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William Merritt Chase, "Interior: Young Woman Standing at Table" - Henry Art Gallery, University of Washington, Seattle, Washington, 8/1982 - 10/1982

Container:
Box 1 of 2
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Accession 03-145, Hirshhorn Museum and Sculpture Garden, Office of the Registrar, Loan Records
See more items in:
Loan Records
Loan Records / Box 1
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa03-145-refidd1e1341

Henry Art Gallery Facade Window Project (Rejected)

Collection Creator:
Cowin, Eileen  Search this
Container:
Box 25, Folder 5
Type:
Archival materials
Date:
2011
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 access copy requires advance notice.

One box of correspondence with Michael Dorris and Louise Erdrich and one box of correspondence with Robert Fichter are ACCESS RESTRICTED; use requires written permission.
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:
Eileen Cowin papers, circa 1900-2020. Archives of American Art, Smithsonian Institution.
See more items in:
Eileen Cowin papers
Eileen Cowin papers / Series 5: Project Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9dfae4fc8-8d68-4d97-89c5-1ee30f5ff965
EDAN-URL:
ead_component:sova-aaa-cowieile-ref932

Alexander Hill Everett [probably]

Alternate Title:
Oliver Everett [formerly attributed]
Artist:
Gilbert Stuart, 3 Dec 1755 - 9 Jul 1828  Search this
Probably:
Alexander Hill Everett, 1790 - 1847  Search this
Formerly identified as:
Oliver Everett, 19th century  Search this
Medium:
Oil on panel
Dimensions:
Panel: 71.5 x 57.1cm (28 1/8 x 22 1/2")
Type:
Painting
Date:
c. 1807
Topic:
Alexander Hill Everett: Male  Search this
Alexander Hill Everett: Politics and Government\Diplomat  Search this
Portrait  Search this
Credit Line:
Owner: Henry Art Gallery
Object number:
FA84.7 HAG
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4ab011aea-f71a-4f9f-a92c-a6cb1a8c9b19
EDAN-URL:
edanmdm:npg_FA84.7_HAG

Eskimo Skinning Fox, (sculpture)

Sculptor:
Unknown  Search this
Medium:
Soapstone
Culture:
Indian  Search this
Type:
Sculptures
Owner/Location:
University of Washington Henry Art Gallery Seattle Washington 98195
Topic:
Figure  Search this
Occupation--Hunter  Search this
Ethnic--Inuit  Search this
Animal--Fox  Search this
Control number:
IAS 75008647
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_14981

Oral history interview with Ron Ho

Interviewee:
Ho, Ron  Search this
Creator:
Herman, Lloyd E.  Search this
Extent:
2 Items (sound files (2 hrs., 5 min.), digital, wav)
38 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2017 May 9
Scope and Contents:
An interview with Ron Ho conducted 2017 May 9, by Lloyd Herman, for the Archives of American Art, at Ho's home in Seattle, Washington.
Ho discusses his family background in Kowloon and Canton, China; grandparents' immigration to Hawaii, and Maui. Agricultural family business in Hawaii. Family chores, family traditions, cooking; hobbies and schooling. The changing economies and demographics of Hawaii. Learning music and accordion as a child and learning crafts from his music teacher. Attending Pacific Lutheran in Tacoma, KS; majoring in art education; teaching art in Hoquiam, WA and Bellevue, WA. Attending University of Washington to get his masters' degree. Studying painting and printmaking; meeting jeweler Ramona Solberg, and studying with her. Using found objects in jewelry, and creating work which incorporated his heritage. Making work with dominoes, jade, noodles, etc. Solo exhibits at the Henry Art Gallery and the Wing Luke Museum, Honolulu Museum of Art, Bellevue Arts Museum. Teaching middle and elementary school and getting awards for teaching. Receiving arts awards. Teaching workshops at Pratt Fine Arts Center and Homer Alaska. Traveling to England and Europe. Taking workshops in Japan and Taiwan. Public Art projects, including at the Wing Luke Museum. Making jewelry for his grandmothers. Travel to China, India, Afghanistan. Ho also discusses teachers Alden Mason and Fred Anderson; students Lynne Hull, Luly Yang, Laurie Hall, Kiff Slemmons, Jack Stoops, Lloyd Herman, Michael Monroe.
Biographical / Historical:
Ron Ho (1936-2017) was a jewelry artist and arts educator in Seattle, Washington. Lloyd Herman (1936- ) was the Director of the Renwick Gallery in Washington, D.C.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Topic:
Educators -- Washington (State) -- Seattle -- Interviews  Search this
Jewelers -- Washington (State) -- Seattle -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.ho17
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96360eb14-491e-4d66-926e-4b754a899306
EDAN-URL:
ead_collection:sova-aaa-ho17
Online Media:

Kamekichi Tokita Papers, circa 1900-circa 2010, bulk 1900-1948

Creator:
Tokita, Kamekichi, 1897-1948  Search this
Subject:
Callahan, Kenneth  Search this
Tokita, Shokichi  Search this
Tokita, Elsie  Search this
Art Institute of Seattle  Search this
Seattle Art Museum  Search this
Hotel Cadillac (Seattle, Wash.)  Search this
Henry Art Gallery  Search this
Public Works of Art Project  Search this
Minidoka Relocation Center  Search this
Group of Twelve (Seattle, Wash.)  Search this
Type:
Photograph albums
Photographs
Sketches
Scrapbooks
Diaries
Citation:
Kamekichi Tokita Papers, circa 1900-circa 2010, bulk 1900-1948. Archives of American Art, Smithsonian Institution.
Topic:
World War, 1939-1945 -- Japanese Americans  Search this
Asian American art  Search this
Asian American artists  Search this
Japanese American art  Search this
Japanese American artists  Search this
Asian American painters  Search this
Art, American -- Northwestern States  Search this
Painting, Modern -- 20th century -- Washington (State) -- Seattle  Search this
Art, Modern -- 20th century -- Northwestern States  Search this
Japanese Americans -- Forced removal and internment -- 1942-1945 -- Diaries  Search this
Theme:
Asian American  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)10444
(DSI-AAA_SIRISBib)213849
AAA_collcode_tokikame
Theme:
Asian American
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213849
Online Media:

