instruments
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a4-6d88-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_609431
Online Media:

"Valor"

Title (Spanish):
"Valor"
Depicted:
Hernandez, Rudy  Search this
Physical Description:
cotton (overall material)
Measurements:
overall: 42.5 cm x 42 cm; 16 3/4 in x 16 9/16 in
Object Name:
paños
Place Made:
United States: New Mexico, Albuquerque
Date made:
1988
Subject:
Popular Culture  Search this
Latino  Search this
Medal of Honor  Search this
Veterans  Search this
Prisons  Search this
Credit Line:
Gift of Rudy Padilla
ID Number:
1993.0150.06
Catalog number:
1993.0150.06
Accession number:
1993.0150
See more items in:
Cultural and Community Life: Ethnic
Mexican America
Military
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ab-9971-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1170777

"La Tierra Nueva en Aztlán"

Artist:
Moya, Manuel  Search this
Physical Description:
cotton (overall material)
ink (overall material)
Measurements:
overall: 40.5 cm x 40 cm; 15 15/16 in x 15 3/4 in
average spatial: 18 in x 15 in; 45.72 cm x 38.1 cm
Object Name:
handkerchief
Place Made:
United States: New Mexico, Albuquerque
Date made:
1986
Subject:
Prisons  Search this
Latino  Search this
Civil Rights Movement  Search this
Native Americans  Search this
La Tierra Nueva en Aztlan  Search this
Credit Line:
Rudy Padilla
ID Number:
1991.0431.01
Catalog number:
1991.0431.01
Accession number:
1991.0431
See more items in:
Cultural and Community Life: Ethnic
Cultures & Communities
Mexican America
Art
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ab-a214-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1121879
Online Media:

Joseph A. Imhof photograph collection

Creator:
Imhof, Joseph, 1871-1955  Search this
Photographer:
Rinehart, F. A. (Frank A.)  Search this
Goff, O. S. (Orlando Scott), 1843-1917  Search this
Extent:
89 Glass plate negatives
127 Photographic prints
116 Copy negatives
Culture:
Acoma Pueblo  Search this
Isleta Pueblo  Search this
K'apovi (Santa Clara Pueblo)  Search this
Taos Pueblo  Search this
Apsáalooke (Crow/Absaroke)  Search this
Kwakwaka'wakw (Kwakiutl)  Search this
Type:
Collection descriptions
Archival materials
Glass plate negatives
Photographic prints
Copy negatives
Place:
New Mexico
Montana
Vancouver Island (B.C.)
Date:
circa 1894-1964
Summary:
This collection includes glass plate negatives, copy negatives and photographic prints taken and collected by Joseph Imhof, a lithographer and painter known for documenting Pueblo culture in New Mexico. These include images shot by Imhof in Acoma, Isleta, Santa Clara (K'apovi) and Taos Pueblos; glass plate negatives (copies) of Frank Rinehart portraits; original glass plate negatives made by Orlando Scott Goff among the Apsáalooke (Crow/Absaroke) in Montana circa 1894; photographic prints of Imhof artworks; and photographs of Joseph and Sarah Imhof and their home in Taos, New Mexico.
Scope and Contents:
Series 1: Glass plate negatives contains 89 glass plate negatives donated by Joseph Imhof to the Museum of the American Indian, Heye Foundation in 1930. This includes—copies of Frank Rinehart portraits; Joseph Imhof photographs made in Acoma Pueblo and Isleta Pueblo in 1912; Orlando Scott Goff Apsáalooke (Crow/Absaroke) photographs from Montana; and Kwakwaka'wakw (Kwakiutl) photographs from Vancouver Island, British Columbia (photographer unknown). The majority of the Rinehart glass plate negatives include two portraits side by side on one 8x10 plate, though copy negatives were made of the individual portraits. The copy negatives were created by the Museum of the American Indian, Heye Foundation (NMAI's predecessor museum) during a photo conservation project in the 1960s.

Series 2: Photographic Prints includes 89 cataloged and 38 uncatalogued photographic prints from 1900-1964. This includes Joseph Imhof photographs made in K'apovi (Santa Clara) Pueblo; images of Imhof's drawings, sketches and paintings; photographs in Taos of the Imhof home and studio; and portraits of Sarah and Joseph Imhof.

