Search Results

Creator:

Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this

Names:

Smithsonian Folklife Festival  Search this

Extent:

1 Cubic foot (approximate)

Type:

Collection descriptions

Archival materials

Digital images

Audiocassettes

Audiotapes

Photographic prints

Contracts

Notes

Correspondence

Plans (drawings)

Memorandums

Business records

Negatives

Video recordings

Videotapes

Sound recordings

Slides (photographs)

Place:

Caribbean Area

Latin America

Date:

July 1-10, 1994

Summary:

The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.

Scope and Contents note:

This collection documents the planning, production, and execution of the 1994 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.

Arrangement note:

Arranged in 5 series.

Missing Title

Series 1: Program Books, Festival Publications, and Ephemera

Series 2: The Commonwealth of The Bahamas

Series 3: Culture and Development in Latin America and the Caribbean

Series 4: Masters of Traditional Arts: The National Endowment for the Arts National Heritage Fellows

Series 5: Thailand: Household, Temple Fair & Court

Historical note:

The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.

The 1994 Festival of American Folklife was produced by the Smithsonian Center for Folklife Programs and Cultural Studies and cosponsored by the National Park Service.

For more information, see Smithsonian Folklife Festival records.

Introduction:

The 1994 Festival featured four programs. In The Bahamas program, Americans could find intriguing connections to a shared history embodied in the traditions of the descendants of Africans, free and enslaved, British Loyalists, Seminoles, and many other immigrants. More than just beautiful sun, sea, and sand, The Bahamas, and especially its Family Islands, are home to a rich diversity of cultural communities and practices. Also on the Mall, yet half a world away, was Thailand, a nation that never acceded to colonial rule and whose ancient traditions are very much alive in contemporary households, temples, and the royal court. Given the growing economic and political importance of Asia and the Pacific Rim, visitors had the opportunity to better understand Thailand's cultural traditions. The program on Culture and Development, a collaborative effort with the Inter-American Foundation, recognized the value of local cultural resources and practitioners and their role in development efforts. A strategy of appropriately utilizing a community's cultural resources often succeeds not only in stimulating economic growth, but also in promoting self-worth and popular participation in civic life. The program on Masters of Traditional Arts paid tribute to National Heritage Fellowship awardees from 17 states representing a broad range of American traditions. The awards, made annually by the National Endowment for the Arts, honor our human national treasures, those exemplary folk artists whose work expresses the history, identity, beliefs, and values of their communities.

These programs were seen by Smithsonian organizers as more than just separate living exhibits. As a whole, they demonstrated convincingly that across the United States and around the world, traditional culture was with us, not just as atomistic survivals, but as part of social fabrics woven by individuals, communities, and nations. The folks at the Festival live contemporary lives. They are just as contemporary as the genetic engineer, cable television network shopper, or government bureaucrat. The traditions they carry are embedded in modern life. Yes, sometimes we find these traditions are on the margins, but most often they are in an ongoing, creative tension with new innovations and technical and social changes. These traditional ways of doing, making, and being are continually, sometimes even daily, reinvented and applied to the circumstances of individual and institutional life. Innovation and tradition are not opposites, but are processually related to how we use our cultural inheritance - whether that be in music or the museum, handicraft or statecraft - to define and shape the future. The dialogue created at the Festival, in which cultural traditions were respectfully presented, discussed, and even passed along, was therefore considered to be vital to our continued civic health.

On the second day of the 1994 Festival, its founder Ralph Rinzler passed away after a long illness. On July 7, 1994, a memorial service was organized by Ralph's friends and associates (see the recordings in the Masters of Traditional Arts program). Clydia and Reeves Nahwooksy provided a Comanche Baptist invocation. Mile Seeger, Guy Carawan, and Bill Monroe played and sang. Bernice Reagon sang, as did the Bahamians. Bess Hawes, Jeffrey LaRiche, Ann Romano, and James Early spoke of his legacy. Memorial messages were read from Pete Seeger, Alan Lomax, Henry Glassie, Roger Abrahams, Rajeev Sethi, and others. Lucille Dawson spoke about the profound effects the Festival's Native American programs had had on Indian education and civil rights, and Mike Thomas spoke for the Smithsonian custodians who always found in Ralph a friend and supporter. Other impromptu memorials were conducted by the Bahamian and Thai participants.

The 1994 Festival took place during two four-day weeks (July 1-4 and July 7-10) between Madison Drive and Jefferson Drive and between 12th Street and 14th Street, south of the National Museum of American History (see site plan).

The 1994 Program Book included schedules and participant lists for each program; essays provided background on the Festival and each of the four programs.

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

Center for Folklife Programs & Cultural Studies

Richard Kurin, Director; Diana Parker, Festival Director; Anthony Seeger, Director, Smithsonian/Folkways Recordngs; Peter Seitel, Senior Folklorist; Thomas Vennum, Jr., Senior Ethnomusicologist; Richard Kennedy, Program Analyst; Carla Borden, John Franklin, Program Managers; Olivia Cadaval, Amy Horowitz, Marjorie Hunt, Diana Baird N'Diaye, Folklorists/Curators; Betty Belanus, Education Specialist; Arlene L. Reiniger, Program Specialist; Jeffrey Place, Archivist; Kenneth M. Bilby, Roland Freeman, Ivan Karp, Alan Lomax, Worth Long, Research Collaborators

Folklife Advisory Council

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

National Park Service

Roger Kennedy, Director; Robert G. Stanton, Regional Director, National Capital Region

Shared Stewardship of Collections:

The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://folklife.si.edu/archives#shared-stewardship.

Forms Part Of:

Smithsonian Folklife Festival records: 1994 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .

Smithsonian Folklife Festival records

Smithsonian Folklife Festival records: Papers

1967 Festival of American Folklife records - [Ongoing]

Related Archival Materials note:

Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.

Restrictions:

Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

World music  Search this

Folklore  Search this

Food habits  Search this

Folk art  Search this

Folk festivals  Search this

arts and crafts  Search this

Folk music  Search this

Genre/Form:

Digital images

Audiocassettes

Audiotapes

Photographic prints

Contracts

Notes

Correspondence

Plans (drawings)

Memorandums

Business records

Negatives

Video recordings

Videotapes

Sound recordings

Slides (photographs)

Citation:

Smithsonian Folklife Festival records: 1994 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.SFF.1994

See more items in:

Smithsonian Folklife Festival records: 1994 Festival of American Folklife

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5ddc8ca3e-7575-4fbe-aeaa-f2be18f19d0d

EDAN-URL:

ead_collection:sova-cfch-sff-1994

Creator:

Thomas, Jeff, 1956-  Search this

Extent:

5 Photographic prints (silver gelatin)

Culture:

Pima Indians  Search this

Assiniboine  Search this

Onondaga  Search this

Type:

Collection descriptions

Archival materials

Photographic prints

Photographs

Place:

Ottawa (Ontario)

Date:

1982-1994

Summary:

The photographs include an image of Jack Moore, a Pima dancer, with the American flag painted on his face; a portrait of the dancer Kevin Haywahe (Assiniboine) wearing a wolf-hide and feather headdress with beaded sun wheel medallion and beaded appendage, elaborate face painting, pipe bead necklace and elaborately beaded breast ornament; an outdoor view of a young boy posed beside grafitti that reads "Cultural Revolution"; a young man standing in front of a grain elevator and wearing a t-shirt with an image of Christopher Columbus and the caption "Founder of the New World"; and a triptych documenting the urban Onondaga Iroquois experience in Ottawa, Ontario.

Arrangement note:

Prints: organized in folders; arranged numerically by image number

Biographical/Historical note:

Born in 1956 in the city of Buffalo, New York, Jeff Thomas identifies himself as an urban-Iroquois. His parents and grandparents were born on the Six Nations reserve, near Brantford, Ontario, and eventually left the reserve to find work in the city. It is this experience of an urban-Iroquois that has come to define his work; Thomas seeks to re-contextualize commonly circulated historical images of First Nations people for a contemporary audience. In his words: "Ultimately, I want to dismantle long entrenched stereotypes and inappropriate caricatures of First Nations people."

