600 Prints (circa, silver gelatin and contact prints (including stereographic images))
325 Negatives (circa)
3 Maps
Type:
Collection descriptions
Archival materials
Color prints
Sketches
Prints
Negatives
Maps
Drawings
Photographs
Place:
Horry County (S.C.) -- Antiquities
Virginia -- Antiquities
Maryland -- Antiquities
Glynn County (Ga.) -- Antiquities
Florida -- Antiquities
Washington (D.C.) -- Antiquities
Sussex County (Del.) -- Antiquities
Date:
circa 1930-1960
Scope and Contents note:
The collection includes photographs of excavations and artifacts relating to Stearns' archeological work in Delaware, the District of Columbia, Florida, Georgia, Maryland, Pennsylvania, South Carolina, and Virginia. There are also some sketches of artifacts and excavation sites, as well as notes on pictured artifacts. One photo album relates to Stearns' work in Florida, while the other contains photographs of various sites in Maryland, including Conowingo.
The collection relates to work in Sussex County in Delaware; the District of Columbia; Bay, Collier, Flagler, Franklin, St. Johnʹs, St. Lucie, and Volusia counties in Florida, Glynn County in Georgia; Anne Arundel, Baltimore, Calvert, Cecil, Charles, Frederick, Harford, Howard, Kent, Montgomery, Prince Georges, Queen Anneʹs, and St. Maryʹs counties in Maryland; Horry County in South Carolina; and Loudon and Page counties in Virginia.
Biographical/Historical note:
Richard E. Stearns (1902-1969) was a commercial photographer and amateur archeologist of Maryland's prehistory. He was known for his photographic documentation, particularly of sites and specimens, most notably at Conowingo, a large village site on the Susquehanna River. In the 1930s, he became a curator for the Department of Archeology of the Natural History Society of Maryland, a position he held for over thirty years. In the 1940s, Stearns published Nicholas Yinger's investigations of the Hughes site, as well as his own investigations of sites in Maryland.
The National Museum of Natural History's Department of Anthropology holds artifacts donated by Stearns, in accessions 163264, 176236, 182055, 183968, 186144, 188274, 200211, 202602, 247561, and 308221.
Additional photos by Stearns can be found in the National Anthropological Archives in MS 4524.
The material consists mostly of photographic prints. A few negatives, photomechanical prints, tintypes, drawings, newspaper clippings, notes, and letters are also included. Much of the material is annotated. In part, the file was assembled for or relates to many accessions and cataloging units of the division.
The material was received from professionals and amateurs, mostly working in North America. The images are of artifactual and skeletal specimens, fradulent specimens, collections of specimens, sites, excavations, site features, ruins, petroglyphs, and field parties. A few are reproductions of maps and portraits of native people. Some of the specimens are in the Smithsonianʹs collections, but many are not.
Included among the many subjects are photographs of Dighton Rock in Massachusetts; many ruins of the 1931 Moundville, Alabama, excavation; Tlingit burial boxes; excavations, specimens, and Aleut portraits taken by Waldemar I. Jochelsonʹs Ethnological Section of the Riaboushinsky Expedition, 1909-1912; Richard Wetherillʹs party in Mancos Canyon, Colorado, and F. S. Hempsteadʹs Archaeological and Topographic Map of Portsmouth," [Ohio].
Some of the material relates to the work of Charles L. Bernheimer in Utah, Burnham S. Colburn in Georgia and North Carolina, Thomas Featherstonehaugh in Florida, Otto William Geist in Alaska, A. T. Hill in Nebraska, Walter Hough in Arizona (for the Gates-United States National Museum Expedition, 1901), George Langford in Illinois, Henry Montgomery in North Dakota, Clarence B. Moore in Florida, Henri F. Pittier in Costa Rica, and F. B. Stebbins in Tennessee. Collections are those of Charles Artes (filed Indiana), Thomas Beckwith (filed Missouri), C. W. Branch (filed West Indies), Burham S. Colburn Cherokee relics (filed North Carolina), James Pillars (filed Ohio), Governor Price (frauds from New Mexico), Ephraim George Squier and Edwin Hamilton Davis (filed Ohio).
The material is from Alabama, Alaska, Arizona, Arkansas, California, Colorado, Connecticut, Delaware, Florida, Georgia, Illinois, Indiana, Iowa, Kansas, Kentucky, Maryland, Maine, Massachusetts, Michigan, Minnesota, Mississippi, Missouri, Nebraska, Nevada, New Jersey, New Mexico, New York, North Carolina, North Dakota, Ohio, Oklahoma, Oregon, Pennsylvania, South Carolina, Tennessee, Texas Utah, Virginia, Washington, Costa Rica, British Columbia, Canada, New Zealand, Nova Scotia, South Pacific, and West Indies.
The works of many photographers are included. Among them are John K. Hillers, William Henry Jackson, Sumner W. Matteson, Edgar A. Mearns, Victor Mindeleff, and Timothy H. OʹSullivan.
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Extent:
70 Linear feet (Approximately 70 linear feet of textual materials and over 30,000 photographic items.)
Type:
Collection descriptions
Archival materials
Date:
1930s-1980s
Summary:
The papers of John Lawrence Angel present a complete portrait of the professional life of one of the most important and influential physical anthropologists in the United States. Angel was best known for his work with cultures in the eastern Mediterranean and for his work in forensic anthropology; but his contributions were widespread. His influence was felt in studies of human microevolution, the relationship between environment and disease, human evolution, and paleopathology. His research was said to be ten years ahead of its time.
