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Creator:

Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this

Names:

Smithsonian Folklife Festival  Search this

Extent:

1 Cubic foot (approximate)

Type:

Collection descriptions

Archival materials

Audiotapes

Videotapes

Memorandums

Plans (drawings)

Sound recordings

Photographic prints

Negatives

Audiocassettes

Business records

Correspondence

Notes

Digital images

Slides (photographs)

Video recordings

Contracts

Date:

October 4-9, 1978

Summary:

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

Scope and Contents note:

This collection documents the planning, production, and execution of the 1978 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.

Arrangement note:

Arranged in 10 series.

Series 1: Program Books, Festival Publications, and Ephemera

Series 2: Chesapeake Bay Traditions

Series 3: Children's Folklife

Series 4: Coal Miners & Oil Workers

Series 5: D.C. Folklore

Series 6: Folklife in the Museum: A Nation of Nations

Series 7: Folklife in the Museum: Renwick Gallery

Series 8: Mexican & Mexican American Traditions

Series 9: Other Programs

Series 10: San Juan Pueblo Culture

Historical note:

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

The 1978 Festival of American Folklife was produced by the Smithsonian Folklife Program of the Office of American and Folklife Studies and cosponsored by the National Park Service.

For more information, see Smithsonian Folklife Festival records.

Introduction:

With the 1978 Festival, the Smithsonian began a five-year cycle of variations on the theme of "community," exploring folklore as the artistic expression of community life, and the pleasure and dignity found in that process. When the Smithsonian Folklife Program staff decided to use "community" as the theme of the 1978 presentation, they were not grafting an idea onto the Festival, but featuring an aspect of the Festival that had been present throughout its history. Folklore consists of the traditional ways in which community people work and play together, and their customary forms of entertaining and instructing each other. Community is composed of people meeting regularly who have inherited or developed ways of celebrating their sense of coming together.

"Community" had been involved in the past eleven festivals in many ways. For communities - whether inherited or joined - serve as a vital buffer between individuals and a world of megastates and megacorporations. They are more manageable units in which all can participate - men and women, young and old - and give some living proof of Schumacher's notion that "small is beautiful." Festival organizers sought to reaffirm that humans are important, and that we are, like plants and other animals, dependent upon communities for survival.

As with the preceding year, the 1978 Festival (October 4-9) was held on a site on the National Mall later to be occupied by the National Museum of African American History and Culture, between 14th and 15th Streets and between Constitution Avenue and Madison Drive (see site plan). Indoor activities took place in the National Museum of History and Technology, the National Museum of Natural History, and the Renwick Gallery. The San Juan Pueblo programs took place outside of the National Museum of Natural History. As had been the case in 1977, Festival programming in the museums sought to connect objects on exhibit with people who could demonstrate, explain, or comment upon them; programming was again marked by collaboration between Folklife Program staff and museum curators. Festival programs included:

Missing Title

Chesapeake Bay Traditions

Children's Folklife

Coal Miners & Oil Workers

D.C. Folklore

Folklife in the Museum: A Nation of Nations (including presentations on Ellis Island, Dunham School,family folklore, sleeping car porters, and a wheelwright)

Folklife in the Museum: Renwick Gallery (featuring presentations on Mexican masks and on musicalinstruments)

Mexican & Mexican American Traditions

Other Programs (featuring organ-building in the Hall of Musical Instruments and sharecroppers in the Hallof Everyday Life in the American Past)

San Juan Pueblo Culture

The 1978 Program Book provided information on each of the programs, including a schedule and participant lists.

The 1978 Festival was again co-presented by the Smithsonian Institution and National Park Service, with support from the U.S. Department of Energy, McDonald's Washington Area Family Restaurants, and the Music Performance Trust Funds. It was organized by the Folklife Program within the Office of American and Folklife Studies.