Thomas was the subject of a solo exhibition, Jeff Thomas: A Study of Indian-ness, circulated by Gallery 44 Centre for Contemporary Photography (Toronto), which travelled to galleries across the country. In 2008, his work was also featured in a survey exhibition, Drive By: A Road Trip with Jeff Thomas, at the University of Toronto Art Centre, and his work can be found in the collections of the Canadian Museum of Civilization, the Indian Art Centre (Ottawa), Museum of the American Indian (Washington, D.C.), Musée de l'Elysée (Lausanne, Switzerland), Museum der Weltkulturen (Frankfurt, Germany), Princeton University (Princeton, New Jersey), The British Museum (London, U.K.) and The Ottawa Art Gallery. In 1998, he was awarded the Canada Council's prestigious Duke and Duchess of York Award in Photography and in 2008 he received the Karsh Award in photography.

Restrictions:

Researchers must contact the NMAI Archives for an appointment to access the collection. Contact information below.

Rights:

Copyright: National Museum of the American Indian.

Genre/Form:

Photographs -- Silver gelatin prints

Photographs

Citation:

Jeff Thomas photographs, 1982-1994, National Museum of the American Indian Archives, Smithsonian Institution (negative, slide or catalog number).

Identifier:

NMAI.AC.055

Archival Repository:

National Museum of the American Indian

GUID:

https://n2t.net/ark:/65665/sv49d0edd3f-db1e-4e49-bd36-2265caee3da8

EDAN-URL:

ead_collection:sova-nmai-ac-055

Creator:

Mooney, James, 1861-1921  Search this

Artist:

Big Horse, Hubble.  Search this

Silver Horn, 1860-1940  Search this

Murphy, Charles (Cheyenne)  Search this

Bianki  Search this

Lame Dog.  Search this

Extent:

50 Items (circa 50 drawings, pencil and crayon, 16 x 26 cm.-39 x 92 cm.)

Culture:

Tsitsistas/Suhtai (Cheyenne)  Search this

Niuam (Comanche)  Search this

Kiowa  Search this

Sioux  Search this

Inunaina (Arapaho)  Search this

Indians of North America -- Great Plains  Search this

Type:

Collection descriptions

Archival materials

Ledger drawings

Date:

1902-1906

Scope and Contents:

Pencil and crayon drawings intermixed with Manuscript notes by Mooney. Oversize drawings identified as Cheyenne, Cheyenne or Arapaho, Kiowa, Dakota and Comanche. Typed list of these, with annotations made by Father Peter J. Powell during visit to National Anthropological Archives is included with master list of drawings in N.A.A. Many of the oversize drawings were preliminary sketches for the Cheyenne tipi curtain now on exhibit at the Field Museum of Natural History, Chicago, Illinois. Previously cataloged as "Kiowa and others." However, it was changed to the Cheyenne file after more complete identifications supplied by Karen D. Peterson and Father Powell showed that the majority of the drawings were Cheyenne.

Box I: Notes and drawings relating to men and horses in war paint, shields, tipis, shield tripods, lances and pennants. (Oklahoma) (March, 1902-April, 1906.) Pencil and crayon drawings intermixed with Manuscript notes by Mooney. 219 pages and slips (some with material on both sides.) List of owners of shields and tipis, in handwriting of unknown person, with Manuscript notes by both Karen D. Peterson and Father Peter J. Powell. (Washington, D.C.)(1968 ?-1971.) Manuscript document. 7 pages. According to list, 51 of the 80 owners have been identified as "Cheyenne" or "Cheyenne?"; 12 owners have been identified "Kiowa" or "Kiowa?"; 8 are unidentified; 3 each are Kiowa-Apache and Arapaho; and one each is Comanche, Crow and Ute.

The tipis are shown in finished drawings in Manuscript Number 2531, Volumes 9 and 10. The entire contents of boxes are discussed in detail in Manuscript Number 2531, volume 5; notations apparently refer to what pages in 2531, volume 5 discuss the subject of the drawing, e.g., the note "54-55a" on David Pendleton's shield. Drawings with notes have been separated by name of owner and filed alphabetically in sections on shields and tipis. Most of the drawings have Manuscript notes by Mooney as to owner, date, artist and place; for details see individual photo catalog cards to copy neg. nos. 72-1826 CN through 72-1926 CN, 72-1939 CN and and 72-1940 CN. A few drawings were also signed by the artists themselves. All the drawings which are dated, date between March, 1902 and April, 1906; the Administrative Reports of BAE-ARs for those years confirms Mooney's presence in Oklahoma from February 1902 until he left in April, 1906.

Box 2: Unidentified shield and tipi drawings. Many of the numbered pages are those cut by Mooney from his Kiowa volumes (Bureau of American Ethnology Manuscript Number 2531, Volumes 1-5). Oversize drawings: Tribes tentatively identified as Cheyenne, Cheyenne or Arapaho, Kiowa, Dakota, Comanche. 16 drawings. See typed list; copy filed with drawings, master copy inserted in Master copy of catalog of drawings, 11/71.

Local Numbers:

NAA MS 2538

Album Information:

NAA MS 2538 JMND-000

Topic:

Heraldry -- Cheyenne  Search this

Sioux  Search this

Genre/Form:

Ledger drawings

Citation:

Manuscript 2538, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS2538

See more items in:

MS 2538 James Mooney notes and drawings on Cheyenne and Kiowa heraldry

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw387bf8ace-fd1d-4c7e-bfd8-4ad610c96f5f

EDAN-URL:

ead_collection:sova-naa-ms2538

Creator:

Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this

Names:

Smithsonian Folklife Festival  Search this

Extent:

1 Cubic foot (approximate)

Type:

Collection descriptions

Archival materials

Contracts

Slides (photographs)

Plans (drawings)

Notes

Digital images

Audiotapes

Video recordings

Business records

Audiocassettes

Memorandums

Negatives

Correspondence

Photographic prints

Videotapes

Sound recordings

Date:

June 30-July 4, 1972

Summary:

The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.

Scope and Contents note:

This collection documents the planning, production, and execution of the 1972 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.

Arrangement note:

Arranged in 4 series.

Missing Title

Series 1: Program Books, Festival Publications, and Ephemera

Series 2: Maryland

Series 3: Southwest Indians

Series 4: Union Workers

Historical note:

The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.

The 1972 Festival of American Folklife was produced by the Smithsonian Division of Performing Arts.

For more information, see Smithsonian Folklife Festival records.

Introduction:

The 1972 Festival continued the pattern set by previous festivals, taking place for five days on the National Mall, between Madison Drive and Jefferson Drive and between 12th Street and 14th Street, south of the National Museum of History and Technology (see site plan). Maryland was the featured State, and the craft and music presentations on the main Festival site were complemented by activities at Hains Point in West Potomac Park that showed the rich maritime traditions of the Chesapeake Bay. Programs devoted to American Indians of the Southwest and to Union Workers (including the diverse musical traditions of working Americans) rounded out the Festival.

Seeking to strengthen the connection between the living presentations at the Festival and the exhibitions within the walls of Smithsonian museums, the 1972 Festival introduced an addition intended to heighten visitors' experience and strengthen the educational content. At numerous locations where skills and crafts were demonstrated, small signs entitled "Museum Guides" directed visitors to locations within the museums where a correlative view of the products and skills seen at the Festival could be reviewed in an historic context.

As in previous years, the 1972 Festival was produced by the Division of Performing Arts, where James R. Morris was Director and Richard Lusher was Deputy Director. Ralph Rinzler continued as Festival Director, with Gerald L. Davis as Assistant Director and Kenneth S. Goldstein as Special Assistant to the Secretary on Folklore and Folklife.

The 1972 Program Book included information on all of the programs, a schedule, and participant lists.

Shared Stewardship of Collections:

The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://folklife.si.edu/archives#shared-stewardship.

Forms Part Of:

Smithsonian Folklife Festival records: 1972 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .

Smithsonian Folklife Festival records

Smithsonian Folklife Festival records: Papers

1967 Festival of American Folklife records - [Ongoing]

Related Archival Materials note:

Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.

Restrictions:

Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

World music  Search this

Food habits  Search this

Folk festivals  Search this

Folk music  Search this

Folk art  Search this

arts and crafts  Search this

Folklore  Search this

occupational folklore  Search this

Genre/Form:

Contracts

Slides (photographs)

Plans (drawings)

Notes

Digital images

Audiotapes

Video recordings

Business records

Audiocassettes

Memorandums

Negatives

Correspondence

Photographic prints

Videotapes

Sound recordings

Citation:

Smithsonian Folklife Festival records: 1972 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.SFF.1972

See more items in:

Smithsonian Folklife Festival records: 1972 Festival of American Folklife

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk547849ecd-2faf-43ae-88e3-10b923136d11

EDAN-URL:

ead_collection:sova-cfch-sff-1972

Creator:

Anacostia Community Museum  Search this

Names:

Anacostia Community Museum  Search this

Extent:

2.75 Linear feet (4 boxes)

Type:

Collection descriptions

Archival materials

Correspondence

Photographic prints

Clippings

Maps

Exhibition catalogs

Place:

Anacostia (Washington, D.C.)