The papers include correspondence with many of the leading anthropologists of the time; honors and awards bestowed on Angel; materials on Angel's educational career, both as an undergraduate and as a teacher; extensive photographs; a virtually complete collection of his writings; materials concerning his research and his work in forensic anthropology; and his activities in professional organizations. The bulk of the papers reflect Angel's life-long interest in examining the relationship between culture and biology in human groups through time. There are a few records on Angel's administrative involvement in the Department of Anthropology of the United States National Museum/National Museum of Natural History.
Scope and Contents:
Angel began his undergraduate studies at Harvard University in the classics, following in the footsteps of his American mother (who trained as a classicist and was the daughter of a Yale University professor of Greek) and his British father, who was a sculptor. While still an undergraduate, Angel came under the influence of Clyde Kluckhohn, Carleton S. Coon, and Earnest A. Hooton, and his interest turned to anthropology. The combination of anatomy and classicist training developed into a life-long interest and work in the social biology of the peoples of Greece and the Near East.
In addition to his work in Greece and the Near East, the papers include Angel's studies of American populations of colonial peoples and slaves; his forensic anthropology analyses of skeletal remains for law enforcement groups and the United States military; his studies of obesity and other diseases and the possible genetic link behind them; Angel's analysis of the skeletal remains of James Smithson; his involvement in early reburial issues concerning American Indians, particularly the return of the remains of Captain Jack and other Modocs; and Angel's concern and involvement in civil liberty matters and in community affairs.
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 National Anthropological Archives, but is available in its original form to facilitate research.
Arrangement:
(1) Miscellaneous personal papers, 1933-1986; (2) correspondence, 1936-1986; (3) research in the eastern Mediterranean, 1936-1986; (4) anthropology of chronic disease, 1943-1965; (5) Harvard University-Johns Hopkins University Hospital anthropology study, 1959-1964; (6) five generation study, 1962-1985; (7) skull thickness project, 1968-1976; (8) biological and cultureal microdifferential among rural populations of Yugoslavia, 1981-1986; (9) First African Baptist Church, Philadelphia, 1983-1987; (10) other research projects (bone density change, Catoctin Furnace site, Virginia colonial sites), 1945-1986; (11) education, 1940-1986; (12) legal matters, 1962-1986; (13) reference materials, 1930-1986; (14) writing of J. Lawrence Angel, 1932-1988; (15) Smithsonian Department of Anthropology, Division of Physical Anthropology, 1961-1968; (16) professional organizations and meetings, 1942-1987; (17) writings by other authors, 1950-1985; (18) grants, 1951-1962; (19) miscellany, 1937-1985; (20) photographs, 1936-1986
Biographical Note:
J. Lawrence Angel was educated in the classics in his native England and at The Choate School in Connecticut. He studied anthropology at Harvard University (A.B., 1936; Ph.D., 1942). He was an instructor at the University of California at Berkeley in 1941-1942 and at the University of Minnesota in 1942-1943. In 1943-1962, he was on the staff of the Daniel Baugh Institute of Anatomy at the Jefferson Medical College in Philadelphia, starting as an assistant and rsising to a professor. In 1962, he became the curator for physical anthropology in the Smithsonian Institution's Department of Anthropology and continued in that position until he died. Angel was also a research associate with the University Museum of the University of of Pennsylvania, 1946-1962; civil consultant in surgical anatomy of the United States Naval Hospital in Philadelphia, 1957-1962; visiting professor of anatomy, Howard University, 1962-1986; and professorial lecturer at the George Washington University, 1962-1986. He was also a lecturer in forensic pathology at the department of Public Health, Johns Hopkins University, Baltimore, Maryland, and visiting professor at the University of California at Berkeley in 1962.
Angel summarized his research interests as (1) human social biology, involving the "interrrelations of health, disease, body build, longevity, genetic mixture and variability with each other, with climate and ecology, and with level of culture, nutrition and achievement as seen in history, in evolution, or clinically"; (2) palaeodemography as related to the rise and decline of disease (falciparum malaria)"; and (3) "relation of structure to function and to genetic determinants as seen in form of joints and in density, mineral historology and muscularity of bones, or in process of 'arthritic' change in relation to aging."
The single most enduring interest in Angel's career was the pre- and proto-history of the population of Greece and nearby areas of the eastern Mediterranean. Beginning in 1937, Angel made repeated trips to the region, only highlights of which are provided here. In 1938, he studied skeletal material from Troy which W.T. Semple, of the University of Cincinnati had deposited in the Archaeological Museum at Istanbul. In 1938, he studied skeletal material mostly excavated in the area of Corinth. He worked at the Cyprus Museum in 1949, studying skulls from Vasa and skeletal material from Bamboula. During that year, he also studied living people at a Cypriote village. In 1952, he worked with Carleton S. Coon on skeletal material from Hotu Cave. In 1954, he studied materials from the Agora excavations and from Eleusis. During the same year, he also visited the British Museum and many sites in Greece studying Myceanean skeletons excavated by George E. Mylonas, John Papadimitrious, and A.J.B. Wace. In 1954, he again studied skeletal material excavated at Bamboula and, in 1957, skeletons from Eleusis. In 1965, he studied human bones from twenty-two sites in Greece and Turkey that dated from the paleolithic to moderntimes, including material from a Bryan Mawr College excavation at Elmali, an excavation at Karatas-Semeyuk in Lycia, and collections in the Archaeological Museum of Ankara and in the museum at Verroia in Macedonia. In 1969, he worked on material from Kephala, and in 1972, skeletons from Asine in Greece. In 1984, he studied upper paleolithic skeletons from Wadi Kubbaniya.
Angel also carried out work on American populations--prehistoric, historic, and contemporary. In 1944, he worked on skeletal remains from excavations at Tranquillity, California, that were deposited in the University Museum of the University of Pennsylvania and in the Museum of Anthropology at the University of California at Berkeley. In the same year, he was one of several researchers involved in an endocrinological, anthropological, and psychological study ofobesity initiatec by the Jefferson School of Medicine.