The negatives have catalog numbers N19283-N19371. The prints have catalog numbers P19480-P19484, P19532-P19591.
Arrangement:
Arranged in two series by photographic type. Series 1: Glass plate Negatives, circa 1894, 1898, 1912, undated and Series 2: Photographic Prints, 1900-1964. Within the series they are arranged by catalog number with the uncatalogued prints at the end of Series 2.
Biographical / Historical:
Joseph Adam Imhof was born in Brooklyn, New York in 1871. After teaching himself lithography, Imhof was hired by Currier and Ives and eventually earned enough money from this job to buy a bookstore. In 1891 he eventually quit his job and sold the bookstore to pursue a formal art education in Europe which led to four years in Paris, Brussels, Antwerp and Munich where he apprenticed with several artists.

During this time, Imhof met Buffalo Bill Cody and was invited to join him in Antwerp to sketch and paint members of his "Wild West Show". Returning to New York, Imhof rented a studio and began to study the Iroquois Indians in New York and Canada. He spent the next ten years painting and improving his lithography, photography and color printing innovations - which financed his early painting career. He also freelanced for Allen and Ginter, painting his Indian Head Series for insertion on cards in boxes of cigarettes.

In 1897 Joseph married Sarah "Sallie" Ann Elizabeth Russell. In 1905 they visited the Southwest for the first time to record the ceremonies of the Pueblo Indians. Joseph built a studio in Albuquerque in 1906, and the Imhofs spent the next few years traveling around the region, though they eventually returned to New York. In 1929, Joseph and Sarah moved to New Mexico permanently and built their new home and studio in Taos Pueblo. There, he would have Native Puebloan models to live in his home for a time before he painted them. He also collected many artifacts and had the first lithography press in Taos. His series of paintings called Kivas and Corn, which he gifted to the University of New Mexico, was his last and most famous work. The Koshare Indian Museum also houses one of the largest collections of his paintings. Joseph Imhof died in 1955 leaving the remainder of his collection in the care of his wife and daughter.

Bibliography: The Illustrated Encyclopedia of Artists of the American West, by Peggy and Harold Samuels; Joseph Imhof: Artist of the Pueblos, by Nancy Hopkins Reily and Lucille Enix, Koshare Indian Museum.
Related Materials:
A large collection of Joseph Imhof artwork and photographs can be found at the Maxwell Museum of Anthropology at the University of New Mexico.

The NMAI has a collection of Joseph Imhof artwork and lithographs donated by his wife Sarah in the 1960s.

For a bibliography on Joseph Imhof written by his wife, Sarah Imhof, see Box 255, Folder 7 in the Museum of the American Indian, Heye Foundation records (NMAI.AC.001).
Separated Materials:
The uncataloged photographic prints in Series 2 were originally housed with documents in Box 255, Folder 7 in the Museum of the American Indian, Heye Foundation records (NMAI.AC.001). They have been moved to be with the rest of the Joseph Imhof photographic collection.
Provenance:
The glass plate negatives were a Gift of Joseph Imhof in 1930. It is still unclear how/when the photographic prints were acquired by the museum, but they were likely donated by Sarah Imhof along with a collection of Imhof artwork in the 1960s.
Restrictions:
Access to NMAI Archives Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archives Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Topic:
Artists -- New Mexico -- Taos  Search this
Genre/Form:
Glass plate negatives
Photographic prints
Citation:
Identification of specific item; Date (if known); Joseph A. Imhof photograph collection, image #, NMAI.AC.142; National Museum of the American Indian Archives Center, Smithsonian Institution.
Identifier:
NMAI.AC.142
See more items in:
Joseph A. Imhof photograph collection
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv454ba9910-4fb0-4ef0-b73a-45e0c1a98835
EDAN-URL:
ead_collection:sova-nmai-ac-142

Workshops

Collection Creator:
Sheets, Millard, 1907-1989  Search this
Type:
Archival materials
Date:
1952, 1964-1982, undated
Scope and Contents note:
The files in 7.2 document Sheets's extensive teaching experience as a painting instructor, as evidenced through the numerous workshops he led in the Western United States and Mexico, as well as throughout the world. Researchers will find it useful to also peruse Series 8: Painting trips, 1959-1980, undated for related personal painting trips that often followed Sheets's workshops.