Date:

2007 - 2008

Summary:

An exhibition to commemorate the 40th anniversary of the founding of the Anacostia Community Museum, formerly known as the Anacostia Neighborhood Museum, organized by the museum and held there September 15, 2007 through November 9, 2008. The exhibit explored the development of community life of neighborhoods east of the Anacostia River, beginning with the original inhabitation by Native Americans up to the present.

Scope and Contents note:

These records document the planning, organizing, execution, and promotion of the exhibition. Materials include research files, compact disc, and photo copies.

Restrictions:

Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.

Topic:

African Americans  Search this

Museum exhibits  Search this

African American neighborhoods  Search this

Genre/Form:

Correspondence

Photographic prints

Clippings

Maps

Exhibition catalogs

Citation:

East of the River: Continuity and Change exhibition records, Anacostia Community Museum Archives, Smithsonian Institution

Identifier:

ACMA.03-052

See more items in:

East of the River: Continuity and Change Exhibition Records

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa711037d57-f293-4448-be03-0533e0cb1128

EDAN-URL:

ead_collection:sova-acma-03-052

Creator:

Anacostia Community Museum  Search this

Names:

Anacostia Community Museum  Search this

Collection Creator:

Anacostia Community Museum  Search this

Extent:

1 Video recording (MiniDV)

Culture:

Algonquin Indians  Search this

Type:

Archival materials

Video recordings

Place:

Anacostia (Washington, D.C.)

Washington (D.C.)

United States

Date:

2007

Scope and Contents:

Dr. Gabrielle Tayac, a historian at the National Museum of the American Indian, discussed the history and culture of the Nacotchtank Indians who lived within the boundaries of present-day Washington, D.C., and the Anacostia area. She also spoke of the Algonquian languages as well as the destruction of the Nacotchtank people, language, and culture.

Interview created in conjunction with the Anacostia Community Museum's 40th Anniversary Oral History Project and the exhibition, 'East of the River: Continuity and Change.' Dated 20070504

Collection Restrictions:

Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.

Topic:

Nacotchtank Indians  Search this

Indians of North America  Search this

Algonquian languages  Search this

African Americans  Search this

Interviews  Search this

Genre/Form:

Video recordings

Citation:

East of the River: Interview with Dr. Gabrielle Tayac, Anacostia Community Museum Archives, Smithsonian Institution.

Identifier:

ACMA.03-052, Item ACMA AV005178

See more items in:

East of the River: Continuity and Change Exhibition Records

East of the River: Continuity and Change Exhibition Records / Series 3: Interviews

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa74b6ecacc-e8a5-4a48-bed0-618d11bd39c6

EDAN-URL:

ead_component:sova-acma-03-052-ref526

Creator:

Mooney, James, 1861-1921  Search this

Extent:

11.75 Linear feet (Photographic prints: albumen, gelatin silver Negatives: glass, cellulose nitrate )

Culture:

Apache  Search this

Caddo  Search this

Cherokee  Search this

Diné (Navajo)  Search this

Inunaina (Arapaho)  Search this

Kiowa  Search this

Niuam (Comanche)  Search this

Powhatan  Search this

Dakota (Eastern Sioux)  Search this

Tsitsistas/Suhtai (Cheyenne)  Search this

Wichita  Search this

Lenape (Delaware)  Search this

Mattaponi  Search this

Pamunkey  Search this

Nansemond  Search this

Chickahominy  Search this

Type:

Collection descriptions

Archival materials

Photographs

Place:

Mexico

Date:

circa 1872-1920

Scope and Contents note:

Photographs made during James Mooney's fieldwork with Apache, Arapaho, Caddo, Cherokee, Cheyenne, Comanche, Dakota/Lakota, Hopi, Kiowa, Navaho, Powhatan, and Wichita communities, as well as in Mexico. Photographs document individuals and families, gatherings, ceremonies and dances, daily activities, games, crafts, landscapes, and burials.

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

Biographical / Historical:

James Mooney (1861-1921) was an American ethnographer whose research focused on Native North Americans. The son of Irish Catholic immigrants, Mooney was born in Richmond, Indiana. His formal education was limited to the public schools of the city; most of his knowledge of anthropology and ethnography was self-taught, largely through his field experience working with various Native communities.

In 1885, Mooney began working for the Smithsonian Institution's Bureau of American Ethnology (BAE) under John Wesley Powell. There, he carried out ethnographic research for more than 30 years. He was a very early adopter of photography and made thouands of photographs in the course of his fieldwork.

Mooney married Ione Lee Gaut in 1897, and had six children. He died in 1921 in Washington, D.C. from heart disease.

For fuller biographies of Mooney see George Ellison's introduction to the 1992 edition of Mooney's History, Myths, and Sacred Formulas of the Cherokees, as well as The Indian Man: A Biography of James Mooney by L.G. Moses (2002).

Chronology

February 10, 1861 -- Born

1878 -- Graduated high school, then taught public school for 1 year

1879 -- Joined the staff of The Richmond Palladium

April 1885 -- Joined the Bureau of American Ethnology (BAE)

May-June 1885 -- Worked with Cherokee Chief N. J. Smith on Eastern Cherokee grammar

Summer 1886 -- Worked with Chief Smith (in D.C.)

Summer 1887 -- First trip to the Eastern Cherokee of the Great Smokey Mountains to study language, collect material culture, and document activities including the Green Corn Dance and Cherokee ball games (3.5 months)

Winter/Spring 1888 -- Studied Iroquoian and Algonquian synonymies and published articles on the Irish and the Cherokee, collected and studied Cherokee sacred formulae

1889 -- Visit to Cherokee (worked with Swimmer, worked on his maps of place names/mound sites, witnessed ball play and the Green Corn Dance, gathered plants and collected objects for the Smithsonian

December 1890 -- Visited Oklahoma Territory to complete research with Western Cherokee, witnessed the Ghost Dance at the Cheyenne/Arapaho Reservation for the first time

1891 -- "The Sacred Formulas of the Cherokee" published Visit to Cherokee in Oklahoma Territory

April 1891 -- Delegated to collect material for Chicago Exposition. Collected for the next 2 years while studying the Ghost Dance

May 1891 -- Photographed Kiowa Mescal (Peyote) Ceremony Headed west for a four month collecting trip for the Chicago exposition, commissioned model tipis and summer houses from the Kiowa

1891-1893 -- Observed/participated in three ghost dances during three seasons of fieldwork among Arapaho, Sioux, Kiowa, and Cheyenne communities

1892 -- Photographed Kiowa Mescal (Peyote) Ceremony and Oglala Sioux Ghost Dance

Winter 1892 -- Began intensive field study of Kiowa winter counts and Kiowa heraldry Among the Navajo and Hopi, making collections for Chicago Exposition

Fall 1893 -- Returned to Oklahoma Territory to observe and record Arapaho Sun Dance. Also studied the Hopi Kachina Dance, the Wichita Corn Dance, and possibly also the Arapaho Ghost Dance

May 1895 -- "Siouan Tribes of the East" published

1895 -- Trip to the Southwest, visited Hopi and Navajo communities

1896 -- "The Ghost Dance Religion and the Sioux Outbreak of 1890" published

January 1897 -- At Anadarko

September 28, 1897 -- Married Ione Lee Gaut

Fall 1898 -- Trip to Southwest, visited Hopi and Navajo communities

1898 -- Attended Omaha Fair, helped plan 'Congress of Indians', supervised Frank Rinehart, who photographed many of the Indian delegates to the fair Calendar History of the Kiowa Indians published

Fall 1899 -- For three weeks in the fall traveled with DeLancey Gill to William Co, VA to study and photograph Mattapony and Pamunkey communities; Gill took pictures while Mooney did census work before traveling to the Chickahominy River

1900 -- Myths of the Cherokee published

Spring 1900 -- Studied communities of the Powhatan Confederacy in VA; traveled to VA again with Gill to visit the Pamunkey and Mattapony communities for more pictures and to complete census, then traveled to area south of Portsmouth to find the rural settlement of the Nansemond.