The first hase of the study lasted until 1948 and was followed by restudy of the subjects in 1954-1957. Around 1959-1961, with Carl Seltzer, he was involved in a study of the relation between constitution and health of students at Harvard University and Johns Hopkins Unviersity, Angel primarily taking care of the work in Baltimore at Johns Hopkins. In the late 1970s and early 1980s, he studied skeletal material from Matin's Hundred and other sites of colonia Virginia which resulted, in part, in comparisons with the modern American population. In the 1980s, with Jennifer O. Kelly, he worked on skeletons of African American slaves from Catoctin Furnace, Maryland, and on remains of free African American from the First African Baptist Church in Philadelphia.
Angle was highly regarded for his keen seight and other senses which he used with great effect in examining human remains. Consequently, he was frequently sought as a consultant and regularly carried out forensic work for the United States Federal Bureau of Investigation and other law enforcement authorities. In addition, military authorities, archeologists involved in both the study of history and prehistory, and museum people sent him specimens for examination. At the Smithsonian, he not only used and improved the excellent skeletal collection, he had the opportunity to exmaine the bones of Smithsonian benefactor James Smithson and was involved ine arly studies connected with the return of American Indian skeltal materials to appropriate receipents.
Active with several professional organizations, Angel was president of the Philadelphia Anthropological Society in 1956-1958 and associate editor of the American Anthropologist. In 1952-1956, he was the secretary-treasurer of the American Association of Physical Anthropologists and, in 1959-1960, vice president of that organization. In 1952-1956, he was an association editor of the American Journal of Physical Anthropology. He was president of the American Board of Forensic Anthropology in 1980-1985. For his active professional life, he received the Pomerance Medal of the Archaeological Institute of American in 1983 and the distinguished service medal of the American Anthropological Association in 1986.
1915 -- Born March 21 in London, England to John Angel and Elizabeth Day Seymour.
1928 -- Emigrated to the United States from England.
1934 -- Summer field school, University of New Mexico.
1935 -- Summer field work, Museum of Northern Arizona.
1936 -- A.B., Anthropology, Harvard College; summer field work at the Sante Fe Laboratory of Anthropology (Macon, Georgia expedition).
1937 -- Became a naturalized American citizen, 15 June; married Margaret (Peggy) Seymour Richardson, 1 July.
1937-1939 -- Field work in Greece: worked in Greece from early November 1937 until the end of January 1939 when illness forced his return in April; in the winter of 1937-1938, Angel worked in the American excavations in the Agora at Athens, in the American excavations at Old Corinth, and in the Greek National Museum in Athens; in the spring of 1938, Angel worked in the Greek Anthropological Museum in the Athens University Medical School in Goudi, and at the Agora excavations; from May to June, Angel measured villagers and excavated over 100 burials from the Riverside cemetery under David M. Robinson at the American excavations at Olynthus, Macedonia; Angel then worked in Athens and Corinth for a short time; from July to August Angel worked on skeletons from Troy (which W.T. Semple of the University of Cincinnati had deposited) and Babokoy, Anatolia, as well as on skulls from Nippur and Sidon in the Archeological Museum at Istanbul, Turkey; from mid-August to early September Angel studied skeletal material from southwestern Cephallenia in the museum at Argostoli; Angel then measured skulls in the museum at Thebes and at Schematari (Tanagra) in Boeotia; from October to November Angel studied skulls from Corinth; Angel then returned to Athens to study skeletons from the German excavations at the Kerameikos and the material in the Athens Anthropological Museum and National Museum; in 1939 Angel measured people at the Agora excavations north of the Acropolis and studied skulls excavated by T.L. Shear in Athens and Corinth. During these years, Angel made one day trips to many places, including Nauplia, Tolon, Mycenae, Nemea, Aigosthina, Parnos, Aigina, Marathon, Therikos, and Sounion; support was from traveling fellowships from the departments of Anthropology and Classics of Harvard University, half of a Sheldon fellowship, the Albert and Anna Howard fellowship (Harvard), the Guggenheim Foundation, the Viking Fund, the American School of Classical Studies in Athens, the Jefferson Medical College, and the American Philosophical Society.
1939-1941 -- Assistant in Anthropology, Harvard University.
1940 -- Elected to membership in the American Association of Physical Anthropologists.
1941-1942 -- Instructor in Anthropology, University of California, Berkeley.
1942 -- Doctor of Philosophy Degree, Anthropology, Harvard University.
1942-1943 -- Instructor in Anthropology, University of Minnesota.
1943-1950 -- Associate, Daniel Baugh Institute of Anatomy of the Jefferson Medical College in Philadelphia.
1944 -- Studied skeletal remains from excavations at Tranquillity, California, at the University Museum of the University of Pennsylvania and in the [Hearst] Museum of Anthropology at the University of California at Berkeley.
1944-1948 -- Research for the anthropological study of chronic disease at the Jefferson Medical College.
1946-1948 -- President, Philadelphia Anthropological Society; Associate Editor, American Anthropologist.
1946-1962 -- Research Associate, University Museum of the University of Pennsylvania-Philadelphia.
1947 -- Organized the Viking Fund summer seminar on growth and evolution.
1949 -- Field work in the Near East: In the spring, studied skulls from Kampi near Vasa in Central Cyprus at the Department of Antiquities museum in Nicosia on a visit to Cyprus and Greece; studied skeletons and living Cypriote villagers at the University of Pennsylvania's Museum headquarters in Episkopi, and skeletal material from Bamboula at the Cyprus Museum; support was from Harvard University, the Guggenheim Foundation (Guggenheim Fellowship), Wenner-Gren Foundation, Viking Fund, American School of Classical Studies, and Jefferson Medical School.
