Photographs collected by Marjorie Meriweather Post relating to American Indians. They include images of Post's home at Camp Topridge, Geronimo, Buffalo Bill Cody, Indian chiefs and US officials at Pine Ridge in 1891, and Princess Angeline. Additionally, there are lithographs of Caa-tou-see and Shin-Ga-Ba-Wossinis, and a B. Picart engraving of American Indians circling a burial mound and a newspaper clipping ("Out of Human Skin") in a squirrel pelt frame.
Marjorie Meriweather Post (1887-1973) was a Washington, D.C., businesswoman, philanthropist, and collector of decorative art objects. Her father Charles W. Post was the owner of Postup Cereal Company, later General Foods Corporation. In 1973, Marjorie Post's philanthropy earned her the first ever James Smithson Society Medal, the Smithsonian Institution's highest benefactor award. After her death, Post willed her Hillwood estate to the Smithsonian along with her American Indian artifact collection at Camp Topridge.
Local Call Number(s):
NAA Photo Lot 75-46
Location of Other Archival Materials:
The National Anthropological Archives holds the Marjorie Merriweather Post papers (MS 7278).
The Smithsonian Institution Archives holds the records of Post's Hillwood Estate, 1960-1976 (SIA RS00740).
Related Archival Materials note:
Timeche, Bruce Hahai-I Wuhti (Pour Water Woman/Kachina Mother/Kachina Grandmother) Wearing Mask and in Costume and Holding Basket Tray 1957 AAH5661NA (GEAC)00098249 USNM ACC 75046
The collection is open for research.
Access to the collection requires an appointment.
Photo lot 75-46, Marjorie Meriweather Post photograph collection, National Anthropological Archives, Smithsonian Institution
An interview with Robert Vázquez-Pacheco conducted 2017 December 16 and 17, by Theodore Kerr, for the Archives of American Art's Visual Arts and the AIDS Epidemic: An Oral History Project, at The New School, in New York, New York.
Vazquez-Pacheco speaks of his childhood in South Bronx housing projects; members and dynamics of his family growing up; experiences and discourses of religion, race, gender, sexuality, reading, and the arts as a child and adolescent; attending SUNY Oswego for one year; an existentially pivotal year in Miami in 1975; returning to New York in 1976, immersing himself in Latino gay culture, and being exposed to white gay culture; living in Hempstead, New York for two years with a boyfriend, and beginning to paint again; working at Chase Manhattan Bank and volunteering for the Gay Switchboard in New York City in the late '70s; the beginning of the AIDS epidemic; caring for his boyfriend, Jeff, who died of AIDS in 1986; the particular experience and effect of HIV on communities of color and low-income communities; mounting societal homophobia during the epidemic; leading Gay Circles, a gay men's consciousness-raising group, in the late '80s; his involvement in ACT UP, and burgeoning political consciousness, after Jeff's death; activism as a creative outlet; working at different times with the People With AIDS health group, the Anti-Violence Project, the Minority AIDS Taskforce, Latino Gay Men of New York, Minority AIDS Coalition in Philadelphia, and LLEGO in Washington; AIDS activism's failure to think intersectionally and build coalitions; his involvement in Gran Fury; becoming a more prolific writer, and getting involved with Other Countries, in the early '90s; Gran Fury's 2011 retrospective; the need for racial diversity and representation in activism and the art world; white flight from AIDS activism following the arrival of protease inhibitors; personal frustrations with the current AIDS activism discourse and nonprofit organizational complex, and the general cultural conversation about HIV/AIDS; contrasting representations of AIDS activism in How to Survive a Plague and BPM; and the essential role of art in AIDS activism. Vazquez-Pacheco also recalls Mark Simpson, Craig Metroka, David Kirschenbaum, Maxine Wolfe, Avram Finkelstein, Deb Levine, Charles King, Robert Garcia, Ortez Alderson, Derek Hodel, Gregg Bordowitz, Michael Callen, Carl George, Joey Walsh, Matt Foreman, Vito Russo, Larry Kramer, Tom Kalin, Marlene McCarty, Charles Rice-González, George Ayala, Essex Hemphill, Manolo Guzmán, Donald Moffett, Cladd Stevens, Richard Elovich, Loring McAlpin, Michael Nesline, Peter Staley, David France, Andrew Miller, and others.
Biographical / Historical:
Robert Vázquez-Pacheco (1956- ) is a visual artist and writer in New York, New York. Theodore Kerr (1979- ) is a writer and organizer in New York, New York.
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.
A letter from Delaplaine to Ezra C. Gross in the House of Representatives, "soliciting the honour of your portrait" for Delaplaine's "Gallery of portraits." Delaplaine comments on his gallery, suggests [Charles Bird] King as a possible portraitist, and offers to pay half of King's fee.
Biographical / Historical:
Delaplaine (1777-1824) compiled Delaplaine's Repository of the Lives and Portraits of Distinguished American Characters (1815-1818). Ezra C. Gross was a Congressman, ca. 1820; Elizabeth, New York.
The donor Anna Marie Ettell, according to acquisition information, "has copies of Delaplaine's repository - former staff member." The gift was received through Tina Morelli of the National Portrait Gallery.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
The important collection of twenty-one portraits of North American Indians, by Charles Bird King. Property of the Redwood Library and Athenaeum, Newport, Rhode Island. Sold by order of the Board of Directors