Fall 1901 -- Cooperative agreement with Field Museum and J. Owen Dorsey; Studied Kiowa for BAE, studied Cheyenne for Field Museum (focused on heraldry). This project, with Dorsey working on Arapaho, continued until 1906

1902 -- Fieldwork on heraldry with Kiowa and Apache communities all year except for two brief visits to Washington, D.C. in September and November

July 1903 -- Mooney and Dorsey study Sun Dance on Cheyenne reservation in Oklahoma Territory, brought staff photographer Charles Carpenter. Spent a week attending the Sun Dance and made the first photographs of the skull-dragging ceremony

October 1903 -- Photographed Arapaho Tomahawk Dance

Winter 1903 -- At the Cheyenne-Arapaho agency in Darlington; winter spent with Cheyenne, and finishing Kiowa tipi models for the Bureau's exhibit at the Louisiana Purchase Exposition

March 1904 -- At Mount Scott with Kiowa

June 1904 -- St. Louis Exposition opens

April 1906 -- Last visit to Cheyenne

Summers, 1911-1916 -- Visits to Cherokee

1918 -- Assisted with charting the Native American Church of Oklahoma (the Secretary of the Interior issued a ban on his research)

June 28, 1918 -- Requested by Fewkes to study peyote cult and Kiowa Heraldry (see Mooney Papers, Box 1, Letters, statement dated 1921)

December 22, 1921 -- Died

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Contact the repository for terms of use.

Genre/Form:

Photographs

Citation:

Photo Lot 74, James Mooney photographs, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.PhotoLot.74

See more items in:

James Mooney photographs

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw35162d7ce-2ae2-4302-963d-b416aa1eca3b

EDAN-URL:

ead_collection:sova-naa-photolot-74

Creator:

Freer, Charles Lang, 1856-1919  Search this

Extent:

131 Linear feet (29 architectural drawings)

Type:

Collection descriptions

Archival materials

Diaries

Financial records

Correspondence

Photographs

Place:

China

Syria

Egypt

India

London (England)

Japan

Boston (Mass.)

Detroit (Mich.)

Washington (D.C.)

Kandy (Sri Lanka)

Sri Lanka

Anuradhapura (Sri Lanka)

Date:

1876-1931

Summary:

The personal papers of Charles Lang Freer, the industrialist and art collector who founded the Freer Gallery of Art. The papers include correspondence, diaries, art inventories, scrapbooks of clippings on James McNeil Whistler and other press clippings, and photographs.

Scope Content:

The personal papers of Charles Lang Freer, the industrialist and art collector who founded the Freer Gallery of Art. The papers include correspondence, diaries, art inventories, scrapbooks of clippings on James McNeil Whistler and other press clippings, financial material, architectural drawings, and photographs.

Correspondence, circa 1860-1921, includes Freer's correspondence, 1876-1920, with artists, dealers, collectors, museums, and public figures; letterpress books contain copies of Freer's outgoing letters, 1892-1910; correspondence collected by Freer of James McNeill Whistler, and his wife Beatrix, 186?-1909, with Lady Colin Campbell, Thomas R. Way, Alexander Reid, Whistler's mother, Mrs. George W. Whistler, and others; correspondence of Whistler collector Richard A. Canfield, 1904-1913, regarding works in Canfield's collection; and correspondence of Freer's assistant, Katharine Nash Rhoades, 1920-1921, soliciting Freer's letters from his associates, and regarding the settlement of his estate.

Also included are twenty-nine pocket diaries, 1889-1890, 1892-1898, 1900-1919, recording daily activities, people and places visited, observations, and comments; a diary kept by Freer's caretaker, Joseph Stephens Warring, recording daily activities at Freer's Detroit home, 1907-1910. Inventories, n.d. and 1901-1921, of American, European, and Asian art in Freer's collection, often including provenance information; vouchers, 1884-1919, documenting his purchases; five volumes of scrapbooks of clippings on James McNeill Whistler, 1888-1931, labeled "Various," "Peacock Room," "Death, etc.," "Paris, etc.," and "Boston...London" ; three volumes of newsclippings, 1900-1930, concerning Freer and the opening of the Freer Gallery of Art.

Correspondence regarding Freer's gift and bequest to the Smithsonian Institution, 1902-1916; and photographs, ca. 1880-1930, of Freer, including portraits by Alvin Langdon Coburn and Edward Steichen, Freer with others, Freer in Cairo, China and Japan, Freer's death mask, and his memorial service, Kyoto, 1930; photographs of artists and others, including Thomas Dewing, Ernest Fenollosa, Katharine Rhoades taken by Alfred Stieglitz, Rosalind B. Philip, Augustus Saint-Gaudens, Abbott H. Thayer, Dwight Tryon, and Whistler; and photographs relating to Whistler, including art works depicting him, grave and memorial monuments, works of art, the Peacock Room, and Whistler's memorial exhibition at the Copley Society.

Organization of the Papers:

This collection is organized into twelve series.

Series 1: Genealogical and Biographical Data

Series 2: Correspondence

Series 3: Diaries

Series 4: Freer Colleague Materials

Series 5: Art Inventories

Series 6: Financial Materials

Series 7: Exhibition Loan Files

Series 8: Biblical Manuscripts and Gold Treasure Files

Series 9: American School of Archaeology in China

Series 10: Printed Material

Series 11: Outsize Material

Series 12: Photographs

Biographical Note:

1854 February 25 -- Born in Kingston, New York

1873 -- Appointed accountant and paymaster of New York, Kingston and Syracuse Railroad by Frank J. Hecker (1846-1927)

1876 -- Moves to Indiana to work, with Hecker, for the Detroit and Eel River and Illinois Railroad

1880 -- Moves to Detroit, participates in organization of the Peninsular Car Works with Hecker

1883 -- Becomes vice president and secretary of Peninsular Car Company when it succeeds Peninsular Car Works

1883 -- Begins collecting European prints

1884 -- Peninsular Car Company constructs plant on Ferry Avenue

1887 -- Meets Howard Mansfield (1849-1938)

1887 -- Acquires proofs of 26 etchings, Venice, Second Series(1886), by James McNeill Whistler (1834-1903)

1887 -- Purchases a small Japanese fan attributed to Ogata Korin(1658-1715)

1887 -- Buys land on Ferry Avenue

1889 -- Meets Frederick Stuart Church (1826-1900) and Dwight William Tryon (1849-1925) in New York

1890 -- Commissions Wilson Eyre (1858-1944) to design house on Ferry Avenue, Detroit, Michigan

1890 -- On first trip to London, meets James McNeill Whistler(1834-1903)

1892 -- Moves to Ferry Avenue house

1892 -- Tryon and Thomas Wilmer Dewing (1851-1938) undertake decoration of reception rooms

1893 -- Lends American paintings to World's Columbian Exposition in Chicago

1893 -- Purchases first piece of Chinese art, a small painting of white herons by an anonymous Ming dynasty (1368-1644) artist

1894 -- Begins yearlong trip around the world, which includes visit to the Whistlers in Paris and first trip to Asia, stopping in Ceylon (now Sri Lanka), India, China, and Japan

1896 -- Meets Matsuki Bunkyo (1867-1940) in Boston

1899 -- Takes part in consolidation of railroad-car building companies then retires from active business

1900 -- Attends Exposition International Universelle in Paris

1900 -- Buys villa in Capri with Thomas S. Jerome

1901 -- Meets Siegfried Bing (1838-1905) in Paris and Ernest Fenollosa(1853-1908), who visits Freer in Detroit

1902 -- Meets Dikran Kelekian (1868-1951)

1902 -- Spends summer in Britain building Whistler collection

1902 -- Views Whistler's, Harmony in Blue and Gold: The Peacock Room

1904 -- Purchases Whistler's Peacock Room

1904 -- Offers his art collections and funds to build a museum in which to house them to the Smithsonian Institution

1905 -- Smithsonian committee visits Freer in Detroit

1906 -- United States government formally accepts Freer's gift on January 24

1906 -- Freer signs Deed of Gift to Smithsonian Institution on May 5

1907 -- On second tour of Asia, meets Hara Tomitaro 1868-1939) in Yokohama, Japan

1908 -- Takes third trip to Asia, specifically to West Asia to study Rakka ware

1909 -- Tours Europe to study art museums

1909 -- On fourth trip to Asia, attends memorial ceremony for Fenollosa (d.1908 September) at Miidera, Japan, and meets Duanfang (1861-1911) in China