Folklife Advisory Council

Wilcomb E. Washburn, Chairman, Roger Abrahams, Richard Ahlborn, Richard Dorson, William Fitzhugh, Lloyd Herman, Robert Laughlin, Scott Odell, Bernice Reagon, Ralph Rinzler, E. Richard Sorenson

Folklife Program, Office of American and Folklife Studies

Ralph Rinzler, Director; Jeffrey LaRiche, Program Coordinator; Peter Seitel, Senior Folklorist; Thomas Vennum, Jr., Ethnomusicologist; Susan Kalcik, Folklorist; Steve Zeitlin, Folklorist; Jack Santino, Folklorist; Frank Proschan and Richard Derbyshire, Archivists

National Park Service

William J. Whelan, Director; Manus J. Fish, Jr., Regional Director, National Capital Region

Fieldworkers and presenters:

Héctor Aguíñiga, Holly Baker, Karen Baldwin, Charles Camp, Susan G. Davis, Hazel Dickens, Jason Dotson, Ben Evans, Alicia González, Richard Haefer, Charlotte Heth, Marjorie Hunt, Amy Kotkin, Maria La Vigna, Phyllis May, Pat Mullen, Salvador Ortega, Keith Rollinson, Daniel Sheehy, Nick Spitzer, Peggy Yocom, Jean Alexander, Kate Rinzler, George McDaniels

Shared Stewardship of Collections:

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

Forms Part Of:

Smithsonian Folklife Festival records: 1978 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .

Smithsonian Folklife Festival records

Smithsonian Folklife Festival records: Papers

1967 Festival of American Folklife records - [Ongoing]

Related Archival Materials note:

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

Restrictions:

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

Rights:

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

Topic:

Food habits  Search this

Folk festivals  Search this

Folk music  Search this

Folklore  Search this

Folk art  Search this

World music  Search this

arts and crafts  Search this

Genre/Form:

Audiotapes

Videotapes

Memorandums

Plans (drawings)

Sound recordings

Photographic prints

Negatives

Audiocassettes

Business records

Correspondence

Notes

Digital images

Slides (photographs)

Video recordings

Contracts

Citation:

Smithsonian Folklife Festival records: 1978 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.SFF.1978

See more items in:

Smithsonian Folklife Festival records: 1978 Festival of American Folklife

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk53f9480fa-0587-4c44-8098-782e5c3c5e5c

EDAN-URL:

ead_collection:sova-cfch-sff-1978

Creator:

Smithsonian Institution  Search this

Type:

YouTube Videos

Uploaded:

2021-03-19T20:03:06.000Z

YouTube Category:

Education  Search this

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SmithsonianVideos

Data Source:

Smithsonian Institution

YouTube Channel:

SmithsonianVideos

EDAN-URL:

edanmdm:yt_3SzEuUyL4l0

Creator:

Smithsonian Institution  Search this

Type:

YouTube Videos

Uploaded:

2022-01-21T21:30:57.000Z

YouTube Category:

Education  Search this

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SmithsonianVideos

Data Source:

Smithsonian Institution

YouTube Channel:

SmithsonianVideos

EDAN-URL:

edanmdm:yt_l1bP1Y4bAiQ

Creator:

National Museum of the American Indian  Search this

Type:

YouTube Videos

Uploaded:

2021-10-25T16:17:15.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

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SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_bPtX7u_TAHg

Creator:

National Museum of the American Indian  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2015-11-05T15:42:00.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

See more by:

SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_cwxRhz9Rrd4

Creator:

National Museum of American History  Search this

Type:

YouTube Videos

Uploaded:

2022-05-02T16:55:55.000Z

YouTube Category:

Sports  Search this

Topic:

American History  Search this

See more by:

SmithsonianAmHistory

Data Source:

National Museum of American History

YouTube Channel:

SmithsonianAmHistory

EDAN-URL:

edanmdm:yt_1qrjdrCpZOQ

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2019-10-21T20:56:15.000Z

YouTube Category:

People & Blogs  Search this

Topic:

Cultural property  Search this

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smithsonianfolklife

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolklife

EDAN-URL:

edanmdm:yt_QVmmXfPic5Q

Creator:

National Museum of American History  Search this

Type:

YouTube Videos

Uploaded:

2022-05-02T16:55:33.000Z

YouTube Category:

Sports  Search this

Topic:

American History  Search this

See more by:

SmithsonianAmHistory

Data Source:

National Museum of American History

YouTube Channel:

SmithsonianAmHistory

EDAN-URL:

edanmdm:yt_RlqseedWawo

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2016-11-14T22:12:36.000Z

YouTube Category:

Travel & Events  Search this

Topic:

Cultural property  Search this

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smithsonianfolklife

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolklife

EDAN-URL:

edanmdm:yt_dE3713_R6UQ

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2017-10-25T20:11:40.000Z

YouTube Category:

Travel & Events  Search this

Topic:

Cultural property  Search this

See more by:

smithsonianfolklife

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolklife

EDAN-URL:

edanmdm:yt_rlaBMgDrq-4

Creator:

National Museum of American History  Search this

Type:

YouTube Videos

Uploaded:

2021-10-20T16:45:18.000Z

YouTube Category:

Entertainment  Search this

Topic:

American History  Search this

See more by:

SmithsonianAmHistory

Data Source:

National Museum of American History

YouTube Channel:

SmithsonianAmHistory

EDAN-URL:

edanmdm:yt_uhdYs5cZFm4

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2018-05-07T20:47:16.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

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smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolkways

EDAN-URL:

edanmdm:yt_HS3VX0ZNWlA

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2018-01-30T16:32:04.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

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smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolkways

EDAN-URL:

edanmdm:yt_TTN7hXu8NJ0

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2023-03-15T14:14:21.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

See more by:

smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolkways

EDAN-URL:

edanmdm:yt_pRieFNfVdvA

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2023-02-16T14:07:55.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

See more by:

smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolkways

EDAN-URL:

edanmdm:yt_qp1JVQ2s9yo

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2012-07-06T17:36:25.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

See more by:

smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolkways

EDAN-URL:

edanmdm:yt_scKMSScxl18

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2022-06-30T16:39:11.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

See more by:

smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolkways

EDAN-URL:

edanmdm:yt_yqOM3lGBSxA

Creator:

Maertz, J.F., Department Store (Milwaukee, Wis.).  Search this

Stanley-Brown, Joseph, 1858-1941  Search this

Keystone View Company  Search this

Rau, William H.  Search this

Extent:

8 Cubic feet ((29 boxes))

Type:

Collection descriptions

Archival materials

Photographs

Stereographs

Lantern slides

Place:

Milwaukee (Wis.)

California

Date:

1887-1930

bulk 1900-1930

Summary:

Collection consists of lantern slides and stereographs produced by several companies: Keystone View Company, Better America Lecture Service, Incorporated, American Press Association, J. Stanley-Brown, William H. Rau, and J. F. Maertz Department Store. The lantern slides were primarily intended to be used for educational presentations about the United States, other countries, history, and society. Many of the slides and stereographs are accompanied by descriptive text and in some instances by small cards--one card for each slide--and in other instances directly on the back of a stereoview. The majority of images were taken from 1900 to 1930.

Scope and Contents:

The collection consists of lantern slides and stereographs primarily designed for use in audio-visual educational presentations about the United States, other countries, history, and society. Many of the slides and stereographs are accompanied by descriptive text. In some instances on small cards--one card for each slide-- and in other instances printed directly on the back of a stereoview. A few of the lantern slides, particularly the ones of the J. F. Maertz Department Store of Milwaukee, Wisconsin, are advertisements for consumer products. The majority were taken from 1890 through 1930. While the collection as a whole is in good general condition, some lantern slides, stereographs, and text cards are missing, and some of the lantern slides are cracked.

The collection will appeal to researchers examining the course of nineteenth-century social history broadly, especially how lantern slides were marketed to educators to teach geography, social studies, science, history and reading. The lantern slides as artifacts will be of interest to those who study material culture.

Series 1, Keystone View Company Lantern Slides and Stereographs, undated, is divided into seven subseries: Subseries 1, #1-#600, undated; Subseries 2, H-1 to H-300; Subseries 3, Biblical, undated; Subseries 4, Santa Barbara, California, undated; Subseries 5, Roads, undated; and Subseries 6, Miscellaneous, undated.

The series depicts scenes from around the United States and the rest of the world. Each image is intended to be characteristic of its location and in most cases is accompanied by a text card that describes the scene and gives the geographic coordinates (latitude and longitude) of the location. Many of the glass lantern slides have corresponding stereoviews and in these instances two box numbers are given.