Kamekichi Tokita Papers

Creator:
Tokita, Kamekichi  Search this
Names:
Art Institute of Seattle  Search this
Group of Twelve (Seattle, Wash.)  Search this
Henry Art Gallery  Search this
Hotel Cadillac (Seattle, Wash.)  Search this
Minidoka Relocation Center  Search this
Public Works of Art Project  Search this
Seattle Art Museum  Search this
Callahan, Kenneth, 1905-1986  Search this
Tokita, Elsie  Search this
Tokita, Shokichi  Search this
Extent:
1.5 Linear feet
Type:
Collection descriptions
Archival materials
Photograph albums
Photographs
Sketches
Scrapbooks
Diaries
Date:
circa 1900-circa 2010
bulk 1900-1948
Summary:
The personal papers of Seattle area painter Kamekichi Tokita (1897-1948) measure 1.5 linear feet and date from circa 1900 to circa 2010 with the bulk of the material dating from circa 1910 to 1948. The papers include biographical materials, including documents about the closing of the War Relocation Authority's Minidoka Camp in Idaho; correspondence; three diaries written in Japanese documenting Tokita's war time experiences and forced relocation to Minidoka, two earlier notebooks, also written in Japanese, and scattered notes; a few personal business records; printed materials; one scrapbook; sketches; and one family photograph album.
Scope and Contents:
The personal papers of Seattle area painter Kamekichi Tokita (1897-1948) measure 1.5 linear feet and date from circa 1900 to circa 2010 with the bulk of the material dating from circa 1910 to 1948. The papers include biographical materials, including documents about the closing of the War Relocation Authority's Minidoka Camp in Idaho; correspondence; three diaries written in Japanese documenting Tokita's war time experiences and forced relocation to Minidoka, two earlier notebooks, also written in Japanese, and scattered notes; a few personal business records; printed materials; one scrapbook; sketches; and one family photograph album.

Biographical materials include a file on the Public Works of Art Project, a file on the War Relocation Authority and the closing of the Minidoka incarceration camp, an immigration document, and an essay on Tokita written by Shokichi and Elsie Tokita.

Correspondence is primarily professional in nature and concerns exhibitions at the Seattle Museum of Art (previously the Art Institute of Seattle) and other topics. Correspondents include Kenneth Callahan, Henry Gallery, the Seattle Art Museum, and others.

Tokita's writings consist of three diaries, two notebooks, and scattered general writings, most of which are in Japanese. The diaries were kept during World War II and document the family's incarceration at the Minidoka Relocation Camp in Idaho. Included is a transcript of the diaries which were translated from prewar to modern Japanese by Haruo Takasugi and from modern Japanese to English by Naomi Kusunoki-Martin.

Scattered business records include a patent application, records from the Cadillac Hotel, and a claim filed through the Department of Justice. A few published books in English and Japanese are about art and religion. Also found are exhibition catalogs for shows in which Tokita participated and clippings. There is one mixed media scrapbook about Tokita's exhibitions.

Artwork consists of unsigned pencil and watercolor sketches by Tokita. There is also a family photo album containing snapshots and portraits of the Tokita family and friends.
Arrangement:
The collection is arranged as 8 series:

Series 1: Biographical Material, 1934-1985 (Box 1; 5 folders)

Series 2: Correspondence, circa 1920-1944 (Box 1; 8 folders)

Series 3: Diaries and Writings, 1923-circa 1950 (Box 1; 0.2 linear feet)

Series 4: Personal Business Records, 1928-1950 (Box 1; 3 folders)

Series 5: Printed Material, circa 1910-1940 (Box 1-3; 0.5 linear feet)

Series 6: Scrapbook, 1929-1933 (Box 2-3; 0.2 linear feet)

Series 7: Artwork, circa 1910-1940s (Box 2-3; 0.1 linear feet)

Series 8: Photograph Album, circa 1900-1930 (Box 2; 0.2 linear feet)
Biographical / Historical:
Kamekichi Tokita (1897-1948) was a Japanese American painter and businessman who emigrated from Japan in 1919 and settled in Seattle, Washington. Tokita was a member of the Seattle area progressive artists' collective known as the "Group of Twelve" and widely exhibited his artwork throughout the Pacific Northwest.

Kamekichi Tokita was born in Shizouka City, Japan and immigrated to the United States at the age of twenty-two. He settled in the Japantown neighborhood of Seattle, Washington where he opened the Noto Sign Company with business partner Kenjiro Nomura. Nomura was also an artist and encouraged Tokita's interest in oil painting. They both used the sign shop as their studio after-hours. In 1936, the Noto Sign Company closed and Tokita took over management of the Cadillac Hotel, although he continued to paint commercial signs. Tokita married Haruko Suzuki in 1932 and together they had eight children.

As a child in Japan, Tokita studied calligraphy in China. Although he attended a few art school classes in in the U.S. and went on weekend painting trips with Nomura and other Seattle artists, Tokita is considered to be a largely self-trained artist. Support and recognition came from Dorothy V. Morrison of the Henry Gallery at the University of Washington who wrote to Tokita to inquire whether a "group of Japanese artists in the city" would be interested in exhibiting their work. Although the exhibition of Japanese artists did not happen, Tokita later loaned paintings to the gallery for inclusion in an exhibition sponsored by the American Federation of Arts. Throughout the late 1920s and 1930s Tokita exhibited widely in the Seattle area. In 1935, the Seattle Daily Times touted the work of Tokita and other painters in the "Group of Twelve" that also included Morris Graves, Kenneth Callahan, Walter F. Isaacs, and Ambrose and Viola Patterson, among others. In 1942, after the bombing of Pearl Harbor, Kamekichi Tokita and his family (five children at the time), along with the approximately 120,000 Japanese and Japanese American citizens living on the West Coast, were ordered under President Franklin Roosevelt's Executive Order 9066 to be forcibly removed to one of several incarceration camps. For the first six months of their imprisonment, the family lived at a temporary Civilian Assembly Center in Puyallup, Washington. They were transferred to the Minidoka Relocation Camp in Hunt, Idaho where they remained until their release in 1945. While incarcerated in Minidoka, Tokita worked as a sign painter and continued to privately paint, using whatever materials he could find, including beaver board. His work was featured in art shows at the camp. Many of his camp scenes are now lost or were given away.