1910 -- On last trip to Asia, visits Longmen Buddhist caves in China

1911 -- Suffers stroke

1912 -- Lends selection of objects for exhibition at Smithsonian Institution

1913 -- Meets Eugene (1875-1957) and Agnes E. (1887-1970) Meyer

1913 -- Commissions Charles Adams Platt (1861-1933) to design museum building in Washington

1914 -- Meets Katharine Nash Rhoades (1885-1965) in Detroit

1915 -- Settles in New York City

1915 -- Site of future Freer Gallery of Art is determined

1916 -- Platt's plans for Freer Gallery are approved by Smithsonian Regents and Commission of Fine Arts and ground is broken in September

1918 -- After falling ill in Detroit, Freer travels to New York for treatment

1918 -- Work on the museum building is delayed by the war

1919 -- Freer appends codicil to will permitting acquisitions of Asian, Egyptian, and Near Eastern (West Asian) art

1919 -- Dies in New York City on 25 September and is buried in Kingston, New York

1919 -- Construction of Freer Gallery completed

1920 -- John Ellerton Lodge (1876-1942) is appointed director of the Freer Gallery

1923 -- Freer Gallery opens to the public on May 9

1930 -- Memorial ceremony for Freer is held at Koetsuji, Kyoto

Charles Lang Freer was an American industrialist who founded the Freer Gallery of Art. He was a well-known collector of Asian art, and strongly supported the synthesis of Eastern art and Western art. One of his most famous acquisitions was James McNeill Whistler's Peacock Room.

Index:

Index to cross-referenced correspondents in the series Charles Lang Freer correspondence

Beal, Junius E. -- See: -- Warring, Joseph Stephens

Black, George M. -- See: -- Saint-Gaudens, Augustus

Board of Education (Kingston, New York) See: Michael, M. J.

Bonner, Campbell See: University of Michigan

Boughton, George H. See: Yardley, F. C.

British Museum See: Binyon, Laurence; Hobson, R. L.

Brown, Harold H. See: Art Association of Indianapolis

Buchner, Evelyn B. See: Knoedler, M., and Company

Buckholder, C. H. See: Art Institute of Chicago

Butler, S. B. See: Unidentified correspondents

Carnegie Institute See: Balken, Edward Duff; Harshe, Robert B.

Carpenter, Newton H. See: Art Institute of Chicago

Caulkins, Horace James See: Pewabic Pottery

Chao, Shih-chin See: Gunn, Chu Su

Chicago & North Western Railway Co. See: Hughett, Marvin

Clark, Charles Upson See: Clark, Arthur B.

Cleveland Museum of Art See: Whiting, Frederic Allen

Columbia University See: Braun, W. A.; Gottheil, Richard; Hirth, Friederich

Commission of Fine Arts See: Moore, Charles

Corcoran Gallery of Art See: Minnigerode, C. Powell

Crocker, Anna B. See: Portland Art Association

Dannenberg, D. E. See: Karlbeck, Orvar

De Menoncal, Beatrice See: Lien, Hui Ch'ing Collection

De Ricci, Seymour See: Ricci, Seymour de

Defnet, William A., Mrs., See: Franke, Ida M.

DeMotte See: Vigouroux, J.

Detroit Institute of Arts See: Detroit Museum of Art

Detroit Publishing Company See: Livingstone, W. A.

Detroit School of Design See: George Hamilton; Stevens, Henry

DeVinne Press See: Peters, Samuel T.; Witherspoon, A. S.

Dyrenforth, P. C. See: Philip, Rosalind Birnie

Eddy, Arthur J. See: Philip, Rosalind Birnie

Eggers, George Williams See: Art Institute of Chicago

Farr, Daniel H. See: Robinson and Farr

Farrand School (Detroit) See: Yendall, Edith

Field Museum of Natural History (Chicago) See: Laufer, Berthold

Flagg, Frederick J. See: Allen, Horace N.

Fogg Art Museum, Harvard University See: Forbes, Edward; Pope, Arthur Upham; Sachs, Paul J.

French, M. R. See: Art Institute of Chicago

Fu, Lan-ya See: Pang, Lai-ch'en

Fujii, Yoshio See: Yoshio, Fujii

Gerrity, Thomas See: Knoedler, M., and Company

Goupil Gallery See: Marchant, William

Gray, William J. See: Barr, Eva

Great Lakes Engineering Works See: Hoyt, H. W.

Grolier Club See: Philip, Rosalind Birnie

Heinemann, W. See: Philip, Rosalind Birnie

Holden, Edward S. See: West Point, U. S. Military Academy

Hudson, J. L. See: Weber, William C.

Hutchins, Harry B. See: University of Michigan

Hutchins, Charles L. See: Art Institute of Chicago

Kelekian, H. G. See: Kelekian, Dikran G.

Kent, H. W. See: Metropolitan Museum of Art

Lee, Kee Son See: Li, Chi-ch'un

Levy, John See: Schneider, A. K.

Library of Congress See: Rice, Richard A.; Wright, Helen

Louvre (Paris, France) See: Midgeon, Gaston

Matsuki, Z. See: Matsuki, Kihachiro

McKim, Mead and White See: White, Stanford

Mills, A. L., Colonel See: Saint-Gaudens, Augustus

Miner, Luella See: Lien, Hui Ch'ing Collection

Minneapolis Institute of Arts See: Breck, Joseph; Van Derlip, John R.

Monif, R. Khan See: Rathbun, Richard

Museum of Fine Arts, Boston See: Lodge, John Ellerton

Naser, Katen & Nahass See: Katen, K.

Nordlinger, Marie, Miss See: Meyer-Riefstahl, Marie

Panama Pacific International Exposition See: Moore, Charles C.; Trask, John E. D.

Peabody Museum See: Morse, Edward Sylvester

Pennsylvania Academy of the Fine Arts See: Trask, John E. D.

Perry, Mary Chase, Miss., See: Pewabic Pottery

Philip, Ronald M. See: Philip, Rosalind Birnie

Pope, G. D. See: Barr, Eva

Reinhart, A. G. See: Gottschalk, E.

Reitz, Sigisbert Chrétien Bosch See: Bosch-Reitz, Sigisbert Chrétien

Rutgers College See: Van Dyke, John C.

Saint-Gaudens, Augusta H. See: Saint-Gaudens, Augustus

Saint-Gaudens, Homer See: Saint-Gaudens, Augustus

Samurai Shokai See: Nomura, Yozo

San Francisco Art Association See: Laurvik, J. Nilsen

Scribner's, Charles, Sons See: Van Dyke, John C.

Shaw, Wilfred B. See: University of Michigan

Shirae, S. Z. See: Yamanaka and Company

Smith College See: Clark, Arthur B.

Smithsonian Institution See: Holmes, William Henry; Rathbun, Richard; Ravenel, Walcott, Charles D.

Society of Arts and Crafts (Detroit) See: Plumb, Helen

Societe des Beaux-Arts See: Reid, Alexander

Stevens, George W. See: Toledo Museum of Art

Stratton, Mary Chase Perry See: Pewabic Pottery

Tanaka, Kichijiro See: Yamanaka and Company

Tuttle, William F. See: Art Institute of Chicago

Union Trust Company (Detroit) See: Philip, Rosalind Birnie

United States Military Academy See: West Point, U. S. Military Academy

University of Chicago See: Zug, George Breed

University of Pennsylvania, Univ. Mus. See: Gordon, George Bryon

Ushikubo, D. J. R. See: Yamanaka and Company

Wallis & Son See: Barr, Eva; Thompson, C. Croal Ward, Clarence See: Oberlin College

Warren, Edward K. See: Philip, Rosalind Birnie

Warring, Stephen See: Warring, Joseph Stephens

Watkin, Williams R. T. See: Philip, Rosalind Birnie

Watson, Margaret, Miss See: Parker, Margaret Watson

Whistler, Anna See: Stanton, Anna Whistler

Whiting, Almon C. See: Toledo Museum of Art

Williams College See: Rice, Richard A

Wright, F. G. See: Orbach and Company

Yatsuhashi, H. See: Yamanaka and Company

Index to cross-referenced correspondence in the series Whistler correspondence

Bell, William See: Unidentified correspondents

Brown, Ernest See: Painter Etchers' Society, Committee

Cowen, John T. See subseries: Charles Lang Freer Correspondence

Ford, Sheridan See: Reid, Alexander

Haden, Francis Seymour See: Painter Etchers' Society, Committee

Haden, Francis Seymour, Lady See: Haden, Deborah Whistler

Leighton, Frederick, Baron See: Campbell, Lady Colin

Moore, Albert See: Reid, Alexander

Morley, Charles See: Pall Mall Gazette

Morris, Harrison S. See: Reid, Alexander

Pennell, Joseph See: Miscellaneous typescripts

Pennsylvania Academy of the Fine Arts See: Reid, Alexander

Prange, F. G. See: Reid, Alexander

Societe des Beaux-Arts See: Reid, Alexander

Society of Portrait Painters See: Reid, Alexander

Stevens Fine Art See: Reid, Alexander

Studd, Arthur See: Miscellaneous typescripts

[Vanderbilt?], George, Mrs. See: George, Mrs.