Subseries 1, #1-#600, undated, is arranged in order by the numbers on the image. Views #1-261 are arranged in a rough geographic order beginning in Maine and proceeding down the Atlantic Coast, through the former Confederate states, into the Midwest and Plains states, the mountain West states and the West coast, and ending in the territories of Alaska and Hawaii and the Panama Canal. Views #262-346 begin in eastern Canada, proceed across Canada and move through Mexico and Central America into the Caribbean, thence the length of South America and the Antarctic. Views #347-554 begin in the British Isles and move through Northern and Southern Europe and into Central Europe and then Russia, the Middle East, South Asia, and the Far East. Views #556-592 begin in North Africa and cover the length of the continent and a few areas in the Pacific. The series concludes with views of several planets, President McKinley reviewing Civil War heroes (1899), and the work of a Mexican artist (1900).

Subseries 2, H-1 to H-300, undated, is arranged in order by the numbers on the image. H-1 to H-258 depict scenes and sites of American history beginning with several images of indigenous peoples and proceeding, roughly chronologically, through major events and locations to about 1925. Images H-259 to H-300 document a range of localities and activities across the country in the mid-1920s, including major buildings in Washington, D.C., industrial activities, and modern agricultural practices.

Subseries 3, Biblical, undated, shows religious art works and rural scenes.

Subseries 4, Santa Barbara, California, undated, contains two images. One is pastoral with a Franscican friar, the other a fountain.

Subseries 5, Roads, undated, includes three images of roads, one with a person on horseback, the other two depicting wagons.

Subseries 6, Miscellaneous, undated, contains lithoprint stereographs, each with a short description, depicting scenes such as landmarks in the United States; news events in the late nineteenth and early twentieth centuries; warfare; domestic scenes and scenes of foreign countries.

Series 2, Hillis Better America Lecture Service lantern slides, undated, is divided into 12 subseries: Subseries 1, Ability Lecture Slides, undated; Subseries 2, Bolshevism Lecture Slides, undated; Subseries 3, Builders Lecture Slides, undated; Subseries 4, Equality Lecture Slides, undated; Subseries 5, Fathers Lecture Slides, undated; Subseries 7, General Lecture Slides, undated; Subseries 8, Poverty Lecture Slides, undated; Subseries 9, Property Lecture Slides, undated; Subseries 10, Republic Lecture Slides, undated; Subseries 11, Socialism Lecture Slides, undated; and Subseries 12, Miscellaneous Lecture Slides, undated.

This series consists of lantern slides produced by Newell Dwight Hillis' Better America Lecture Service Incorporated. Newell Dwight Hillis (1858-1929), was a noted clergyman, lecturer and author. The Better American Lecture Service sought to make better Americans and to inspire greater loyalty to American institutions. Better America Lecture Service rented the lecture manuscript and slides to churches, societies, schools, and patriotic organizations. Slides were sent in a tin box and contained suggestions for publicity arrangements. (Nevada Educational Bulletin, December 1920).

Hillis published more than twenty volumes including collections of his sermons, inspirational works, and a novel. In addition, many of Hillis addresses were published and distributed as pamphlets. The slides were intended to be used for lectures on subjects such as socialism and equality. The slides generally consist of text, drawings, images of persons, paintings, and landscapes. A few slides in each set are missing, and there is no text accompanying any of the slides. The series is arranged into twelve subseries alphabetically by topic.

Series 3, American Press Association lantern slides, undated, is divided into ten subseries: Subseries 1, General Images, undated; Subseries 2, Coffins and soliders, undated; Subseries 3, Mexican War, undated; Subseries 4, Niagara Falls Conference, undated; Subseries 5, Pancho Villa and Major Gonzales, undated; Subseries 6, Parade, undated; Subseries 7, Refugees, undated; Subseries 8, Warships, undated; Subseries 9, West Virginia Mine Explosion, undated; and Subseries 10, Women March for Votes (Suffrage), undated.

The series consists of lantern slides from the American Press Association depicting news events from early twentieth century history (e.g., Mexican War; Ludlow Colorado strike; suffragettes; Gettysburg veterans; various ship disasters). Each slide has a caption with a brief description of the scene. Many slides are cracked; one is completely broken and is in a folded paper. There are also approximately fifty slides with scenes of events associated with the Mexican-American War, most with short captions identifying the scenes. Many of these slides are cracked.