At the end of World War II, Tokita and his family (now seven children) moved back to the Seattle-area. Unable to find housing, the Tokitas lived at a Japanese language school until Tokita was able to re-establish his business. During this period he painted very little. In 1946 Tokita and his wife purchased the New Lucky Hotel in the Chinatown area of Seattle. Shortly thereafter, Tokita fell ill and died in 1948. Many of his works are believed to have been destroyed or lost. Some of his work remains, however, and is among the permanent collections of the Seattle Art Museum, the Tacoma Art Museum, the Portland Art Museum.

Note: Much of this biographical note was taken from "A Biographical Resume" written by Shokichi and Elsie Y. Tokita.
Separated Materials:
A watercolor painting on paper by Kamekichi Tokita, Untitled (Still Life), 9 x 12 in. was transferred to the Smithsonian American Art Museum in 2012.
Provenance:
The Kamekichi Tokita papers were donated by his son, Shokichi Tokita in 1990. He donated a third and final diary in 2017. They were collected as part of the Archives of American Art Northwest Asian American project in Seattle, Washington.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Painters -- Washington (State) -- Seattle  Search this
Topic:
World War, 1939-1945 -- Japanese Americans  Search this
Asian American art  Search this
Asian American artists  Search this
Japanese American art  Search this
Japanese American artists  Search this
Asian American painters  Search this
Art, American -- Northwestern States  Search this
Painting, Modern -- 20th century -- Washington (State) -- Seattle  Search this
Art, Modern -- 20th century -- Northwestern States  Search this
Japanese Americans -- Forced removal and internment -- 1942-1945 -- Diaries  Search this
Genre/Form:
Photograph albums
Photographs
Sketches
Scrapbooks
Diaries
Citation:
Kamekichi Tokita papers, circa 1900-circa 2010, bulk circa 1910-1948. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.tokikame
See more items in:
Kamekichi Tokita Papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a680d2f9-94bf-4350-9f34-69068917ef42
EDAN-URL:
ead_collection:sova-aaa-tokikame
Online Media:

Oral history interview with Ramona Solberg

Interviewee:
Solberg, Ramona  Search this
Interviewer:
Halper, Vicki  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
American Craft Council  Search this
Bellevue Art Museum (Wash.)  Search this
Central Washington State College -- Faculty  Search this
Edison Vocational School -- Students  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
University of Washington -- Students  Search this
Day, Russell  Search this
Hall, Laurie  Search this
Harrington, LaMar, 1917-2005  Search this
Ho, Ron  Search this
Hu, Mary Lee, 1943-  Search this
Larsen, Jack Lenor  Search this
Lipofsky, Marvin, 1938-2016  Search this
Maloof, Frieda  Search this
Maloof, Sam  Search this
Marshall, John, 1936-  Search this
Pence, Coralyn  Search this
Penington, Ruth, b. 1905  Search this
Slemmons, Kiff  Search this
Tompkins, Don  Search this
Woell, J. Fred, 1934-  Search this
Worden, Nancy  Search this
Extent:
35 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 March 23
Scope and Contents:
An interview of Ramona Solberg conducted 2001 March 23, by Vicki Halper, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Solberg's apartment, Seattle, Washington.
Solberg speaks of her family background and childhood in Seattle; her jewelry studies with Ruth Pennington at the University of Washington in Seattle and her use of found objects; her service in the Unites States Army; attending the Edison Vocational School on the GI Bill and pursuing a masters degree in jewelry at the University of Washington; studies with Coralyn Pence; her travels to Mexico and her fascination with pre-Columbian objects; enameling in Norway; collecting beads from around the world; her book, "Inventive Jewelry-Making" (New York: Van Nostrand Reinhold, 1972); leading tours for a Seattle-based group, "Friends of the Crafts," to the Middle East, Asia, Antarctica, and elsewhere for 16 or 17 years; teaching at Central Washington State College and creating her first bead and found object pieces there in 1956; her fondness for turquoise, lapis, and coral; inviting Don Tompkins to teach at Central Washington State College; Tompkins's "tongue-in-cheek" use of metals; her desire to make jewelry that can "shake, rattle, and roll"; teaching and workshops; her use of preliminary sketches; her soldering technique; fasteners; the weight of her jewelry; the "restraints of jewelry"; her lack of interest in making matched sets and bracelets and rings; the lack of social commentary in her work; her series of pieces inspired by the book, "Watership Down;" the influence of Fred Woell and his use of "American throw-aways"; her involvement with the Northwest region of the American Craft Council; her association with a group of jewelers in the Northwest including Ron Ho, Laurie Hall, Nancy Worden, and Kiff Slemmons; making beaded fibulas; curating exhibitions such as Ubiquitous Bead (1987) and Ubiquitous Bead II (1998) at the Bellevue Art Museum in Seattle; exhibitions at Facèré Jewelry Art Gallery in Seattle and the Henry Art Gallery at the University of Washington in Seattle; working in small spaces; getting into the exhibition Objects: USA "through the back door"; her status as an international artist; pricing her work; her pieces in museum collections; and her health. She recalls Russell Day, Jack Lenor Larsen, Sam and Frieda Maloof, John Marshall, Marvin Lipofsky, LaMar Harrington, Mary Lee Hu, and others.
Biographical / Historical:
Ramona Solberg (1921-2005) was a jeweler from Seattle, Washington. Vicki Halper is a curator at the Seattle Art Museum.
General:
Originally recorded on 3 sound cassettes. Reformatted in 2010 as 5 digital wav files. Duration is 2 hr., 13 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Topic:
Art -- Technique  Search this
Jewelers -- Washington (State) -- Seattle -- Interviews  Search this
Women artists  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.solber01
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b1828bbb-30f3-403c-9455-424d2bde6e1a
EDAN-URL:
ead_collection:sova-aaa-solber01
Online Media:

Henry Art Gallery

Collection Creator:
Selz, Peter Howard, 1919-2019  Search this
Container:
Box 1, Folder 40
Type:
Archival materials
Date:
1986
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate copies 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:
Peter Howard Selz papers, 1929-2018, bulk 1950-2005. Archives of American Art, Smithsonian Institution.
See more items in:
Peter Howard Selz papers
Peter Howard Selz papers / Series 1: Correspondence / 1.1: Alphabetical Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d1742f6a-576a-45e5-bbc2-24e59683d7f6
EDAN-URL:
ead_component:sova-aaa-selzpete-ref62

The Henry Art Gallery

Collection Creator:
Wolff, Theodore F.  Search this
Container:
Box 5, Folder 12
Type:
Archival materials
Date:
1989
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access 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:
Theodore F. Wolff papers, 1920-2013, bulk 1977-2013. Archives of American Art, Smithsonian Institution.
See more items in:
Theodore F. Wolff papers
Theodore F. Wolff papers / Series 5: Subject Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b6230169-9ad6-4da9-b338-3bae9b76e682
EDAN-URL:
ead_component:sova-aaa-wolftheo-ref100

Henry Art Gallery

Collection Creator:
Jamison Thomas Gallery  Search this
Container:
Box 4, Folder 36
Type:
Archival materials
Date:
1990-1993
Collection Restrictions:
Use of original papers requires an appointment and is available in the Archives' Washington, D.C. research facility. Contact Reference Services for more information.
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:
Jamison Thomas Gallery records, 1940-1996, bulk 1980-1996. Archives of American Art, Smithsonian Institution.
See more items in:
Jamison Thomas Gallery Records
Jamison Thomas Gallery Records / Series 2: Client and Collector Files / 2.1: Galleries, Museums, and Schools
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92e15ec0f-f5c8-4a6f-9562-8c7a5dc899fa
EDAN-URL:
ead_component:sova-aaa-jamithog-ref109

Linda Farris Gallery records

Creator:
Linda Farris Gallery  Search this
Farris, Linda  Search this
Names:
Barry, Lynda, 1956-  Search this
Bruskin, Grisha, 1945-  Search this
Clough, Charles, 1951-  Search this
Landfield, Ronnie, 1947-  Search this
Luce, Charles, 1947-  Search this
Lucero, Michael, 1953-  Search this
Markovitz, Sherry  Search this
Nevelson, Louise, 1899-1988  Search this
Noah, Barbara  Search this
Pepper, Beverly  Search this
Extent:
13.4 Linear feet (13 Boxes, 1 sol, 1 ov folder)
Type:
Collection descriptions
Archival materials
Interviews
Scrapbooks
Lectures
Photographs
Sound recordings
Visitors' books
Date:
1969-1995
Summary:
The records of Seattle's avant-garde Linda Farris Gallery measure 13.4 linear feet and date from 1969-1995. The bulk of the records consist of artists' and exhibition files. Also found are gallery business correspondence, administrative files, event files, reference files, records of sales, scattered legal files, the personal papers of gallery owner Linda Farris, and printed materials.
Scope and Contents:
The records of Seattle's avant-garde Linda Farris Gallery measure 13.4 linear feet and date from 1969-1995. The bulk of the records consist of artists' and exhibition files. Also found are gallery business correspondence, administrative files, event files, reference files, records of sales, scattered legal files, the personal papers of gallery owner Linda Farris, and printed materials. Business correspondence is with galleries, dealers, publishers, museums, and other businesses. Administrative files are varied and include advertising and promotion materials, exhibition schedules, mailing lists, guest books, a scrapbook, and gallery history.

Artists' files are found for many contemporary American artists that interested Linda Farris or were represented by the gallery. The contents of each file vary but many include photographs and slides, writings, correspondence, and printed materials. Files for Lynda Barry, Grisha Brusking, Charles Clough, Ronnie Landfield, Charles Luce, Michael Lucerno, Sherry Markovitz, Louise Nevelson, Barbara Noah, and Beverly Pepper are particularly rich. Exhibition files are for Linda Farris Gallery exhibitions and include printed materials, correspondence, loan and consignment agreements, and photographs.

Event files cover anniversary celebrations, lectures, panel discussions, and receptions. There are 17 sound cassette recordings of "Art Now" lectures and "Focus" panel discussions. Scattered reference files contain collected materials on subjects of interest to the gallery. There are scattered financial, sales, and legal files. Sales records cover 1970-1979.

Linda Farris' personal papers contain printed materials about her and the gallery and other materials concerning her professional and curatorial work outside of the gallery. There is also a transcript of an oral history with Farris and a news interview.

Printed materials include published books and magazines, clippings and exhibition catalogs and announcements.

Photographs are scattered throughout adminstrative files, exhibition files, event files, and Linda Farris' personal papers.
Arrangement:
The collection is arranged as 8 series.

Missing Title

Series 1: Correspondence, 1975-1991, undated (Box 1; .7 linear feet)

Series 2: Administrative files, 1970-1995, undated (Box 1-2, 14; 1 linear feet)

Series 3: Artists and Exhibition files, 1969-1995, undated (Box 2-9, 15; 6.6 linear feet)

Series 4: Events files, 1971-1990, undated (Box 9, 14; 0.6 linear feet)

Series 5: Reference files, 1969-1994, undated (Box 9-10; 0.6 linear feet)

Series 6: Financial, Sales and Legal files, 1970-1995 (Box 10; 0.4 linear feet)

Series 7: Linda Farris Papers, 1972-1995 (Box 10-11; .9 linear feet)

Series 8: Printed Materials, 1970-1995 (Box 11-14; 2 linear feet)
Biographical / Historical:
The Linda Farris Gallery was Seattle's leading venue for contemporary art during its twenty-five years of operation.