1949-1950 -- President, Philadelphia Society of the Archeological Institute of America.
1950-1951 -- Assistant Professor, Daniel Baugh Institute of Anatomy of the Jefferson Medical College in Philadelphia. 1950-1952
1950-1952 -- Executive Committee member, American Association of Physical Anthropologists.
1951 -- Troy: The Human Remains. Supplemental monograph to Troy excavations conducted by the University of Cincinnati 1932-1938.
1951-1954 -- Associate editor, American Journal of Physical Anthropology.
1951-1962 -- Associate Professor, Daniel Baugh Institute of Anatomy of the Jefferson Medical College in Philadelphia.
1952 -- Worked with Carleton Coon on skeletal material from Hotu Cave, Iran.
1952-1956 -- Secretary-treasurer, American Association of Physical Anthropologists.
1953-1966 -- Trustee for the Council for Old World Archaeology.
1954 -- Field work in the Near East: visited the British Museum (Natural History); studied skeletal material from Eleusis (Greece), at the Anthropological Museum of the Medical School of the University of Athens, and at the Agora Excavations Headquarters; studied Myceanean skeletons (excavated by George E. Mylonas, John Papadimitriou, and A.J.B. Wace), Corinthian skeletons, Bronze Age Lernaean skeletons, and Bronze Age Pylian skeletons; again studied skeletal material excavated at Bamboula; supported by grants from the Harvard graduate school, the American Philosophical Society [Grant No. 1714], and the National Institutes of Health Grant No. A-224, the Jefferson Medical College, the University Museum of the University of Pennsylvania, the American School of Classical Studies at Athens, and the Agora excavations; helped by Anastasios Pantazopoulous and Nikos Thiraios.
1954-1957 -- Restudy of subjects for the anthropological study of chronic disease originally performed at the Jefferson Medical College from 1944-1948.
1956-1958 -- Council member of the American Society of Human Genetics.
1957 -- Field work in the Near East: visited the Laboratory of Anthropology in the Department of Anatomy at Oxford University; again studied skeletons from Eleusis in Greece; studied skeletons from Lerna, from the French excavations at Argos, from Pylos, from Corinthian sites near the Diolkos at the Isthmus and at Klenia, and from the Athenian Agora; supported by Grant No. 2150 from the American Philosophical Society and the National Institutes of Health; sponsored by Jefferson Medical College and the University Museum of the University of Pennsylvania; helped by Argyris Marinis and Panayotis Yannoulatos.
1957-1962 -- Civilian consultant in surgical anatomy to the United States Naval Hospital, Philadelphia.
1959-1960 -- Vice-President, American Association of Physical Anthropologists.
1960-1962 -- Member of the advisory panel on Anthropology and the History and Philosophy of Science for the National Science Foundation; consultant for the Harvard University-Johns Hopkins Hospital project on constitution and disease.
1960-1963 -- Associate editor, American Journal of Physical Anthropology.
1962 -- Professor, Daniel Baugh Institute of Anatomy of the Jefferson Medical College in Philadelphia; Chairman of Schools Committee of West Mt. Airy Neighbors; organized the thirty-first annual meeting of the American Association of Physical Anthropologists.
1962-1986 -- Curator, Division of Physical Anthropology, Department of Anthropology, United States National Museum (later the National Museum of Natural History), Smithsonian Institution, Washington, D.C.
1962-1965 -- Advisory panel for evaluating NSF Graduate Fellowships, National Academy of Sciences-National Research Council.
1962-1986 -- Professorial Lecturer in Anthropology at George Washington University, Washington, D.C.
1963-1986 -- Lecturer in forensic pathology, The Johns Hopkins University School of Public Health.
1965 -- Field work in the Near East: studied human bones from 22 sites in Greece and Turkey, including Petralona in eastern Macedonia (Palaeanthropic skull), the Peneios River open sites (Theocharis and Miloicic), Tsouka cave on Mt. Pelion in Thessaly, Nea Nikomedeia near the Haliakmon River in Macedonia, Kephala on the coast of the Aegean island of Kea (Caskey), Hagios Stephanos in Laconia (Taylour), Kocumbeli near Ankara (Turkey), the Bryn Mawr College excavation at Elmali (working with Machteld Mellink), Karatas-Semeyuk in Lycia, Catal Huyuk (in the Korya Plain in Turkey) in the Archaeological Museum of Ankara, Argos, Agora Excavation, Attica, Mycanae, Corinth, Sparta, Alepotrypa (Foxes' Hole) in Mani, and in the museum at Verroia in Macedonia; supported through the SI Hrdlička Fund, the American Philosophical Society, and the Wenner-Gren Foundation.
1965-1970 -- Visiting Professor of Anatomy, Howard University Medical School, Washington, D.C.
1966 -- Summer Visiting Professor, University of California, Berkeley; Early skeletons from Tranquillity, California.
1967 -- Field work in the Near East: Turkey, studied skeletal remains from Catal Huyuk at the University of Ankara, and skeletons from Antalya, Elmali, and Karatas; Greece, studied skeletal remains from Franchthi cave, Athens, Kea, Nauplion, Corinth, and Asine; supported by the Hrdlička Fund. Organized a symposium on paleodemography, diseases and human evolution at the 66th meeting of the American Anthropological Association in Washington, D.C.
1969 -- Field work in the Near East: studied material from Kephala, Karatas, and Franchthi cave; supported by the Hrdlička Fund and the Wenner-Gren Foundation.
1970 -- Visiting Professor, Harvard University (Spring). Organized the 39th meeting of the American Association of Physical Anthropologists held in Washington, D.C.