Whistler, William McNeill, Mrs. See: Whistler, Nellie

Whistler Memorial Committee See: Miscellaneous typescripts

Related Material:

The Archives of American Art microfilmed portions of the Freer papers in 1992. The microfilm is available at the Archives of American Art's Washington D.C. office, the Freer Gallery of Art Library, and through interlibrary loan.

Provenance:

Gift of the Estate of Charles Lang Freer.

Restrictions:

Collection is open for research.

Rights:

Permission to publish, quote, or reproduce must be secured from the repository.

Topic:

Art, American -- Collectors and collecting  Search this

Art, Asian -- Collectors and collecting  Search this

Art -- Collectors and collecting  Search this

Architecture -- Asia  Search this

Genre/Form:

Diaries

Financial records

Correspondence

Photographs

Citation:

Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.

Identifier:

FSA.A.01

See more items in:

Charles Lang Freer Papers

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3f1a0e3e0-630c-48d4-ba28-485946b1d615

EDAN-URL:

ead_collection:sova-fsa-a-01

Creator:

McIntosh, Burr, 1862-1942  Search this

Names:

Longworth, Alice Roosevelt, 1884-1980  Search this

Taft, William H. (William Howard), 1857-1930  Search this

Collection Collector:

Longworth, Alice Roosevelt, 1884-1980  Search this

Collection Creator:

McIntosh, Burr, 1862-1942  Search this

Extent:

1 Gelatin silver print (mounted into a disassembled photo album)

Type:

Archival materials

Gelatin silver prints

Photographic prints

Photographs

Place:

Japan

Tokyo (Japan)

Date:

July 28, 1905

Scope and Contents:

Onlookers watch a sumo exhibition match. Alice Roosevelt sits next to statesman Ito Hirobumi (1841-1909) in top hat. This photo was taken on the 26th of July.

Biographical / Historical:

McIntosh was better known as a fashion and society photographer before he joined the Taft Mission.

Local Numbers:

FSA A2009.02 08

Collection Restrictions:

Collection is open for research.

Collection Rights:

Permission to publish, quote, or reproduce must be secured from the repository.

Topic:

Diplomacy  Search this

Sumo  Search this

Travel  Search this

Genre/Form:

Photographic prints

Photographs -- 1900-1910

Collection Citation:

The Alice Roosevelt Longworth Collection of Photographs from the 1905 Taft Mission to Asia, FSA A2009.02. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.

Identifier:

FSA.A2009.02, Item FSA A2009.02 08

See more items in:

The Alice Roosevelt Longworth Collection of Photographs from the 1905 Taft Mission to Asia

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc31321fdbe-31a2-4a14-b9c9-86cfb79e83c8

EDAN-URL:

ead_component:sova-fsa-a2009-02-ref287

Creator:

McIntosh, Burr, 1862-1942  Search this

Names:

Longworth, Alice Roosevelt, 1884-1980  Search this

Taft, William H. (William Howard), 1857-1930  Search this

Collection Collector:

Longworth, Alice Roosevelt, 1884-1980  Search this

Collection Creator:

McIntosh, Burr, 1862-1942  Search this

Extent:

1 Gelatin silver print (mounted into a disassembled photo album)

Type:

Archival materials

Gelatin silver prints

Photographic prints

Photograph albums

Photographs

Place:

Philippines

Sulu Archipelago (Philippines)

Date:

August 18, 1905

Scope and Contents:

Folio 31 recto, 3rd photograph. Taken during a tour of the archipelago by Americans, including William H. Taft and Alice Roosevelt. Photograph was taken August 18, 1905.

Biographical / Historical:

McIntosh was better known as a fashion and society photographer before he joined the Taft Mission.

Local Numbers:

FSA A2009.02 2.31a.3

Collection Restrictions:

Collection is open for research.

Collection Rights:

Permission to publish, quote, or reproduce must be secured from the repository.

Topic:

Diplomacy  Search this

Travel  Search this

Genre/Form:

Photographic prints

Photograph albums

Photographs -- 1900-1910

Collection Citation:

The Alice Roosevelt Longworth Collection of Photographs from the 1905 Taft Mission to Asia, FSA A2009.02. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.

Identifier:

FSA.A2009.02, Item FSA A2009.02 2.31a.3

See more items in:

The Alice Roosevelt Longworth Collection of Photographs from the 1905 Taft Mission to Asia

The Alice Roosevelt Longworth Collection of Photographs from the 1905 Taft Mission to Asia / FSA A2009.02 02: Album of photographs of the Taft Mission to Asia

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc3a0331f9a-ca19-4701-8809-c6b9ba0d44f4

EDAN-URL:

ead_component:sova-fsa-a2009-02-ref188

Collection Creator:

Sarchiapone, Cosmos Andrew, 1931-2011  Search this

Container:

Box 18, Folder 8

Type:

Archival materials

Date:

circa 1974

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Use of archival audiovisual recordings with no duplicate copy requires advance notice.

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:

Cosmos Andrew Sarchiapone papers, circa 1860-2011, bulk 1940-2011. Archives of American Art, Smithsonian Institution.

See more items in:

Cosmos Andrew Sarchiapone papers

Cosmos Andrew Sarchiapone papers / Series 6: Photographic Material / 6.2: Exhibitions and Performances / Tom O'Horgan Productions

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9011ed6a8-3a36-41c4-bda5-59bf4725625f

EDAN-URL:

ead_component:sova-aaa-sarccosm-ref1637

Collection Creator:

Sarchiapone, Cosmos Andrew, 1931-2011  Search this

Container:

Box 18, Folder 9

Type:

Archival materials

Date:

circa 1974

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Use of archival audiovisual recordings with no duplicate copy requires advance notice.

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:

Cosmos Andrew Sarchiapone papers, circa 1860-2011, bulk 1940-2011. Archives of American Art, Smithsonian Institution.

See more items in:

Cosmos Andrew Sarchiapone papers

Cosmos Andrew Sarchiapone papers / Series 6: Photographic Material / 6.2: Exhibitions and Performances / Tom O'Horgan Productions

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98de00d58-17ab-458f-bade-43843fdc8fa9

EDAN-URL:

ead_component:sova-aaa-sarccosm-ref1638

Collection Creator:

Sarchiapone, Cosmos Andrew, 1931-2011  Search this

Container:

Box 18, Folder 9

Type:

Archival materials

Date:

circa 1974

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Use of archival audiovisual recordings with no duplicate copy requires advance notice.

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:

Cosmos Andrew Sarchiapone papers, circa 1860-2011, bulk 1940-2011. Archives of American Art, Smithsonian Institution.

See more items in:

Cosmos Andrew Sarchiapone papers

Cosmos Andrew Sarchiapone papers / Series 6: Photographic Material / 6.2: Exhibitions and Performances / Tom O'Horgan Productions

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f5c346ed-cd1e-48f4-af74-0799c6c7782d

EDAN-URL:

ead_component:sova-aaa-sarccosm-ref1639

Collection Creator:

Sarchiapone, Cosmos Andrew, 1931-2011  Search this

Container:

Box 18, Folder 10

Type:

Archival materials

Date:

circa 1974

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Use of archival audiovisual recordings with no duplicate copy requires advance notice.

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:

Cosmos Andrew Sarchiapone papers, circa 1860-2011, bulk 1940-2011. Archives of American Art, Smithsonian Institution.