Linda Farris opened Gallery East in Bellevue in 1970, and a year later moved to Pioneer Square in Seattle, changing the name to Linda Farris Gallery in 1973. The gallery continued to present contemporary art there until closing in December 1995. Art dealer Linda Farris began representing a group of promising artists, all graduates of the University of Washington. Greg Kucera of the Greg Kucera Gallery noted in an article for the Seattle Weekly, "Their work could be loosely seen as a movement, complete with aesthetic interrelationships, convenient marriages, an unintelligible manifesto in the form of Dennis Evans' quirky pronouncements…" From the same article he states, "Her avant-garde gallery changed forever the nature of being an art dealer in Seattle." It was among the three or four most influential galleries in the Pacific Northwest.

The gallery held exhibitions of many nationally known contemporary artists, including Sam Francis, Louise Nevelson, and Robert Rauschenberg, as well as Northwest artists Jeffrey Bishop, Dennis Evans, Sherry Markovitz, Nancy Mee, Norie Sato, and Patti Warashina. The latter group started with the gallery and remained loyal at the time of its closing in 1995.

Art dealer, collector and free-lance curator Linda B. Farris (1944-2005), a native of San Francisco and a graduate of the University of California, Berkeley (1966), was an active participant in and style setter for the Seattle art world for the twenty-five years she was in business. As a member of the art community she actively supported the Henry Art Gallery at the University of Washington, Pilchuck Glass School, and Seattle Art Museum's Contemporary Art Council, and served on the boards of directors of Henry Art Gallery and Factory Visual Arts. Farris curated "Eight Seattle Artists" in 1981 for the Los Angeles Institute of Contemporary Art and "Self Portraits" in 1983 for the Los Angeles Municipal Art Gallery. She also led the movement to keep Henry Moore's "Vertebrae" from leaving Seattle, and instituted a series of talks, panel discussions, performances, and tours in her gallery, and in and around Seattle.

This note draws heavily on the Archives of American Art's West Coast Regional Collector Paul Karlstrom's collection description written upon acquisition of the papers.
Related Materials:
An oral history interview with Linda Farris conducted in 1975 by Sally Swenson, is located in the University of Washington University Libraries Digital Collections.
Provenance:
The Linda Farris Gallery records were donated to the Archives of American Art by owner Linda Farris in 1995 at the time she closed the gallery.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings 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.
Topic:
Avant-garde (Aesthetics)  Search this
Art -- Washington (State) -- Exhibitions  Search this
Art, Modern -- 20th century -- Washington (State) -- Seattle  Search this
Artists -- Northwestern States  Search this
Transcripts  Search this
Function:
Art galleries, Commercial -- Washington (State)
Genre/Form:
Interviews
Scrapbooks
Lectures
Photographs
Sound recordings
Visitors' books
Citation:
Linda Farris Gallery records, 1969-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lindfarr
See more items in:
Linda Farris Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a88eaff1-cd31-4f5b-a7bf-1e2648ae6b2d
EDAN-URL:
ead_collection:sova-aaa-lindfarr
Online Media:

Oral history interview with Edward B. Thomas

Interviewee:
Thomas, Edward B., 1920-1984  Search this
Interviewer:
Olbrantz, John  Search this
Names:
Henry Art Gallery  Search this
Seattle Art Museum  Search this
Anderson, Guy, 1906-1998  Search this
Callahan, Kenneth, 1905-1986  Search this
Graves, Morris, 1910-  Search this
Tobey, Mark  Search this
Extent:
84 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1983 April 28-May 10
Scope and Contents:
An interview of Edward B. Thomas conducted 1983 April 28-May 10, by John Olbrantz, at the artist's home in Seattle, Washington, for the Archives of American Art's Northwest Oral History Project. Thomas speaks of his family background and early art experiences; his education at the University of Washington; printmaking and its role in Northwest art; his role as education director at the Seattle Art Museum; the development of the museum under Richard E. Fuller; contributors to the museum; the impact of the 1962 World's Fair; the Northwest art scene; exhibitions at the museum; interaction with the Henry Gallery and other museums; and his future plans. He recalls Guy Anderson, Kenneth Callahan, Morris Graves, and Mark Tobey.
Biographical / Historical:
Edward B. Thomas (1920-1984) was an educator and museum curator from Seattle, Washington.
General:
Originally recorded on 6 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 6 hr., 9 min.
Provenance:
This interview is part of the Archives' Northwest Oral History Project, begun in 1982 to document the Northwest artistic community through interviews with painters, sculptors, craftsmen, educators, curators, and others, in Oregon, Washington and Montana.
Topic:
Prints -- 20th century -- Northwestern States  Search this
Art, Modern -- Northwestern States  Search this
Art, American -- Northwestern States  Search this
Educators -- Washington (State) -- Seattle -- Interviews  Search this
Function:
Art museums -- Washington (State) -- Seattle
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.thomas83
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9fb8bdaf4-cf0c-4d0d-a935-ea35153931d5
EDAN-URL:
ead_collection:sova-aaa-thomas83
Online Media:

Oral history interview with Anne Gerber

Interviewee:
Gerber, Anne  Search this
Interviewer:
Focke, Anne  Search this
Names:
Henry Art Gallery  Search this
Seattle Art Museum  Search this
Extent:
5 Sound cassettes (Sound recording)
73 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound cassettes
Pages
Sound recordings
Interviews
Date:
1983 Feb. 24-Apr. 21
Scope and Contents:
An interview of Anne Gerber conducted 1983 Feb. 24-Apr. 21, by Anne Focke, at the artist's home, in Seattle, Wash., for the Archives of American Art's Northwest Oral History Project.
Gerber speaks of her family background; her education; her marriage; her and her husband's interest in fair housing and other social issues; her early interest in art and collecting; the Seattle Art Museum, the Henry Gallery, and other galleries; and other interests, including music and architecture.
Biographical / Historical:
Anne Gerber is a collector and patron from Seattle, Wash.
Provenance:
This interview is part of the Archives' Northwest Oral History Project, begun in 1982 to document the Northwest artistic community through interviews with painters, sculptors, craftsmen, educators, curators, and others, in Oregon, Washington and Montana.
Topic:
Art -- Collectors and collecting -- Washington (State) -- Seattle -- Interviews  Search this
Art patronage -- Washington (State) -- Seattle  Search this
Art, Modern -- Northwestern States  Search this
Art, American -- Northwestern States  Search this
Art patrons -- Washington (State) -- Seattle -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.gerber83
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98183c953-ad60-431e-9d06-4cb3c1ea80dc
EDAN-URL:
ead_collection:sova-aaa-gerber83
Online Media:

Imogen Cunningham papers

Creator:
Cunningham, Imogen, 1883-1976  Search this
Names:
George Eastman House  Search this
Group f.64  Search this
Henry Art Gallery  Search this
Witkin Gallery  Search this
Aalto, Alvar, 1898-1976  Search this
Adams, Ansel, 1902-1984  Search this
Andreson, Laura  Search this
Bissantz, Edgar, 1901-  Search this
Bourke-White, Margaret, 1904-1971  Search this
Bristol, Horace  Search this
Bullock, Wynn  Search this
Butler, John Davidson, 1890-1974  Search this
Coburn, Alvin Langdon, 1882-1966  Search this
Feininger, Lyonel, 1871-1956  Search this
Graves, Morris, 1910-  Search this
Hellman, Lillian, 1905-1984  Search this
Kanaga, Consuelo, 1894-  Search this
Lange, Dorothea  Search this
Mann, Margery  Search this
Moholy-Nagy, László, 1895-1946  Search this
Newhall, Beaumont, 1908-1993  Search this
Newman, Arnold, 1918-2006  Search this
Noskowiak, Sonya, d. 1975  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Partridge, Roi, 1888-1984  Search this
Schoener, Allon  Search this
Sheeler, Charles, 1883-1965  Search this
Steichen, Edward, 1879-1973  Search this
Steinert, Otto, 1915-  Search this
Strand, Paul, 1890-1976  Search this
Struss, Karl, 1886-  Search this
Toklas, Alice B.  Search this
Van Dyke, Willard  Search this
Weston, Edward, 1886-1958  Search this
White, Minor  Search this
Witkin, Lee D.  Search this
Zorach, William, 1887-1966  Search this
Extent:
5.9 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Illustrated letters
Photographs
Date:
1903-1991
Summary:
The papers of photographer and teacher Imogen Cunningham, date from 1903 to 1991. The collection measures 5.9 feet of material, including correspondence, business and financial records, writings, printed matter, and photographs, and provides a good overview of Cunningham's life and career.
Scope and Content Note:
The papers of photographer and teacher Imogen Cunningham, date from 1903 to 1991. The collection measures 5.9 feet of material, including correspondence, business and financial records, writings, printed matter, and photographs, and provides a good overview of Cunningham's life and career. 3.6 linear feet of correspondence comprise the bulk of the collection.
Arrangement:
The collection is arranged into ten series according to material type:

Missing Title

Series 1: Biographical Material, 1907-1981, undated (box 1; 4 folders)

Series 2: Correspondence, 1909-1991, undated (boxes 1-4; 3.6 linear feet)

Series 3: Personal Business Records, 1944-1976 (box 4; 15 folders)

Series 4: Notes, 1959-1968 (box 4; 10 folders)

Series 5: Teaching Files, 1964-1971 (box 5; 4 folders)

Series 6: Writings, circa 1910-1976 (box 5; 21 folders)

Series 7: Interview Transcripts, 1951, undated (box 5; 2 folders)

Series 8: Printed Material, 1903-1991 (boxes 5-7; 1.2 linear feet)

Series 9: Photographs, 1916-1976 (box 7; 12 folders)

Series 10: Oversized Material, 1947-1948, 1967, undated
Biographical Note:
Born in Portland, Oregon on April 12, 1883, Cunningham's family moved to Seattle in 1889. Inspired by Gertrude Kasebier's work, she purchased her first camera in 1901. After studying chemistry and botany at the University of Washington, she worked for the Edward S. Curtis Studio, Seattle, from 1907 to 1909. Receiving a scholarship, Cunningham studied for a year at the Technische Hochschule, Dresden.

Upon her return to Seattle in 1910, she opened a studio and had the first major exhibition of her work at the Brooklyn Institute of Arts and Sciences in 1912.

In 1915, Cunningham married printmaker Roi Partridge and gave birth to her first son, Gryffyd. Two years later, her family moved to California, where she gave birth to twin sons, Padraic and Rondal. In 1920, the family moved to Oakland, where her husband taught at Mills College. During the 1920s, she exhibited her art work and began photographing plant forms.

Along with Ansel Adams, John Paul Edwards, Sonya Noskowiak, Henry Swift, Willard Van Dyke, and Edward Weston, Cunningham formed the f/64 Group, a society of purist photographers in 1932. During the same year she began working for Vanity Fair and other magazines and began a career as a portrait photographer, including Martha Graham, Cary Grant, Morris Graves, Alfred Stieglitz, and Spencer Tracy as her subjects. She divorced her husband in 1934.

In 1947, Cunningham established a studio in her San Francisco home, and continued to exhibit extensively until her death on June 24, 1976.
Provenance:
The collection was donated to the Archives of American Art by Imogen Cunningham in 1974 and 1976, and by her son, Gryffyd Partridge, in 1991.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
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:
Photographers -- California -- San Francisco  Search this
Educators -- California -- San Francisco  Search this
Topic:
Photographers  Search this
Photography, Artistic  Search this
Portrait photography  Search this
Women artists  Search this
Women photographers  Search this
Women educators  Search this
Genre/Form:
Interviews
Illustrated letters
Photographs
Citation:
Imogen Cunningham papers, 1903-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cunnimog
See more items in:
Imogen Cunningham papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9692b1f2c-56ce-4f9d-bef5-dc1636bd4128
EDAN-URL:
ead_collection:sova-aaa-cunnimog