1971 -- The People of Lerna: Analysis of a Prehistoric Aegean Population.
1972 -- Field work in the Near East: studied skeletons from Asine and Agora in Greece; supported by the Hrdlička Fund. 1974
1974 -- Organized a symposium in honor of Albert Damon, a medical anthropologist, at the 43rd meeting of the American Association of Physical Anthropologists held in Amherst, Massachusetts.
1974-1975 -- President, Anthropological Society of Washington.
1975 -- Field work in the Near East: studied skeletons at Asine and Agora in Greece and at Elmali, helped by David C. Fredenburg, and supported by the Hrdlička Fund; joined the American Academy of Forensic Sciences as a Provisional Member; published Human skeletons from Eleusis, in The south cemetery of Eleusis; worked on the organizing committees for meetings in Washington, D.C. for the Archaeological Institute of America.
1976 -- Studied skeletons at Colonial Williamsburg, Virginia, with the help of David Fredenburg (3 trips); organized a symposium in honor of T. Dale Stewart at the 45th meeting of the American Association of Physical Anthropologists held in St. Louis, Missouri.
1977 -- Field work in the Near East: worked in Thessaloniki, Istanbul, Ankara, Elmali, and Athens; field visit to Colonial Williamsburg.
1978 -- Field work in the Near East: studied skeletons from Byzantium and Turkey; skeletons were in Ankara and from Kalinkaya in the Hittite Territory of Central Anatolia; Byzantium specimens came from Kalenderhane Camii in Istanbul; field visit to Colonial Williamsburg.
1979 -- Published symposium in Angel's honor by the American Association of Physical Anthropologists; three days of field work at the British Museum (Natural History) during which he studied Egyptian and Greek skulls.
1979 -- Studied skeletons of African American slaves from Catoctin Furnace, Maryland.
1980 -- Field visit to Colonial Williamsburg.
1980-1985 -- President, American Board of Forensic Anthropology. 1982
1982 -- Field visit to Colonial Williamsburg.
1983 -- Awarded the Pomerance Medal for Scientific Contributions to Archaelogy by the Archaeological Institute of America.
1984 -- Studied upper paleolithic skeletons from Wade Kubbaniya; award from the Physical Anthropology Section of the American Academy of Forensic Sciences.
1986 -- Died November 3; award from the Physical Anthropology Section of the American Academy of Forensic Sciences; was chosen to receive the Distinguished Service Award of the American Anthropological Association at their annual meeting in December.
1987 -- Memorial session in Angel's honor held at the annual meeting of the American Anthropological Association.
Related Materials:
Additional materials in the National Anthropological Archives relating to Angel are in the papers of Marcus Solomon Goldstein, Raoul Weston LaBarre, and Waldo Rudolph and Mildred Mott Wedel; the records of the American Anthropological Association, the Central States Anthropological Society, the River Basin Surveys, and the Department of Anthropology of the United States National Museum/National Museum of Natural History; Photographic Lots 7D (photograph taken at the meeting of the American Anthropological Association at Denver in 1965) and 77-45 (group portrait of Smithsonian physical anthropologists); and MS 4822 (photographs of anthropologists in the Division of Physical Anthropology, Department of Anthropology of the United States National Museum/National Museum of Natural History). There are also materials on Angel in the non-archival reference file maintained by the NAA. The names used for ethnic groups were selected to maintain consistency among the archival holdings and are used without regard to modern preferences.
Provenance:
Angel contracted hepatitis following coronary by-pass surgery in 1982 and died of the effects four years later. His papers were obtained by the National Anthropological Archives shortly thereafter. Some papers were obtained as the result of a bequest by Angel's wife, Margaret. The papers date from 1930 to 1987.
Restrictions:
The John Lawrence Angel papers are open for research. Access to some materials is restricted to maintain privacy or confidentiality.
Access to the John Lawrence Angel papers requires an appointment.
Photographs relating to or made during Setzler's archaeological work. Images depict surveys and excavations, artifacts and burials, archaeological crew members, and other individuals. They document work in Ohio (including the original Hopewell site on Paint Creek, Turner site, Newark site, High Bank Works, Tremper Mound, Seip Mound, Turner Group, Miamisburg Mound, Serpent Mound, and the Madisonville site), Wisconsin (including the Schwert group, Nicholls mound, and Trempealeau group), Louisiana (including the Marksville works and sites at Saline Point, Johnson place, and West Carroll, Madison, and Union parishes), Arkansas (including the Foster Place site). Some photographs portray the excavation of an Indian canoe on Cumberland Island in Georgia, and a body found in Mammoth Cave, Kentucky. Photographs of views in Georgia, North Carolina, South Carolina, and Florida relate to the work of the De Soto Commission. Photographs from the 1948 Arnhem Land Expedition largely relate to Yirrkala, Milingimbi, Oenpelli (Gunbalanya), and Groote Eylandt, and include travel scenes, dances, and the preparation of face masks and bark for drawing. Some lantern slides are associated with a lecture at the Smithsonian Institution, while others depict Latin American ruins and artifacts from Jalapa, Palenque, Uxmal, Chichén Ítza, Xochicalco, and Cuzco that once belonged to William Henry Holmes.
Setzler annotated many of the negative enclosures with image information. Photocopies of the enclosures are available in the collection, as well as one box of empty original enclosures. Also in the collection is an index card bibliography on Australia, and an index card catalog of individuals from Groote Eylandt.
Biographical/Historical note:
Frank Maryl Setzler (1902-1975) was an archaeologist with the United States National Museum who served as Head Curator in the Department of Anthropology from 1937 until his retirement in 1960. Setzler specialized in the archeology of the midwestern states, especially the Hopewell mounds, and was also interested in the southeastern states. During his career, he conducted fieldwork throughout the United States, and in 1948 was the deputy leader for the Australian-American Arnhem Land Expedition sponsored by the Smithsonian, the National Geographic Society, and the Australian government.