For additional information about the New Mexico Watercolor Society in Albuquerque, New Mexico, see also Series 10 (Jury files), Oct. 10-11, 1975 "Watercolor Southwest," Western Federation of Watercolor Societies, Museum of Albuquerque, Albuquerque, N. Mex.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Millard Sheets papers, circa 1907-2000. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sheemill, Subseries 7.2
See more items in:
Millard Sheets papers
Millard Sheets papers / Series 7: Teaching and Workshop Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d9668d60-1aa3-4122-9423-c99a304d11ac
EDAN-URL:
ead_component:sova-aaa-sheemill-ref610

New Mexico Watercolor Society, Albuquerque, N. Mex.

Collection Creator:
Sheets, Millard, 1907-1989  Search this
Container:
Box 18
Type:
Archival materials
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Millard Sheets papers, circa 1907-2000. Archives of American Art, Smithsonian Institution.
See more items in:
Millard Sheets papers
Millard Sheets papers / Series 7: Teaching and Workshop Files / 7.2: Workshops
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9027d45e0-fc88-418c-a481-bf67f8b26401
EDAN-URL:
ead_component:sova-aaa-sheemill-ref640

New Mexico Watercolor Society

Collection Creator:
Sheets, Millard, 1907-1989  Search this
Container:
Box 18, Folder 44
Type:
Archival materials
Date:
June 14-18, 1971
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Millard Sheets papers, circa 1907-2000. Archives of American Art, Smithsonian Institution.
See more items in:
Millard Sheets papers
Millard Sheets papers / Series 7: Teaching and Workshop Files / 7.2: Workshops / New Mexico Watercolor Society, Albuquerque, N. Mex.
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c7a9ab87-4466-44eb-bb67-70793a0cebd7
EDAN-URL:
ead_component:sova-aaa-sheemill-ref641

New Mexico Watercolor Society

Collection Creator:
Sheets, Millard, 1907-1989  Search this
Container:
Box 18, Folder 45
Type:
Archival materials
Date:
Oct. 2-7, 1972
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Millard Sheets papers, circa 1907-2000. Archives of American Art, Smithsonian Institution.
See more items in:
Millard Sheets papers
Millard Sheets papers / Series 7: Teaching and Workshop Files / 7.2: Workshops / New Mexico Watercolor Society, Albuquerque, N. Mex.
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw930bd390a-f1df-4032-89c9-663ed42590bd
EDAN-URL:
ead_component:sova-aaa-sheemill-ref642

New Mexico Watercolor Society

Collection Creator:
Sheets, Millard, 1907-1989  Search this
Container:
Box 18, Folder 46
Type:
Archival materials
Date:
Feb. 11-16, 1975
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Millard Sheets papers, circa 1907-2000. Archives of American Art, Smithsonian Institution.
See more items in:
Millard Sheets papers
Millard Sheets papers / Series 7: Teaching and Workshop Files / 7.2: Workshops / New Mexico Watercolor Society, Albuquerque, N. Mex.
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97947e264-305c-48ce-aead-5f674882794a
EDAN-URL:
ead_component:sova-aaa-sheemill-ref643

New Mexico Watercolor Society

Collection Creator:
Sheets, Millard, 1907-1989  Search this
Container:
Box 18, Folder 47
Type:
Archival materials
Date:
Oct. 22-28, 1978
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Millard Sheets papers, circa 1907-2000. Archives of American Art, Smithsonian Institution.
See more items in:
Millard Sheets papers
Millard Sheets papers / Series 7: Teaching and Workshop Files / 7.2: Workshops / New Mexico Watercolor Society, Albuquerque, N. Mex.
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d00924ae-8006-46f9-9923-9206f791e09f
EDAN-URL:
ead_component:sova-aaa-sheemill-ref644

New Mexico Watercolor Society

Collection Creator:
Sheets, Millard, 1907-1989  Search this
Container:
Box 18, Folder 48
Type:
Archival materials
Date:
Oct. 19-23, 1981
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Millard Sheets papers, circa 1907-2000. Archives of American Art, Smithsonian Institution.
See more items in:
Millard Sheets papers
Millard Sheets papers / Series 7: Teaching and Workshop Files / 7.2: Workshops / New Mexico Watercolor Society, Albuquerque, N. Mex.
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98f039e59-799a-4430-a3ce-d33a8d8a3218
EDAN-URL:
ead_component:sova-aaa-sheemill-ref645

"Fall Open Show," New Mexico Watercolor Society, Albuquerque Federal Bank, Albuquerque, N. Mex. (Oct. 28, 1978)