Various artists

Collection Creator:
Stewart, Robert G. , 1931-2005  Search this
Type:
Archival materials
Date:
circa 1973 - 1996
Scope and Contents:
In this series are materials created while Dr. Stewart conducted research on Samuel Collings, George Cooke, Gilbert Stuart, George Whiting Flagg, Samuel King, Jacob Eichholtz, Thomas A. Richards and the John Speed miniatures attributed to Washington Blanchard. Records include interoffice research notes; printed matter such as catalogs, articles, drafts and manuscripts; photographs and slides; interoffice correspondence; and 1967-1994 correspondence with John Speed, the J. B. Speed Art Museum, the Henry Art Gallery, Harvard University Archives, the Massachusetts Historical Society the Dictionary of Art, private collectors and other organizations and institutions.
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Robert G. Stewart research material is owned by the Catalog of American Portraits, National Portrait Gallery, Smithsonian Institution, and is available for use by researchers. The collection is subject to all copyright laws.
Collection Citation:
Robert G. Stewart Research Material, 1952-2004, bulk 1970-1990. Catalog of American Portraits, National Portrait Gallery, Smithsonian Institution.
Identifier:
NPG.CAP.00002, Series 5
See more items in:
Robert G. Stewart research materials
Archival Repository:
National Portrait Gallery
GUID:
https://n2t.net/ark:/65665/sp904669ca8-6b78-4b58-8a24-fd478df75c60
EDAN-URL:
ead_component:sova-npg-cap-00002-ref5

Osisake ceremony, Mgbom village, Afikpo Village-Group, Nigeria

Photographer:
Ottenberg, Simon  Search this
Collection Photographer:
Ottenberg, Simon  Search this
Extent:
1 Slide (col.)
Culture:
Igbo (African people)  Search this
Type:
Archival materials
Slides
Color slides
Place:
Africa
Nigeria
Date:
1959-1960
Scope and Contents:
This photograph was taken by Dr. Simon Ottenberg while conducting field research at Afikpo village-group, southeastern Nigeria, from September 1959 to December 1960.
Original caption reads, "Osisake ceremony, Amebo ward square, Mgbom Village." [Ottenberg field research notes, September 1959-December 1960, Part I].
Local Numbers:
289/1959-1960

EEPA 2000-070505
General:
Title source: Dr. Simon Ottenberg, Professor Emeritus of Anthropology, University of Washington, Seattle, WA.
Other Archival Materials:
Simon Ottenberg Papers are located at the National Anthropological Archives, National Museum of Natural History, Smithsonian Institution.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Shrines  Search this
Baskets  Search this
Genre/Form:
Color slides
Identifier:
EEPA.2000-007, Item EEPA 2000-007-0505
See more items in:
Simon Ottenberg photographs
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
GUID:
https://n2t.net/ark:/65665/xo708f159dd-244a-48e6-91fb-2513046724a1
EDAN-URL:
ead_component:sova-eepa-2000-007-ref1013

Oje Ogwu ceremony for Ezi Akane compound, Ukpa Village, Afikpo Village-Group, Nigeria

Photographer:
Ottenberg, Simon  Search this
Collection Photographer:
Ottenberg, Simon  Search this
Extent:
1 Slide (col.)
Culture:
Igbo (African people)  Search this
Type:
Archival materials
Slides
Color slides
Place:
Africa
Nigeria
Date:
1959-1960
Scope and Contents:
This photograph was taken by Dr. Simon Ottenberg at the Oje Ogwu ceremony presented on the eke day of 3 January 1960 in the main common of Ukpa Village. Dr. Ottenberg was conducting field research at Afikpo village-group, southeastern Nigeria, from September 1959 to December 1960.
Original caption reads, "Oje Ogwu ceremony at Ukpa Village. Note the different styles of dresses. String netted masks. Musicians wearing the same, some with dry leaves, some with fresh ones, some with feathers, some without. Some use porcupine quills. Ebi is what dress called if wear porcupine quills, okpu ebuba (hat-feather) is what call other musicians with feathers in hats." [Ottenberg field research notes, September 1959-December 1960, Part I].
"Oje Ogwu is a play performed in only a few common villages each year. It is a net-masked dance of about thirty players accompanied by musicians also wearing net face coverings. Most of the Ezi Akane secret society members from the age group of boys and young men took part in the actual rehearsals and performances. The Oje Ogwu dance is simpler than the Okumkpa play or the Njenji masked parade. It takes a short period of time to perform and is based on only a few contrastive elements. There are the three types of costumes, each of which has special movements and activities associated with it. The Oje Ogwu is not particularly associated with a specific festival, but rather with a season." [ Ottenberg, 1975: Masked rituals of Afikpo, the context of an African art; Seattle: University of Washington Press, 1975].
The photograph depicts akopia eka (knock-hand) musicians as well as ebulu players, entering the village common. The musicians all wore a dark brown net mask with black lines on it, and a variety of head coverings. Some had porcupine quill hats (ebi) and some headpieces of feathers, called okpu ebuba (hat-feather). Most of them played the single-piece iron gong, egele; a few had the wooden ekwe gong, and several others just hit two sticks together.
Local Numbers:
290/1959-1960

EEPA 2000-070506
General:
Title source: Dr. Simon Ottenberg, Professor Emeritus of Anthropology, University of Washington, Seattle, WA.
Other Archival Materials:
Simon Ottenberg Papers are located at the National Anthropological Archives, National Museum of Natural History, Smithsonian Institution.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Rites and ceremonies -- Africa  Search this
Clothing and dress -- Africa  Search this
Cultural landscapes  Search this
Masquerades  Search this
Headdresses -- headgear -- Africa  Search this
Masks  Search this
Genre/Form:
Color slides
Identifier:
EEPA.2000-007, Item EEPA 2000-007-0506
See more items in:
Simon Ottenberg photographs
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
GUID:
https://n2t.net/ark:/65665/xo7225e09b6-5821-4b86-8a3e-4218f56873ad
EDAN-URL:
ead_component:sova-eepa-2000-007-ref1014