Series 4, J. F. Maertz Department Stores advertisement lantern slides, early 1920s, is divided into thirteen subseries: Subseries 1, Bathrooms, undated; Subseries 2, Children's shoes and clothing, undated; Subseries 3, Dress goods, undated; Subseries 4, Dress patterns, undated; Subseries 5, Hosiery, undated; Subseries 6, House furnishings, undated; Subseries 7, House wares, undated; Subseries 8, Ladies' Home Journal, undated; Subseries 9, Shoes, undated; Subseries 10, Store advertising, undated; Subseries 11, Underwear, undated; Subseries 12, Women's clothing, undated; and Subseries 13, Miscellaneous, undated.

The series consists of lantern slides showing advertisements used in J.F. Maertz Department Store catalogs for consumer goods. Slides are categorized by type of goods, including children's shoes and clothes, bathroom needs, dress patterns, men's wear, shoes, house furnishings, house wares, Ladies' Home Journal, and underwear.

Series 5, J. Stanley-Brown and E. H. Harriman lantern slides, undated, is divided into nineteen subseries: Subseries 1, Alaska-California scenes, undated; Subseries 2, Animal life, undated; Subseries 3, Artifacts, undated; Subseries 4, California/Franciscan life, undated; Subseries 5, California Indians, undated; Subseries 6, California mission exteriors, undated; Subseries 7, California mission interiors, undated; Subseries 8, Eskimos,undated; Subseries 9, Franciscans, undated; Subseries 10, Indians, undated; Subseries 11, Landscapes, undated; Subseries 12, Maps, undated; Subseries 13, Mission interiors, undated; Subseries 14, Seascapes, undated; Subseries 15, General images (#1-7;10), undated; Subseries 16, General images (#11-14; 16-17; 19-20), undated; Subseries 17, General images (#21-30), undated; Subseries 18, General images (#31-33; 36-40), undated; and Subseries 19, General images (#42; 45-50), undated.

The series contains lantern slides, each labeled with the names of distributors, "J. Stanley-Brown, 1318 Massachusetts Avenue, Washington, D.C. and E.H. Harriman, 1 East, 55th Street, New York." The slides, some with captions, depict maps; landscapes; seascapes; Eskimos; animal life; Franciscan dwellings; Indians of California; California missions and Franciscan life. There are slides depicting various scenes of California missions and scenes of indigenous Alaskans. Some slides are cracked.

Series 6, Miscellaneous Stereographs, 1894-1907, is divided into seventeen subseries: Subseries 1, American Series, 1887; Subseries 2, C.H. Graves Publisher, 1907; Subseries 3, Griffith and Griffith, 1894; Subseries 4, Pesko Binocular Company, 1907; Subseries 5, William H. Rau Publisher,undated; Subseries 6, Domestic scenes,undated; Subseries 7, Military, undated; Subseries 8, Miscellaneous, undated; Subseries 9, Places--Asia, undated; Subseries 10, Places--Cuba, undated; Subseries 11, Places--Egypt, undated; Subseries 12, Places--France, undated; Subseries 13, PLaces--Germany, undated; Subseries 14, Places--Italy, undated; Subseries 15, Places--Monte Carlo, undated; Subseries 16, Places-- Palestine, undated; and Subseries 17, Places--United States, undated.

The series consists of lantern slides and stereoviews from distributors that include the American Series; Griffith and Griffith; Pesko Binocular Company; William H. Rau Publisher; and the Universal Photo Art Company.

The stereographs related to domestic and military issues and geography are dated circa 1905, and copyrighted by H. C. White, and distrbuted by World Series.

The stereo views produced by William H. Rau, a publisher in Philadelphia, Pennsylvania, show parades and other ceremonies at Grand Army of the Republic (GAR) encampments and Elks conventions held in Philadelphia. The Grand Army of the Republic (GAR) was a fraternal organization composed of veterans of the Union Army who served in the American Civil War.

Arrangement:

The collection is divided into six series.