Collection Creator:
Sheets, Millard, 1907-1989  Search this
Container:
Box 20, Folder 6
Type:
Archival materials
Date:
1978
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Millard Sheets papers, circa 1907-2000. Archives of American Art, Smithsonian Institution.
See more items in:
Millard Sheets papers
Millard Sheets papers / Series 10: Jury Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cad78a46-bae1-465c-9a7d-adf70523e9ed
EDAN-URL:
ead_component:sova-aaa-sheemill-ref827

Interview of W. Richard West (1943- ) by Melanie M. Blanchard at his office at the NMAI covers where he was born and grew up, his family and cultural background, and the area in which he was raised. West discusses his experience as a member of the Chey...

Container:
Interviews
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 9620, American Association of Museums Centennial Oral History Interviews
See more items in:
American Association of Museums Centennial Oral History Interviews
American Association of Museums Centennial Oral History Interviews / Interviews
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru9620-refidd1e956

Garo Z. Antreasian papers

Creator:
Antreasian, Garo Z., 1922-2018  Search this
Extent:
8 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1923-1984
Scope and Contents:
The microfilmed Garo Z. Antreasian papers contain biographical information; and files on mural projects, printmakers, print collections, and art organizations. Also included are materials related to Antreasian's lectures, workshops, art juries, conferences, and his print sales. Exhibition announcements; catalogs; invitations; writings and lectures on printmaking; clippings; sketches and a lithograph (Christmas card); and photographs of Antreasian and his works (undated and 1948-1979) are also included in the collection.
Biographical / Historical:
Garo Z. Antreasian (1922-2018) was a painter, lithographer, and educator in Albuquerque, New Mexico. He studied at the Herron School of Art in Indianapolis, Indiana. Antreasian was closely associated with the Tamarind Lithography Workshop, serving as its first technical director and master printer in 1960. He wrote extensively on the technical and aesthetic aspects of printmaking.
Related Materials:
The Archives of American Art also holds the oral history interview with Garo Zareh Antreasian, 1974 March 29 and the microfilmed Tamarind Lithography Workshop records, 1954-1984.

The University of New Mexico University Libraries, Center for Southwest Research holds the Garo Z. Antreasian papers, 1942-2005 (bulk 1950-1990).
Provenance:
Lent for microfilming 1984 by Garo Z. Antreasian. Microfilmed as part of the Archives of American Art's Texas project.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Painters -- New Mexico -- Albuquerque  Search this
Printmakers -- New Mexico -- Albuquerque  Search this
Topic:
Painting, American  Search this
Mural painting and decoration  Search this
Prints -- Technique  Search this
Identifier:
AAA.antrgaro
See more items in:
Garo Z. Antreasian papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw994e593b6-9e24-4466-83b1-bec6dd2f6e26
EDAN-URL:
ead_collection:sova-aaa-antrgaro

Amy Zaharlick, George L. Trager, and Felicia H. Trager sound recordings and papers on Picuris language

Creator:
Trager, Felicia Harben, 1930-  Search this
Zaharlick, Ann Marie, 1947-  Search this
Trager, George L.  Search this
Extent:
130 Sound recordings
4 Linear feet
Culture:
Picuris Pueblo  Search this
Indians of North America -- Southwest, New  Search this
Tiwa Pueblos  Search this
Type:
Collection descriptions
Archival materials
Sound recordings
Field recordings
Field notes
Date:
1952 - 1990
Summary:
This collection consists of Amy Zaharlick's research and sound recordings on Picuris and other Pubeloan languages as well as the field recordings and notes given to Zaharlick by anthropologist and fellow Picuris specialist, George L. Trager.
Scope and Contents:
This collection contains sound recordings and notes relating to the Picuris language research of Ann Marie (Amy) Zaharlick and her colleagues George L. and Felicia H. Trager, from 1962-1990. Most of the papers consist of Zaharlick's notes and transcripts from the Kiowa-Tanoan conferences which she organized and chaired, and handouts relating to Zaharlick's bilingual education consultant work. Small portions of the Tragers' field notes on Taos which were copied by Zaharlick, presumably for her own research, are also included. The bulk of the collection consists of 130 sound recordings of songs and stories in Picuris and other Puebloan languages made between 1963-1989. There are few earlier recordings which may be copies of material in Trager's papes at the University of California, Irvine. The titles of the tapes have been transcribed from information on the tape boxes. The content of recordings has not been verified.
Arrangement:
This collection is arranged in 2 series: (1) Papers (1965-1990); (2) Sound Recordings (1952-1989).
Biographical / Historical:
Amy Zaharlick received her Ph.D. in linguistic anthropology from the American University in 1977. Prior to joining the staff at Ohio State University in XXX, she served as director of the Native American Teacher Education Program and as Associate Director of the Multicultural Education Program at the University of Albuquerque in New Mexico. Zaharlick was a professor in the Department of Anthropology at Ohio State University until her retirement in 2012.