Local Call Number(s):
NAA Photo Lot 36
Location of Other Archival Materials:
The National Anthropological Archives holds the Frank Maryl Setzler papers.
Artifacts collected during the Arnhem Land expedition are held in the anthropology collections of the National Museum of Natural History in accession 178294.
The National Geographic Society holds motion picture film from the Arnhem Land Expedition.
The National Library of Australia Manuscript Collection holds some of Setzler's papers relating to the Arnhem Land Expedition (Frank Maryl Setzler - Records, 1948-1973, MS 5230).
Restrictions:
Original nitrate negatives are in special storage and require advance notice to view.
Rights:
Contact the repository for terms of use.
Genre/Form:
Photographs
Lantern slides
Citation:
Photo Lot 36, Frank Maryl Setzler photographs, National Anthropological Archives, Smithsonian Institution
The papers of folk art collector and museum curator Herbert Waide Hemphill date from 1776-1998, bulk 1876-1998, and measure 26.7 linear feet. Found within the papers are biographical materials, personal business records, files documenting his collecting, writings, art work, minutes of meetings, a scrapbook, printed material including exhibition and auction announcements and catalogs, and miscellaneous artifacts. The collection also contains numerous photographs of Hemphill, family members, his residences, friends and colleagues, exhibitions, travel, and art work. Sound and video recordings include interviews of Hemphill.
Scope and Content Note:
The papers of folk art collector and museum curator Herbert Waide Hemphill date from 1776-1998, bulk 1876-1998, and measure 26.7 linear feet. Found within the papers are biographical materials, personal business records, files documenting his collecting, writings, art work, minutes of meetings, a scrapbook, printed material including exhibition and auction announcements and catalogs, and miscellaneous artifacts. The collection also contains numerous photographs of Hemphill, family members, his residences, friends and colleagues, exhibitions, travel, and art work. Sound and video recordings include interviews of Hemphill.
Biographical material includes photocopies of Hemphill's birth certificate and passport, social security cards, and international health card, genealogical notes, an evaluation of his school work, membership cards, award certificates, address books, and an engagement calendar containing very brief annotations of his activities.
Correspondence documents Hemphill's affairs with miscellaneous museums and art institutions, discussing his presentation of lectures, exhibitions, and loans from his collection to organizations including the Abby Aldrich Rockefeller Folk Art Collection, the Folk Art Society of America, the Museum of International Folk Art, and the Smithsonian Institution's American Art Museum.
Hemphill's correspondence with friends and colleagues discuss collecting activities and pursuit of newly discovered folk art and artists. Many of the letters are from artists. Correspondents include Varick A. Crittenden, Michael D. Hall, A. Everette James, Daniel C. Prince, Neal A. Prince, and artists Rev. Maceptaw Bogun, Mary Borkowski, Tim Fowler, Joseph Victor Gatto, S. L. Jones, Gustav Klumpp, Roy Little, George Lopez, Kevin Orth, and Malcah Zeldis. There are also scattered letters from artists Miles Burkholder Carpenter, John W. Fancher, Rev. Howard Finster, William Hawkins, Sister Gertrude Morgan, Mr. Imagination, Mattie Lou O'Kelley, Clayton Patterson, St. EOM, and Mose Tolliver. One letter from Stephanie and John Smither is etched on a bone.
Personal business records include both legal and financial documents. There are wills for Hemphill, his mother, and for his friend Neal A. Prince. The records also include leases, insurance records, contracts, grant proposals, loan agreements, deeds of gift, price lists, consignment records, tax records, and miscellaneous receipts. Cancelled checks relate to Hemphill's collecting interests and activities, and include payments to artists for their work. There are court papers documenting a lawsuit by Hemphill's landlord who was attempting to evict him.
Art work consists of a sketchbook by Roy Little, a set of hand-cut Japanese mask designs, a collage of Polaroid photographs taped to glass created by Rev. Howard Finster, a hand-made book by Nancy Josephson, and miscellaneous drawings, watercolors, and prints by various artists including Justin McCarthy, Inez Nathaniel, and Nellie Mae Rowe.
Notes and writings include card files of artists, extensive bibliographic card files, and scattered notes on artists including Miles Carpenter, Raymond Coins, Rev. Howard Finster, Mattie Lou O'Kelley, Royal Robertson, Veronica Terrillion, Mose Tolliver, and Bill Traylor. Also found are lists of artists, patrons, and art work, miscellaneous notes, and minutes of meetings. Writings by Hemphill and others including Michael D. Hall, Lynda Roscoe Hartigan, A. Everett James, and Julia Weissman, consist of reports, typescripts, and poems concerning a wide range of art-related topics and travel.
A scrapbook consists of unbound pages of clippings and newsletters about Hemphill, his collection, and exhibitions of folk art.
There is extensive additional printed material illustrating Hemphill's many interests. This series primarily consists of clippings and exhibition announcements and catalogs for mainstream artists as well as folk artists. Also included are auction announcements and catalogs, announcements for festivals, press releases, and calendars of events. Numerous booklets, brochures, programs, menus, business cards, and novelty postcards concern a variety of topics including worldwide travel, the sale of art work, miscellaneous galleries, museums, organizations, conferences, schools, lectures, antiques and craft shops, films, publications, restaurants, household items, historical topics, and miscellaneous artists including Miles Carpenter, S. P. Dinsmoor, Lonnie Holley, Clementine Hunter, and Veronica Terrillion. There are also autographed copies of booklets The Black Swan and Other Poems by James Merrill, and The Blood of Jesus by Thomas Jefferson Flanagan. Novelty postcards range from photographs of Elvis Presley to cards with amusing captions or cartoon jokes. There is also sheet music by Charles Trenet. Miscellaneous printed material includes several eighteenth-century newspapers and a 1776 thirty shilling note from New Jersey.