Series 1: Keystone View Company Lantern Slides and Stereographs, undated

Subseries 1, #1-#600, undated

Subseries 2, H-1 to H-300, undated

Subseries 3, Biblical, undated

Subseries 4, Santa Barbara, California, undated

Subseries 5, Roads, undated

Subseries 6, Miscellaneous, undated

Series 2: Hillis Better America Lecture Service Lantern Slides, undated

Subseries 1, Ability Lecture Slides, undated

Subseries 2, Bolshevism Lecture Slides, undated

Subseries 3, Builders Lecture Slides, undated

Subseries 4, Equality Lecture Slides, undated

Subseries 5, Ftahers Lecture Slides, undated

Subseries 7, General Lecture Slides, undated

Subseries 8, Poverty Lecture Slides, undated

Subseries 9, Property Lecture Slides, undated

Subseries 10, Republic Lecture Slides, undated

Subseries 11, Socialism Lecture Slides, undated

Subseries 12, Miscellaneous Lecture Slides, undated

Series 3: American Press Association Lantern Slides, undated

Subseries 1, General Images, undated

Subseries 2, Coffins and Soliders, undated

Subseries 3, Mexican War, undated

Subseries 4, Niagara Falls Conference, undated

Subseries 5, Pancho Villa and Major Gonzales, undated

Subseries 6, Parade, undated

Subseries 7, Refugees, undated

Subseries 8, Warships, undated

Subseries 9, West Virginia Mine Explosion, undated

Subseries 10, Women March for Votes (Suffrage), undated

Series 4: J. F. Maertz Department Store Advertisement Lantern Slides, early 1920s

Subseries 1, Bathrooms, undated

Subseries 2, Children's shoes and clothing, undated

Subseries 3, Dress goods, undated

Subseries 4, Dress patterns, undated

Subseries 5, Hosiery, undated

Subseries 6, House furnishings, undated

Subseries 7, House wares, undated

Subseries 8, Ladies' Home Journal, undated

Subseries 9, Shoes, undated

Subseries 10, Store advertising, undated

Subseries 11, Underwear, undated

Subseries 12, Women's clothing, undated

Subseries 13, Miscellaneous, undated

Series 5, J. Stanley-Brown and E.H. Harriman lantern slides, undated

Subseries 1, Alaska-California scenes, undated

Subseries 2, Animal life, undated

Subseries 3, Artifacts, undated

Subseries 4, California/Franciscan life, undated

Subseries 5, California Indians, undated

Subseries 6, California mission exteriors, undated

Subseries 7, California mission interiors, undated

Subseries 8, Eskimos, undated

Subseries 9, Franciscans, undated

Subseries 10, Indians, undated

Subseries 11, Landscapes, undated

Subseries 12, Maps, undated

Subseries 13, Mission interiors, undated

Subseries 14, Seascapes, undated

Subseries 15, General images (#1-7;10), undated

Subseries 16, General images (#11-14; 16-17; 19-20), undated

Subseries 17, General images (#21-30), undated

Subseries 18, General images (#31-33; 36-40), undated

Subseries 19, General images (#42; 45-50), undated

Series 6: Miscellaneous Stereographs, 1887-1907

Subseries 1, American Series, 1887

Subseries 2, C.H. Graves Publisher, 1907

Subseries 3, Griffith and Griffith, 1894

Subseries 4, Pesko Binocular Company, 1907

Subseries 5, William H. Rau Publisher, undated

Subseries 6, Domestic scenes, undated

Subseries 7, Military, undated

Subseries 8, Places-Asia, undated

Subseries 9, Places-Cuba, undated

Subseries 10, Places-Egypt, undated

Subseries 11, Places-France, undated

Subseries 12, Places-Germany, undated

Subseries 13, Places-Italy, undated

Subseries 14, Places-Monte Carlo, undated

Subseries 6.15, Palestine, undated

Subseries 6.16, Places-United States, undated

Subseries 6.17: Miscellaneous, undated

Series 7: Miscellaneous Lantern Slides, undated

Historical:

Lantern slides are hand-drawn, painted, or photographic images on glass, intended for viewing by projection; often made in sets. Photographic lantern slides were introduced in the United States by 1850 and popular through World War I; commonly 3.25 x 4 in. (9 x 10 cm.) with a black paper mask, a cover glass, and taped edges. Thesaurus of Graphic Materials

Stereographs consist of two nearly identical photographs or photomechanical prints, paired to produce the illusion of a single three-dimensional image, usually when viewed through a stereoscope. Typically, the images are on card mounts, but they take the form of daguerreotypes, glass negatives, or other processes. Stereographs were first made in the 1850s and are still made today. They were most popular between 1870 and 1920.

In 1851 stereo daguerreotypes were exhibited for the first time to the general public at the London International Exhibition (Crystal Palace). Shortly thereafter, American photographers began making stereographs. One of the first American photographic firms to produce stereographs was the team of William and Frederick Langenheim. The Library owns a set of their early stereoviews of American cities on the East Coast.