George Leonard Trager was born on March 22, 1906 in Newark, New Jersey. He earned a bachelor's degree at Rutgers University and did his graduate work in Slavic and Romance Philology at Columbia University. He received his doctorate in 1932 with the dissertation The use of the Latin demonstratives (especially ille and ipse) up to 600 A.D., as the source of the Romance article. Trager's first teaching position was at Adams State College in Alamosa, Colorado, and it was from here that he begin his fieldwork on Tanoan languages. In 1936 Trager took a position at Yale, joining such influential linguists and Edward Sapir and Benjamin Whorf. From 1956 through 1967 Trager taught at the University of Buffalo (later SUNY-Buffalo). In the late 1960s he left Buffalo for Southern Methodist University and became more involved in Taonoan lanugauge field research. Trager married three times. His second and third wives, Edith Crowell Trager-Johnson and Felicia Harben Trager worked with him in American Indian lingistics and Kiowa-Tanoan Studies. Trager died in 1992.

Felicia Harben Trager graduated from Wayne State University in 1957 and received a Woodrow Wilson Fellowship. She received her M.A. in 1959 from the Department of Anthroplogy and Lingustics at the University of Buffalo where she did graduate work under George Trager. She worked in Washington D.C. as a project associate at the Washington Center for Applied Linguistics and taught English as a foreign language. in 1961 she married George Trager and returned with him to Buffalo where in 1968 she earned a Ph.D. for her dissertation Picuris Pueblo, New Mexico: An Ethnologuistic Salvage Study. In 1967 she moved with George Trager to Dallas where she was a lecturer at Southerm Methodist University's University College. She assisted her husband as a researcher and editor for three of his books, and was the co-author with him in several articles on Tanoan languages. Felicia Trager died in 1972 at the age of 42.

Sources Consulted: Golla, Victor 1993 Obituary George L. Trager (1906-1992). Newsletter of the Society for theh Study of Indigenous Languages of the Americas 2-3.

Smith, Henry Lee 1974 Obituary Felicia Harben Trager 1930-1972. American Anthropologist 76(1)78-79.
Related Materials:
Correspondence of George L. Trager can be found in the Esther Schiff Goldfrank papers, John P. Harrington papers, and Anthropological Society of Washington records. NAA Manuscript 4540-a-b contains some of Trager's notes and correspondence. The George L. Trager papers can be found at the University of California Irvine Library, Department of Special Collections (MS-M005).
Provenance:
Received from Ann Marie (Amy) Zaharlick in 2012. The Trager's original sound recordings were given to Zaharlick by George L. Trager in 1974.
Restrictions:
The Zaharlick and Trager sound recordings and papers are open for research.
Rights:
Contact the repository for terms of use.
Topic:
Language and languages -- Documentation  Search this
Linguistics  Search this
Genre/Form:
Sound recordings
Field recordings
Field notes
Citation:
Amy Zaharlick, George L. Trager, and Felicia H. Trager sound recordings and papers on Picuris language, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.2012-14
See more items in:
Amy Zaharlick, George L. Trager, and Felicia H. Trager sound recordings and papers on Picuris language
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw37ff47594-356b-4f7d-9f62-c05c8092621d
EDAN-URL:
ead_collection:sova-naa-2012-14
Online Media:

Ben Jojola, Junior - singing, guitar with Trio Lo Tecolotes - various groups dubbed from various records; from Albuquerque, New Mexico in January 1976

Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Extent:
1 Sound recording (compact audio cassette)
Type:
Archival materials
Sound recordings
Date:
1976 January
General note:
DPA number RA.76-105.49
Other number Z-504
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1976 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1976, Item FP-1976-CT-4718
See more items in:
Smithsonian Folklife Festival records: 1976 Festival of American Folklife
Smithsonian Folklife Festival records: 1976 Festival of American Folklife / Series 8: Regional America / 8.1: Fieldwork
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk52dee39c7-7cab-4f58-90aa-26fdb37940e6
EDAN-URL:
ead_component:sova-cfch-sff-1976-ref17741