See more items in:

Cosmos Andrew Sarchiapone papers

Cosmos Andrew Sarchiapone papers / Series 6: Photographic Material / 6.2: Exhibitions and Performances / Tom O'Horgan Productions

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c1d4da3d-99ee-42d4-9d14-9cf9c3db3865

EDAN-URL:

ead_component:sova-aaa-sarccosm-ref1640

Creator:

Sarchiapone, Cosmos Andrew, 1931-2011  Search this

Names:

Parsons School of Design -- Faculty  Search this

Push Pin Studios  Search this

School of Visual Arts (New York, N.Y.) -- Faculty  Search this

Arbus, Diane, 1923-1971  Search this

Cage, John, 1912-1992  Search this

Glaser, Milton  Search this

Hay, Alex  Search this

Huebler, Douglas  Search this

Israel, Marvin  Search this

Johnson, Ray, 1927-  Search this

Kelly, Ellsworth, 1923-  Search this

Scull, Robert C.  Search this

Sonneman, Eve  Search this

Extent:

49.2 Linear feet

0.367 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Drawings

Ephemera

Illustrations

Music

Photocopies

Photographs

Posters

Prints

Sketchbooks

Sound recordings

Video recordings

Place:

New York (State) -- New York City -- Photographs

Date:

circa 1860-2011

bulk 1940-2011

Summary:

The papers of New York City photographer, conceptual artist, and musical composer Cosmos Sarchiapone measure 49.2 linear feet and 0.367 GB and date from circa 1860-2011, with the bulk of the materials dating from 1940-2011. The collection includes biographical material and personal business records; correspondence; extensive writings, including written and recorded music compositions; teaching files; printed material and published sound and video recordings; photographic material; artwork; artifacts; and unpublished sound recordings and born-digital material. Highlights of the collection are more than 40,000 photographic images documenting New York's avant-garde art scene of the 1970s, along with celebrity parties, concerts, exhibition openings and other occasions in the art, music, and theater world. Extensive and somewhat rare printed materials offer users a visual chronical of the downtown art world in the form of posters from the 1970s, including a number of Milton Glaser's, and hundreds of exhibition announcements, theater programs, and playbills.

Scope and Contents:

The papers of New York City photographer, conceptual artist, and musical composer Cosmos Sarchiapone measure 49.2 linear feet and 0.367 GB and date from circa 1860-2011, with the bulk of the materials dating from 1940-2011. The collection includes biographical material and personal business records; correspondence; extensive writings, including written and recorded music compositions; teaching files; printed material and published sound and video recordings; photographic material; artwork; artifacts; and unpublished sound recordings and born-digital material. Highlights of the collection are more than 40,000 photographic images documenting New York's avant-garde art scene of the 1970s, along with celebrity parties, concerts, exhibition openings and other occasions in the art, music, and theater world. Extensive and somewhat rare printed materials offer users a visual chronical of the downtown art world in the form of posters from the 1970s, including a number of Milton Glaser's, and hundreds of exhibition announcements, theater programs, and playbills.

Biographical material and personal business records include address books, calendars, legal paperwork, life documents, resumes, and other material. Correspondence is both personal and professional in nature. Personal correspondence is between Cosmos and friends, family, and pen pals. Professional correspondence is with curators, publishers, and estates and mostly concerns Cosmos's artwork, photographs, or objects he lent for exhibition or publication.

Writings include general writings and notes, including a book layout for a book never realized; fifteen notebooks containing Cosmos's writings about projects, dreams, and miscellany; music compositions in both written form and on sound recordings; and scattered writings by others, including manuscripts and theater scripts.

Teaching files document photography courses taught by Cosmos at the School of Visual Arts in 1974-1976, and the Parsons School of Design in 1980.

Printed materials and commercially published sound and video recordings in the collection are extensive and reflect Cosmos's unique interests and inspirations, and his tendency to save and collect material discarded or rejected by others. There are books and periodicals featuring Cosmos's work, annotated by Cosmos, or of special significance to Cosmos. There is also a list of books in Cosmos's library. Some of the periodicals concern Push Pin Studios and Milton Glaser. There is a large group of ephemera, such as announcements, catalogs, press releases, programs, playbills, posters, and assorted items covering several decades of New York exhibitions, events, concerts, and performances. There are posters for exhibitions, events, performances, film screenings, and concerts. Some of the clippings and other ephemera may have been removed from scrapbooks or other compilations, and some remain collated and mounted on mat board. Some of the printed materials may have been used by Cosmos as source materials.

Photographic material makes up a significant portion of the collection (14.5 linear feet), and illustrates the breadth of Cosmos's documentation of New York City, capturing the avant-garde art and theater worlds, the people and streets, self-portraits, and numerous other subjects. There are images of named people and people at parties, of exhibitions and performances, of New York City streets and buildings, of a more personal and family nature, of artwork, and of miscellaneous subjects. There are also collected photographs, some of which are vintage. There is a large group of unidentified and unsorted negatives, slides, and contact sheets. Where they existed, labeling and descriptive notes have been preserved with the unidentified materials.

Artwork is also quite extensive (10.5 linear feet) and found in a variety of genre, format, and media. There is also a small subseries of artwork by others. One group of artwork consists of titled or named art projects and series, often executed in the form of series that spanned decades. This group includes Cosmos's Reciprocal project that incorporated his photographic work. For this project, he would photograph notable figures, including John Cage, Robert Scull, and others, and ask them to photograph him. There are also several folders of Cosmos's work focusing on photographer Diane Arbus.

A group of artwork identified as "compilations" consist primarily of photocopies of compiled presentations of documents, photographs, fragments, writings, drawings, printed materials and ephemera, and bits and pieces of Cosmos's titled work. These compilations were prepared by Cosmos for individuals in the art world to whom he was close. The original compilations were then photocopied and presented to the intended receiver. The subseries of compilations contains both originals and photocopied versions that do not always correlate with one another. Also found among the artwork are drawings, illustrations, a few paintings, collages, and sketchbooks by Cosmos. Artwork by others includes an artist book, drawings, a sketchbook, and prints by Milton Glaser, Alex Hay, Douglas Huebler, Marvin Israel, Ray Johnson, Ellsworth Kelly, and Eve Sonneman.

Found within the collection are three dimensional artifacts, including eight cameras and other items Cosmos saved and collected to incorporate into his photographs.

There is a large series of unpublished sound recordings and born-digital material, some of which is clearly identified and labeled, and some of which is unidentified. When known, labeling has been incorporated into the folder titles in the container inventory. Users should note that sound recordings that were clearly identified and associated with other projects were arranged in context with those related materials.

Printed material (series 5), photographic material (series 6), and artwork (series 7), include many photocopies. Cosmos used the photocopy process to make copies of his work to share with others, and as a creative form of art in itself, experimenting with tonality, collage, and the degeneration of images from repeated copying. Photocopies were also made of articles, newspapers, and various source material and ephemera that he collected. Many photocopies have descriptive labeling on the back. For some photographs and projects, photocopies are the only form of documentation located in the collection.

Arrangement:

The collection is arranged as nine series

Missing Title

Series 1: Biographical Material and Personal Business Records, circa 1949-2011 (1 linear foot; Box 1, 44, OV 49)

Series 2: Correspondence, 1940s-2011 (.7 linear feet; Box 1-2)

Series 3: Writings, circa 1947-2000s (4.2 linear feet; Box 2-6, 44, OV 50-51)

Series 4: Teaching Files, 1970s-1980s (1.9 linear feet; Box 6-8, 44, OV 52)

Series 5: Printed Material, Published Sound, Video Recordings, 1894-2000s (8.3 linear feet; Box 8-13, 44-45, OV 53-73, RD 105)

Series 6: Photographic Material, circa 1860-2000s, bulk 1970-2010 (14.5 linear feet; Box 14-26, 46-47, OV 74-80)

Series 7: Artwork, 1947-2000s (10.5 linear feet; Box 27-34, 47-48, OV 81-104)

Series 8: Artifacts, 1960s-2000s (1.5 linear feet; Box 34-35)

Series 9: Sound Recordings and Born-Digital Material, 1950s-2000s (6.6 linear feet; Box 36-43, 0.367 GB; ER01-ER02)

Biographical / Historical:

Cosmos Andrew Sarchiapone (1931-2011) was a documentary photographer, musical composer, and conceptual artist who worked in New York City.

Cosmos Andrew Sarchiapone was named Cosime Sarchiapone at birth, and was also known as Cosmos, Cosmos Savage, and Richard Savage. His parents, Lois and Aldo, had seven children, including twins Cosmos and Damian. Born in Manhattan, Cosmos graduated from the La Guardia High School of Music and Art in New York City in 1948 and from Syracuse University in 1958 with a concentration in music composition and studio art. After college, he studied musical composition with John Cage at the New School in 1961, art history with Meyer Schapiro at Columbia University from 1963-1965, illustration with Marvin Israel from 1966-1971, design with Milton Glaser from 1968-1973, and photography with Diane Arbus from 1970-1971. He taught photography at the School of Visual Arts from 1974-1976, and at Parsons School of Design in 1980. In the early 1970s, he led experimental theater workshops at Columbia-Barnard University.