Photographs are of Hemphill, family members, his residences, friends and colleagues including style editor Carrie Donovan, artist Rev. Howard Finster dancing at an exhibition opening, actress Alice Ghostley, Michael D. Hall, circus performers Vernon Goins and Tiny Hicks, Smithsonian curator Lynda Roscoe Hartigan, Neal A. Prince, and Jim Spies. Photographs of exhibitions include stereographic views of the International Exhibition in Philadelphia and the Exposition Universelle in Paris, and photographs of Hemphill's donation of his collection and its subsequent exhibition at the Smithsonian's American Art Museum. Travel photographs include views of South Dakota, Texas, the American West, Japan, Mexico, and The Netherlands.
Numerous photographs of art work sometimes include images of the artists with their work including Bruce Brice, Raymond Coins, John W. Fancher, Rev. Howard Finster, Theora Hamblett, Bessie Harvey, William Hawkins, James Harold Jennings, John Jordan, Charles Lisk, Alexander Maldonado, St. EOM, Fred Smith, Edgar Tolson, Hubert Walters, and Purvis Young. Some photographs of unattributed art work has been arranged by the state in which it is located and includes a Mardi Gras parade in Louisiana, a Mummer's parade in Pennsylvania, Lucy the Elephant-shaped building in New Jersey, and Holy Ghost Park in Wisconsin. Other photographs of unattributed art work include works on paper, paintings, sculpture, signs, collages, needlework, glass, ceramics, and architecture.
Sound and video recordings include a cassette from Hemphill's phone answering machine that contains only Hemphill's message to callers, cassette recordings of interviews with and concerning Hemphill, artist St. EOM, painter Robert E. Smith discussing his work, and the tour narration for a Smithsonian exhibition Made With Passion. There are videotapes about Hemphill and about artists Gayleen Aiken, Miller and Bryant, and Malcah Zeldis, and miscellaneous African American artists. There is also a videotape of an American Museum of Natural History tour group arriving in a succession of villages in Melanesia and Papua New Guinea where they are greeted by the native people and given the opportunity to purchase their art work.
Artifacts consist of a scattered assemblage of three-dimensional objects including three wooden "fringe" pieces from cigar store figures, ceramic fragments from a sword handle, a lock of horse hair, and a hand-painted View Master viewer souvenir from the opening of the American Visionary Art Museum in Baltimore. The View Master contains a disc of photographs of artists with their work including Vollis Simpson and Mary Frances Whitfield. Also included is a teacher's kit Little Adventures in Art containing four phonograph albums and four short film strips of slides showing art work in animal and bird forms.
Arrangement:
The collection is arranged as 10 series; all series are arranged chronologically:
Missing Title
Series 1: Biographical Material, 1916-1997 (Box 1, 28; 12 folders)
Series 2: Correspondence, 1901-1998 (Boxes 1-5, 27- 28, OV 31; 4.0 linear feet)
Series 3: Personal Business Records, 1817-1997 (Box 5-7, 28; 2.0 linear feet)
Series 4: Art Work, 1911-1997 (Box 7, 32; 0.4 linear feet)
Series 5: Notes and Writings, 1938-1996 (Box 7-10, 28; 2.5 linear feet)
Series 6: Scrapbook, 1965-1976 (Box 10; 1 folder)
Series 7: Printed Material, 1776-1998 (Box 10-19, 28-29, OV 31; 9.5 linear feet)
Series 8: Photographs, 1876-1997 (Box 19-24, 29; 5.5 linear feet)
Series 9: Sound and Video Recordings, 1986-1991 (Box 25-26; 13 folders)
Series 10: Artifacts, 1968-1995 (Box 26, 30; 0.7 linear feet)
Biographical Note:
Herbert Waide Hemphill, Jr., (1929-1998) lived in New York city and was a prominent curator, historian, and collector of American folk art. Hemphill was one of the founding members of the Museum of American Folk Art, organized several large exhibitions of folk art, and co-authored Twentieth Century American Folk Art and Artist.
Hemphill was born on January 21, 1929 in Atlantic City, New Jersey, the son of businessman Herbert Waide Hemphill, Sr., and Emma Bryan Bradley Hemphill whose uncle, William Clark Bradley, was one of the owners of the Coca-Cola Company.
Hemphill was reared in his mother's home town of Columbus, Georgia, and attended Wynnton School. At the Lawrenceville School in New Jersey and the Solebury School in New Hope, Pennsylvania, Hemphill's principle interests were in art and theater. In 1948, he spent a year studying fine arts at Bard College under Stefan Hirsch, a painter and folk art collector.
Hemphill developed his interest in collecting while accompanying his mother on her shopping forays searching for Dresden china. His first acquisition was a wooden duck decoy purchased when he was seven years old. His early collections were of glass bottles, marbles, stamps, and puzzle jugs. In 1949, Hemphill moved to Manhattan and began to focus on modern European and American art and African sculpture, but after 1956 he concentrated exclusively on 19th and early 20th century American folk art. He often discovered artists during his extensive travels, especially in the American South.
In 1961, Hemphill became one of the six founding trustees of the Museum of Early American Folk Art, later named the Museum of American Folk Art, in New York City. Between 1964 and 1973, he was the museum's first curator and curated many exhibitions, helping to promote awareness of work created by self-taught or visionary artists. He later served as Trustee Emeritus for many years.