Hughie Lee-Smith papers

Creator:
Lee-Smith, Hughie  Search this
Names:
Art Students League (New York, N.Y.) -- Faculty  Search this
Audubon Artists (New York, N.Y.)  Search this
Ira Aldridge Society  Search this
National Academy of Design (U.S.)  Search this
Bearden, Romare, 1911-1988  Search this
Goreleigh, Rex, 1902-  Search this
Correspondent:
Carter, Clarence Holbrook, 1904-2000  Search this
Gammon, Reginald, 1921-2005  Search this
Hirsch, Joseph, 1910-1981  Search this
Wald, Carol  Search this
Wessel, Sophie  Search this
Woodruff, Hale, 1900-1980  Search this
Extent:
33.7 Linear feet
0.381 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Scrapbooks
Interviews
Photographs
Video recordings
Sound recordings
Drawings
Date:
circa 1890-2007
bulk 1931-1999
Summary:
The papers of painter and educator Hughie Lee-Smith measure 33.7 linear feet and 0.381 GB and date from circa 1890 to 2007, with the bulk of the material dating from 1931 to 1999. The collection documents Lee-Smith's career through biographical material, personal and professional correspondence, writings by Lee-Smith and others, personal business records, exhibition files, organization records, printed material, scrapbooks, photographs, a small amount of artwork, numerous interviews, and recordings for a documentary film on Lee-Smith. Also found are the papers of artist Rex Goreleigh, a friend of Lee-Smith.
Scope and Contents:
The papers of painter and educator Hughie Lee-Smith measure 33.7 linear feet and 0.381 GB and date from circa 1890 to 2007, with the bulk of the material dating from 1931 to 1999. The collection documents Lee-Smith's career through biographical material, personal and professional correspondence, writings by Lee-Smith and others, personal business records, exhibition files, organization records, printed material, scrapbooks, photographs, a small amount of artwork, numerous interviews, and recordings for a documentary film on Lee-Smith. Also found are the papers of artist Rex Goreleigh, a friend of Lee-Smith.

Biographical material includes records of Hughie Lee-Smith's schooling, military service, and awards, as well as resumes, bibliographies, and biographical summaries. Also found are family records, including the papers of his mother, Alice Carroll.

Lee-Smith's correspondence is with family, students, arts and cultural organizations, as well as schools, galleries, and museums, primarily regarding his participation in events and exhibitions. He also corresponded with fellow artists, such as Clarence Holbrook Carter, Reginald Gammon, Joseph Hirsch, Carol Wald, and Hale Woodruff, among many others. He maintained extensive correspondence with artist Sophie Wessel.

Lee-Smith's writings include artist statements and personal writings on his history and early influences, as well as many draft lectures and speeches, school writings, notes, and untitled writing fragments. Writings by others primarily include student essays and articles on the topic of Lee-Smith's work. Personal business records include scattered financial documents, including artwork sales records, and contracts and agreements with various art galleries and other organizations. Also found are files regarding his art commissions, gifts, professional activities, and records of his employment at the Art Students League. Exhibition files document select exhibitions in which Hughie Lee-Smith participated, primarily during the 1980s and 1990s. Organization records were maintained by Lee-Smith to document his participation in various groups, such as the National Academy of Design, Ira Aldridge Society, and Audubon Artists.

Printed material consists primarily of exhibition announcements and invitations for exhibitions of Lee-Smith's work, as well as news clippings, magazines, press releases, and publications from various art organizations and schools. One scrapbook contains exhibition announcements additional loose scrapbook pages document his early career. Photographs include many portraits of Hughie Lee-Smith, Lee-Smith in his studio, at events, and with friends and family. Additionally there are many photographs, slides, and transparencies of Lee-Smith's artwork. Also found are five photograph albums. A small amount of original artwork includes drawings by Lee-Smith and two sketchbooks belonging to his wife Patricia.

The collection includes numerous interviews of Hughie Lee-Smith, recorded on 37 sound cassettes, one sound tape reel, and four video cassettes. One audio interview is in digital format. Also found are planning documents, research material, and video footage for a documentary about the life and work of Hughie Lee-Smith, produced by New Deal Films, Inc, but never completed. Footage includes interviews with artists and art historians regarding Lee-Smith, gallery events, and images of his paintings.