Oje Ogwu ceremony for Ezi Akane compound, Ukpa Village, Afikpo Village-Group, Nigeria

Photographer:
Ottenberg, Simon  Search this
Collection Photographer:
Ottenberg, Simon  Search this
Extent:
1 Slide (col.)
Culture:
Igbo (African people)  Search this
Type:
Archival materials
Slides
Color slides
Place:
Africa
Nigeria
Date:
1959-1960
Scope and Contents:
This photograph was taken by Dr. Simon Ottenberg at the Oje Ogwu ceremony presented on the eke day of 3 January 1960 in the main common of Ukpa Village. Dr. Ottenberg was conducting field research at Afikpo village-group, southeastern Nigeria, from September 1959 to December 1960.
Original caption reads, "Oje Ogwu ceremony at Ukpa Village. Note the different styles of dresses. String netted masks. Musicians wearing the same, some with dry leaves, some with fresh ones, some with feathers, some without. Some use porcupine quills. Ebi is what dress called if wear porcupine quills, okpu ebuba (hat-feather) is what call other musicians with feathers in hats." [Ottenberg field research notes, September 1959-December 1960, Part I].
"Oje Ogwu is a play performed in only a few common villages each year. It is a net-masked dance of about thirty players accompanied by musicians also wearing net face coverings. Most of the Ezi Akane secret society members from the age group of boys and young men took part in the actual rehearsals and performances. The Oje Ogwu dance is simpler than the Okumkpa play or the Njenji masked parade. It takes a short period of time to perform and is based on only a few contrastive elements. There are the three types of costumes, each of which has special movements and activities associated with it. The Oje Ogwu is not particularly associated with a specific festival, but rather with a season." [ Ottenberg, 1975: Masked rituals of Afikpo, the context of an African art; Seattle: University of Washington Press, 1975].
The photograph depicts ebulu players, entering the village common. The ebulu players are the poorer and generally younger dancers who move only as a dancing group. Their costumes involve a similar body costume and net mask to the erewe, but the headpiece differs. On the head is worn a red cloth, which is peaked and surrounded by feathers, more vertically oriented.
Local Numbers:
291/1959-1960

EEPA 2000-070507
General:
Title source: Dr. Simon Ottenberg, Professor Emeritus of Anthropology, University of Washington, Seattle, WA.
Other Archival Materials:
Simon Ottenberg Papers are located at the National Anthropological Archives, National Museum of Natural History, Smithsonian Institution.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Rites and ceremonies -- Africa  Search this
Clothing and dress -- Africa  Search this
Cultural landscapes  Search this
Masquerades  Search this
Headdresses -- headgear -- Africa  Search this
Masks  Search this
Genre/Form:
Color slides
Identifier:
EEPA.2000-007, Item EEPA 2000-007-0507
See more items in:
Simon Ottenberg photographs
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
GUID:
https://n2t.net/ark:/65665/xo743eb2151-0eac-4ffb-8336-818c92412ce6
EDAN-URL:
ead_component:sova-eepa-2000-007-ref1015

Oje Ogwu ceremony for Ezi Akane compound, Ukpa Village, Afikpo Village-Group, Nigeria

Photographer:
Ottenberg, Simon  Search this
Collection Photographer:
Ottenberg, Simon  Search this
Extent:
1 Slide (col.)
Culture:
Igbo (African people)  Search this
Type:
Archival materials
Slides
Color slides
Place:
Africa
Nigeria
Date:
1959-1960
Scope and Contents:
This photograph was taken by Dr. Simon Ottenberg at the Oje Ogwu ceremony presented on the eke day of 3 January 1960 in the main common of Ukpa Village. Dr. Ottenberg was conducting field research at Afikpo village-group, southeastern Nigeria, from September 1959 to December 1960.
Original caption reads, "Oje Ogwu ceremony at Ukpa Village. Note the different styles of dresses. String netted masks. Musicians wearing the same, some with dry leaves, some with fresh ones, some with feathers, some without. Some use porcupine quills. Ebi is what dress called if wear porcupine quills, okpu ebuba (hat-feather) is what call other musicians with feathers in hats." [Ottenberg field research notes, September 1959-December 1960, Part I].
"Oje Ogwu is a play performed in only a few common villages each year. It is a net-masked dance of about thirty players accompanied by musicians also wearing net face coverings. Most of the Ezi Akane secret society members from the age group of boys and young men took part in the actual rehearsals and performances. The Oje Ogwu dance is simpler than the Okumkpa play or the Njenji masked parade. It takes a short period of time to perform and is based on only a few contrastive elements. There are the three types of costumes, each of which has special movements and activities associated with it. The Oje Ogwu is not particularly associated with a specific festival, but rather with a season." [ Ottenberg, 1975: Masked rituals of Afikpo, the context of an African art; Seattle: University of Washington Press, 1975].
The photograph depicts erewe players, holding a long stick in their right hands while entering the dancing area for the first time. The erewe players are the better and generally older dancers who perform individually as well as in the group. Their characteristic headgear consists of long, black feathers pointing out in different directions from the top of the head, which move about with some freedom. Interspersed with them are shorter feathers dyed a bright pink.
Local Numbers:
292/1959-1960

EEPA 2000-070508
General:
Title source: Dr. Simon Ottenberg, Professor Emeritus of Anthropology, University of Washington, Seattle, WA.
Other Archival Materials:
Simon Ottenberg Papers are located at the National Anthropological Archives, National Museum of Natural History, Smithsonian Institution.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Rites and ceremonies -- Africa  Search this
Clothing and dress -- Africa  Search this
Cultural landscapes  Search this
Masquerades  Search this
Headdresses -- headgear -- Africa  Search this
Masks  Search this
Genre/Form:
Color slides
Identifier:
EEPA.2000-007, Item EEPA 2000-007-0508
See more items in:
Simon Ottenberg photographs
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
GUID:
https://n2t.net/ark:/65665/xo79353d0a1-f0a7-46bb-af1b-59da45bea3c1
EDAN-URL:
ead_component:sova-eepa-2000-007-ref1016

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