Between 1974 and 1988, Hemphill loaned portions of his extensive personal collection to 24 museums nationwide and in 1976, the American Bicentennial Commission selected works from his collection for a goodwill tour of Japan. He was named guest curator at the Brooklyn Museum in 1976 and at the Abby Aldrich Folk Art Collection in 1980, and often appeared as guest lecturer at various universities, the Smithsonian Institution, and at the Library of Congress. In 1986, Hemphill donated more than 400 folk art works to the Smithsonian Institution's American Art Museum, resulting in a landmark exhibition Made with Passion: The Hemphill Folk Art Collection of the National Museum of American Art.
Hemphill's publications include books Twentieth Century American Folk Art and Artists, co-authored with Julia Weissman in 1974, Folk Sculpture USA for the Brooklyn Museum in 1976, and Found in New York's North Country: The Folk Art of a Region, co-authored with Varick A. Chittenden in 1982 for the Munson-Williams-Proctor Institute.
Herbert Waide Hemphill, Jr. died on May 8, 1998 in New York City.
Provenance:
Herbert Waide Hemphill donated his papers in 5 installments between 1988 and 1996.
Restrictions:
Use of original papers requires an appointment. Use of audiovisual materials with no duplicate access 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.
(letters from Charles [Lightbody] about reformers and renegade thinkers in antiquity and in the history of the Christian church (for a book Kent was contemplating?); see also: Lightbody, Charles and Georgia)
Collection Restrictions:
The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized requires an appointment.
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:
Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.
"The image is a copy print." [Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Curatorial Research Assistant]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 51.17: (P) [black-and-white print on hand]. Royal container (?)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 51."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Local Numbers:
FSA A.4 2.12.GN.51.17
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 58.11: Pottery (recent)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 58."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Local Numbers:
FSA A.4 2.12.GN.58.11
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken. Portion of the lower right corner is missing."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 59.2: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 59."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Local Numbers:
FSA A.4 2.12.GN.59.02
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken. Portions of the lower and upper left corners are missing."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 59.3: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 59."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Local Numbers:
FSA A.4 2.12.GN.59.03
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is cracked."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 59.4: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 59."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Local Numbers:
FSA A.4 2.12.GN.59.04
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is cracked."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 59.6: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 59."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Local Numbers:
FSA A.4 2.12.GN.59.06
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken. Portion of the lower right corner is missing."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 59.7: Sculpture (statue)." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 59."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Local Numbers:
FSA A.4 2.12.GN.59.07
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is cracked."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 59.8: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 59."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Local Numbers:
FSA A.4 2.12.GN.59.08
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is broken."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 59.9: Statue." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 59."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Local Numbers:
FSA A.4 2.12.GN.59.09
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is cracked."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 5910: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 59."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Local Numbers:
FSA A.4 2.12.GN.59.10
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
- FSg curatorial research specialist remark on Antoin Sevruguin photo condition reads, "The glass negative is cracked."
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 59.11: (P) [black-and-white print on hand]. Pottery." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Arrangement:
According to Myron B. Smith handwritten document (Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P Antoine Sevruguin, glass negatives, Iran), Antoin Sevruguin's 696 glass negatives, at the time of their acquisition, were arranged into 61 boxes without any apparent organization. Today they are housed in archival document boxes, essentially duplicating the original arrangement, and stored on shelves. This glass negative was included into "Box 59."
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Local Numbers:
FSA A.4 2.12.GN.59.11
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
- "By the second half of the twelfth century, the production of lustre-painted ceramics, an invention of potters in ninth-century Iraq, had been adopted in Iran. In Kashan, the principal city associated with lustreware, this tradition reached new levels of artistic and technical sophistication that were never equaled elsewhere."
"This plate, regarded as one of the masterpieces of lustreware, is decorated with an highly unusual and complex composition. According to one interpretation it represents a mystical allegory in which a mystic, the sleeping youth, yearns to transcend the material world (signified by the horse) in order to reach a vision of divine beauty (symbolized by the naked woman floating in the fish pond) and union with God." [The Arthur M. Sackler Gallery and the Freer Gallery of Art]
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
- On verso of the print, Myron Bement Smith caption in English reads, "[lustre dish, Prince Khusraw discovers Shirin bathing. Signed ʿSayyid Shaws ad-Din al Hasaniʼ. Kashan, c. 1210. plate 65. Islamic art, by David Talbot Rice.]."
Arrangement:
16 unaccounted Gelatin silver prints in Myron Bement Smith Collection have been identified as Sevruguin's photographic prints. They will now be part of Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs. Consequently, the physical items have been transferred to Box 5, folder 20 (subject category: unaccounted prints).
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Local Numbers:
FSA A.4 2.12.Sm.88
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
- On verso of the print (lower left corner), original stamp, in French and Persian, reads, "Photographie Sevruguin."
Arrangement:
16 unaccounted Gelatin silver prints in Myron Bement Smith Collection have been identified as Sevruguin's photographic prints. They will now be part of Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs. Consequently, the physical items have been transferred to Box 5, folder 20 (subject category: unaccounted prints).
Biographical / Historical:
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, although his family studio continued for some time as a commercial enterprise.
Local Numbers:
FSA A.4 2.12.Sm.89
General:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Other Archival Materials:
Glass negative numbered FSA A.6 04.GN.1357; available in Ernst Herzfeld Papers; Also located at Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution
Glass negative numbered FSA A.6 04.GN.1358; available in Ernst Herzfeld Papers; Also located at Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution
Glass negative numbered FSA A.6 04.GN.1359; available in Ernst Herzfeld Papers; Also located at Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution
Glass negative numbered FSA A.6 04.GN.1360; available in Ernst Herzfeld Papers; Also located at Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The Myron Bement Smith Collection, FSA A.04. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Katherine Dennis Smith.