The papers of artist Rex Goreleigh primarily documents his later life and includes a letters, biographical documents, printed material, estate records, and photographs and slides depicting Goreleigh, his studio, and artwork. Hughie Lee-Smith was close friends with Goreleigh and served as executor of his estate.

Also of note is a scrapbook put together for Goreleigh's 70th birthday in 1972. Of note is one scrapbook which contains photographs, notes, and artwork by fellow artists and students, including drawings by Romare Bearden and Hughie Lee-Smith.
Arrangement:
The collection is arranged as 13 series.

Missing Title

Series 1: Biographical Material, circa 1890-2001 (1.7 linear feet; Box 1-2, 35, RD 38)

Series 2: Correspondence, 1931-2006 (6.1 linear feet; Box 2-8, 0.006 GB; ER01)

Series 3: Writings, circa 1934-1998 (0.8 linear feet; Box 8-9)

Series 4: Personal Business Records, 1934-2001 (1.6 linear feet; Box 9-11, 35)

Series 5: Exhibition Files, circa 1973-2001 (1.2 linear feet; Box 11-12)

Series 6: Organization Records, 1941-2005 (2.1 linear feet; Box 12-14)

Series 7: Printed Material, 1919, 1930-2007 (8.5 linear feet; Box 14-22, 34)

Series 8: Scrapbooks, circa 1938-1990s (0.2 linear feet; Box 22, 35)

Series 9: Photographs, circa 1890-2003 (4.4 linear feet; Box 22-26, 35, OV 37)

Series 10: Artwork, circa 1940s-1980s (0.2 linear feet; Box 26)

Series 11: Interviews, 1973-1998 (2.1 linear feet; Box 26-28, 0.375 GB; ER02)

Series 12: Documentary Film Materials, 1985-2004 (3.5 linear feet; Box 28-32)

Series 13: Rex Goreleigh Papers, 1935-1994 (0.9 linear feet; 32-33, 36)
Biographical / Historical:
Hughie Lee-Smith (1915-1999) was a painter and educator in Ohio, Michigan, and New York. Born in Eustis, Florida, he lived for a period of time with family in Atlanta before joining his mother in Cleveland, Ohio, in 1925. In 1934 he received a scholarship to attend the Art School of the Detroit Society of Arts and Crafts, and in 1935 returned to Cleveland to attend the Cleveland School of Art. While in school he began exhibiting his paintings and teaching part-time at Karamu House. From 1938 to 1940 Lee-Smith completed lithography commissions for the Ohio WPA. In 1941 he moved to Detroit, married his first wife Mabel Louise Everett, and worked at a Ford automobile factory. He was then drafted into the U.S. Navy as a mural artist. After the war he briefly returned to factory work before enrolling at Wayne State University, earning a degree in Art Education in 1953. From 1953 to 1965 he taught summer art classes at the Grosse-Point War Memorial in Detroit.

In 1957 Lee-Smith moved to the East Village in New York City, signed with the Janet Nassler Gallery (Petite Gallery), exhibited his work extensively, and joined several art organizations. He also taught art at schools in Princeton, New Jersey. In 1967 he became the second African-American member of the National Academy of Design. He was visiting instructor and artist-in-residence at several art programs, including Howard University, and taught at the Art Students League from 1972 to 1988. In 1978 he married his third wife, Patricia. The New Jersey State Museum organized an extensive retrospective of Lee-Smith's work in 1988 which travelled nationally. Despite ill-health in the mid-1990s, he continued to create new paintings and exhibit his work. In 1997 he moved with his wife to Albuquerque, New Mexico, where he lived until his death in 1999.
Related Materials:
Also found at the Archives of American Art is an oral history interview with Hughie Lee-Smith conducted by Carroll Greene in 1968.
Provenance:
A small amount of material was donated 1969-1981 by Hughie Lee-Smith. Additional papers were donated in 2011 by Patricia Lee-Smith, widow of Hughie Lee-Smith.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Fragile original address books are closed to researchers and have been digitized for access. Contact Reference Services for more information.
Rights:
Authorization to publish requires written permission from Robert Panzer, VAGA. The donor has retained all intellectual property rights, including copyright, that they may own. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Michigan -- Detroit  Search this
Painters -- New York (State) -- New York  Search this
Painters -- Ohio -- Cleveland  Search this
Educators -- New York (State) -- New York  Search this
Educators -- Michigan -- Detroit  Search this
Topic:
Artists' studios -- Photographs  Search this
African American artists  Search this
African American educators  Search this
African American painters  Search this
African American military personnel  Search this
Genre/Form:
Scrapbooks
Interviews
Photographs
Video recordings
Sound recordings
Drawings
Citation:
Hughie Lee-Smith papers, circa 1890-2007, bulk 1931-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.leeshugh
See more items in:
Hughie Lee-Smith papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d69fbd0e-001a-499b-9af3-a6dde3bc825e
EDAN-URL:
ead_collection:sova-aaa-leeshugh