Between 1968-1969, Cosmos worked with Milton Glaser and Seymour Chwast at their Push Pin Studios, a graphic design and illustration studio.

Sometime between the late 1960s and the early 1970s, Cosmos began photographing New York City, capturing the art and theater worlds, the people and streets, self-portraits, and numerous other subjects. As a freelance photographer for New York magazine (founded by Milton Glaser) and other mass-market publications, Cosmos photographed Andy Warhol and his circle, Halloween parties at the Waldorf, the Rev. Sun Myung Moon convention, the Jesus Joy Jubilee at Carnegie Hall, the Beat Poets' reunion and private parties attended by Hollywood actors and directors, often capturing the overlapping worlds of art, movies and music. Cosmos's photographs have been published in numerous books and publications. His work was featured in several exhibitions in the 1970s, including shows at the Jamie Gallery, the Fine Arts Building, and the Baltimore Museum of Art. But he created the bulk of his work for himself and much of it remains unpublished.

Throughout the 1970s, Cosmos documented the avant-garde art scene in New York City. He captured performances at The Kitchen and La Mama, the offices of New York magazine and Push Pin Studios, Tom O'Horgan's Broadway and Off-Broadway productions, and much more. He photographed performances and installations at 112 Greene Street in SoHo, an interdisciplinary art space that nurtured the experiments of a number of now significant American artists, dancers and musicians, including Chris Burden, Vito Acconci, Suzanne Harris and Phillip Glass, all of whom were photographed by Cosmos. He also photographed numerous images of 112 Greene Street's sister space, Matta-Clark's FOOD, an artist-run eatery at the corner of Prince and Wooster Streets where exotic meals were offered up as both performance art and nourishment. Cosmos used his camera as a way to get close to artists he admired, including Diane Arbus, Milton Glaser, and Marvin Israel.

According to Milton Glaser, "Cosmos was a brilliant photographer who was never without a camera….He was always everywhere. In terms of documentation of that period, there was no one like him."

Cosmos often incorporated aspects of his photography into conceptual art pieces, including two serial works that Cosmos made from fragments of Diane Arbus' discarded photographs, transforming her iconic work. Many of Cosmos's conceptual art pieces often took the form of a series, and were continuously revisited. In Reciprocal, Cosmos photographed figures—including those he admired like John Cage, Meyer Schapiro, Robert Scull, and others—then asked each to photograph him. Many of Cosmos's art projects were based in photographic documentation of his "performances", as in Sheet Music, where he is seen tearing a white sheet outside Bloomingdale's during the 'white sale.' Cosmos's convictions about smoking, its hazards, and the nefarious actions of tobacco companies led to several related projects, among them, Photo Arrest, where Cosmos captured on camera people smoking illegally in hospitals, classrooms, grocery stores, and elevators.

Cosmos created scores for plays and dance performances, including Churchyard by the Paul Taylor Dance Company in 1970, and numerous Off-Off Broadway theater productions in the 1960s. He wrote an opera, Vox Humana #3. The opera is about three heroines of history: Antigone, Joan of Arc, and Patty Hearst, and synthesizes a variety of media, including music composition, stage direction, and video (Patty Hearst in Chains), into a four hour performance that was staged at La Mama in 1976 and The Kitchen in 1977.

Cosmos lived at Westbeth Artists' Community from 1970-2011, but had largely withdrawn from the world by the 2000s. Cosmos Sarchiapone died in 2011.

Provenance:

Donated to the Archives of American Art in 2015 by Tom Sarchiapone, Cosmos Sarchiapone's brother, via Catherine Morris, curator and friend of Cosmos.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Use of archival audiovisual recordings with no duplicate copy requires advance notice.

Rights:

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

Occupation:

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

Conceptual artists -- New York (State) -- New York  Search this

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

Topic:

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

Art -- Study and teaching  Search this

Conceptual art  Search this

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

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

Photography -- Study and teaching  Search this

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

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

Genre/Form:

Drawings

Ephemera

Illustrations

Music

Photocopies

Photographs

Posters

Prints

Sketchbooks

Sound recordings

Video recordings

Citation:

Cosmos Andrew Sarchiapone papers, circa 1860-2011, bulk 1940-2011. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.sarccosm

See more items in:

Cosmos Andrew Sarchiapone papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9bf441ea1-b8c9-46c4-a9ec-01ea133658fb

EDAN-URL:

ead_collection:sova-aaa-sarccosm

Collection Creator:

Sarchiapone, Cosmos Andrew, 1931-2011  Search this

Container:

Box 18, Folder 15

Type:

Archival materials

Date:

1960s-1970s

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Use of archival audiovisual recordings with no duplicate copy requires advance notice.

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:

Cosmos Andrew Sarchiapone papers, circa 1860-2011, bulk 1940-2011. Archives of American Art, Smithsonian Institution.

See more items in:

Cosmos Andrew Sarchiapone papers

Cosmos Andrew Sarchiapone papers / Series 6: Photographic Material / 6.2: Exhibitions and Performances / Tom O'Horgan Productions

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98c6de79f-491b-4f82-a2b4-1910e6cba3c5

EDAN-URL:

ead_component:sova-aaa-sarccosm-ref1634

Collection Creator:

Sarchiapone, Cosmos Andrew, 1931-2011  Search this

Container:

Box 18, Folder 16

Type:

Archival materials

Date:

1960s-1970s

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Use of archival audiovisual recordings with no duplicate copy requires advance notice.

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:

Cosmos Andrew Sarchiapone papers, circa 1860-2011, bulk 1940-2011. Archives of American Art, Smithsonian Institution.

See more items in:

Cosmos Andrew Sarchiapone papers

Cosmos Andrew Sarchiapone papers / Series 6: Photographic Material / 6.2: Exhibitions and Performances / Tom O'Horgan Productions

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90ef1ec87-a23c-421a-979d-19e58a6bcd02

EDAN-URL:

ead_component:sova-aaa-sarccosm-ref1635

Collection Creator:

Sarchiapone, Cosmos Andrew, 1931-2011  Search this

Container:

Box 46, Folder 10

Type:

Archival materials

Microform [31027000829396]

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Use of archival audiovisual recordings with no duplicate copy requires advance notice.

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:

Cosmos Andrew Sarchiapone papers, circa 1860-2011, bulk 1940-2011. Archives of American Art, Smithsonian Institution.

See more items in:

Cosmos Andrew Sarchiapone papers

Cosmos Andrew Sarchiapone papers / Series 6: Photographic Material / 6.2: Exhibitions and Performances

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f22f5c13-e35e-4d8a-bddc-91e1f3a71a22

EDAN-URL:

ead_component:sova-aaa-sarccosm-ref1636

Collection Creator:

Sarchiapone, Cosmos Andrew, 1931-2011  Search this

Container:

Box 18, Folder 7

Type:

Archival materials

Date:

circa 1974

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Use of archival audiovisual recordings with no duplicate copy requires advance notice.

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:

Cosmos Andrew Sarchiapone papers, circa 1860-2011, bulk 1940-2011. Archives of American Art, Smithsonian Institution.

See more items in:

Cosmos Andrew Sarchiapone papers

Cosmos Andrew Sarchiapone papers / Series 6: Photographic Material / 6.2: Exhibitions and Performances / Tom O'Horgan Productions

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ff95438e-4ea5-4584-9922-a33675ad0274

EDAN-URL:

ead_component:sova-aaa-sarccosm-ref541

Collection Creator:

Sarchiapone, Cosmos Andrew, 1931-2011  Search this

Container:

Box 18, Folder 11

Type:

Archival materials

Date:

1974

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Use of archival audiovisual recordings with no duplicate copy requires advance notice.

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:

Cosmos Andrew Sarchiapone papers, circa 1860-2011, bulk 1940-2011. Archives of American Art, Smithsonian Institution.

See more items in:

Cosmos Andrew Sarchiapone papers

Cosmos Andrew Sarchiapone papers / Series 6: Photographic Material / 6.2: Exhibitions and Performances / Tom O'Horgan Productions

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91b5e0346-671c-4b57-afb9-52ec2bd421e4

EDAN-URL:

ead_component:sova-aaa-sarccosm-ref542