Adobe Architecture

Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Type:
Archival materials
Introduction:
The Spanish colonials and the Indians of the Southwest shared an affinity for building with adobe. The basic materials used to make it were common to both continents. In addition, it had unique qualities that made it an ideal building material for arid climates. During the day, adobe absorbed the heat of the sun, leaving the house interior much cooler than the outside. As the outside air cooled in the evening, the walls reflected the stored heat into the houses, taking the chill off the night air. Adobe was also an infinitely adaptable construction medium: it could be shaped in many forms to meet a wide range of social, cultural, and physical housing needs.

Most Pueblos were attracted to certain features of the Spanish tradition. They began to mold their own bricks, using the Spanish wooden form. An exception were the Hopi, who until this century held onto their stone and mud-masonry tradition. Nearly all the Pueblo peoples adopted the Spanish fireplace and chimney. Before this, Indian homes had been heated by central fire hearths; smoke exited from the ladder hatch where one entered through the roof. The Indians placed the Spanish-style fireplace in the middle of a wall or at corners where it seemed to blister out above the floor. They also adopted the beehive-shaped outdoor ovens to let their own unleavened corn bread, formerly peeled from a heated stone into parchment-like rolls, rise into baked loaves; these ovens became fixtures of the Pueblo village.

But adobe gave way before the demand for lighter, synthetic building materials. Today's adobe makers are small-scale home builders with a passion for the aesthetics and history of the material as well as its ancient virtues of providing coolness and warmth in their arid land. They have innovated new techniques of brick making and its use, even building solar adobes. Pueblo architectural traditions are very much alive today. When plastering takes place at Hopi villages, it occurs in the old way, especially for the ritual upkeep of their underground kivas.

The 1981 Festival program, supported by funding from the U.S. Department of Energy, included demonstrations of building an adobe house and oven, making adobe bricks, cooking Southwestern Native American foods, and narrative sessions.
Participants:
Joe Paul Concha, 1932-, adobe oven maker and adobe brick maker, Taos Pueblo, New Mexico

Rose Concha, 1932-, adobe oven maker and bread baker, Taos Pueblo, New Mexico

Fedelina Cruz, 1915-2003, adobe plasterer, Taos, New Mexico

David Gutierrez, 1927-, adobe builder, Albuquerque, New Mexico

Eloy Gutierrez, 1928-2007, adobe builder and viga peeler, Albuquerque, New Mexico

Michael Gutierrez, adobe builder and wood carver, Albuquerque, New Mexico

Lawrence Lujan, 1963-, adobe oven maker and adobe brick maker, Taos Pueblo New Mexico

Lorencita Lujan, 1934-, adobe oven maker and bread baker, Taos Pueblo, New Mexico

Crucita Mondragon, 1932-, adobe oven maker and bread baker, Taos Pueblo, New Mexico

Albert D. Parra, 1954-, adobe builder, Albuquerque, New Mexico

Albert R. Perez, 1946-, adobe builder, Albuquerque, New Mexico

Hilario Roybal, Jr., 1940-, adobe builder, Silver City, New Mexico

Felipe A. Valdez, 1934-, adobe builder, Fairview, New Mexico

Carmen Romero Velarde, 1928-, adobe fireplace builder, Ranchos de Taos, New Mexico

José Ramon Sanchez, 1943-, adobe maker, Belen, New Mexico
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 1981 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1981, Series 2
See more items in:
Smithsonian Folklife Festival records: 1981 Festival of American Folklife
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5d1125a01-f9a6-4d76-b96a-39091bc9de9b
EDAN-URL:
ead_component:sova-cfch-sff-1981-ref19

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