By 1860 both amateur photographers and publishing firms were making stereographs. The major stereo publishers sold their views by mail order, door-to-door salesmen, and in stores. Stereographs were sold individually and in boxed sets.

Stereographs are usually mounted. They were typically published with caption information printed under the image or on the back of the mount. The mount also provided information about the publisher, photographer, and sometimes the series or a list of views available from the photographer or publisher.

Stereographs were collected by many middle-class families in the late 19th century. People acquired stereographs of tourist sites they had visited, as well as exotic locales that they would only experience through the wonder of the stereoscope. Viewing stereographs was a common activity, much like watching television or going to the movies today. Stereoviews were also used as an education tool in classrooms. (Library of Congress, Prints and Photographs Online Catalog, Stereograph Format)

The Division of Cultural History at the National Museum of American History assembled a collection of miscellaneous lantern slides and stereographs beginning in 1943. Other collection contents were acquired over many years in unrecorded transactions.

Several distributors and publishers of stereographic images are represented in the collection. One of the most prominent was the Keystone View Company of Meadville, Pennsylvania. Founded by Benneville Lloyd Singley (d.1938), a former Underwood & Underwood salesman, Keystone became a major distributor of stereographic images. From 1892 through 1963 it produced and distributed both educational and comic/sentimental stereoviews and stereoscopes used to see the images in 3-D. By 1905 it was the world's largest stereographic company. In 1963 Department A (stereoviews sold to individual families) and the education departments were closed, but Keystone continued to manufacture eye-training stereographic products as a subsidiary of Mast Development Company. In 1972 Mast closed the Meadville manufacturing site.

All of Keystone's manufacturing was done in Meadville, but branch offices were in New York, St. Louis, San Francisco, Portland, Oregon, Chicago, Toronto, Canada and London, England. Salesmen and photographers were scattered around the world, and the company offered 20,000 different views.

Selling stereoviews and lantern slides to schools was a field pioneered by Underwood & Underwood, and for several years Underwood & Underwood and Keystone were competitors for the growing educational market. According to the 1953 Keystone Sales Manual the more aggressive sales methods and the more progressive editorial policies of the Keystone View Company soon made it the acknowledged leader in the industry, and Underwood & Underwood decided to give up the contest.

Between 1915 and 1921 Keystone View Company purchased the negatives of nearly all of its competitors. They also continued to have staff photographers travel the world, so that by 1935 Keystone had approximately two million stereoscopic negatives.

Keystone View Company produced stereographic sets up through the mid-twentieth century, and had a stereoscopic photographer on staff until at least 1955.

References

Thesaurus of Graphic Materials, (2007), http://www.loc.gov/rr/print/tgm1/ (accessed February 10, 2011).

Library of Congress, Prints and Photographs Online Catalog, Stereograph Format, http://www.loc.gov/pictures/collection/stereo/background.html (accessed February 14, 2011).

Related Materials:

Materials in the Archives Center, National Museum of American History

Underwood & Underwood Glass Stereograph Collection, 1895-1921, (AC0143)

Other Institutions with Materials

University of California, Riverside/California Museum of Photography

George Eastman House

Temple University

Brooklyn Historical Society

Provenance:

Donated to the Department of Anthropology, United States National Museum by Mrs. Joseph Stanley-Brown, through Mrs. Herbert Feis, in 1943.

The Division of Cultural History (now Division of Cultural and Community Life) at the National Museum of American History assembled a collection of miscellaneous lantern slides and stereographs beginning in 1943. Other collection contents were acquired over many years in unrecorded transactions. An unknown portion of the collection transferred to the Archives Center, date unknown.

Restrictions:

Collection open for research on site by appointment. Unprotected lantern slides and stereographs must be handled with gloves.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Reproduction permission from Archives Center: reproduction fees may apply.

Genre/Form:

Photographs -- Black-and-white photoprints -- Stereographs -- 1900-1950

Stereographs -- 1900-1910

Photographs -- Lantern slides -- 1900-1950

Lantern slides

Citation:

Division of Cultural History Lantern Slides and Stereographs, dates, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0945

See more items in:

Division of Cultural History Lantern Slides and Stereographs

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep86d81f125-9f9b-4867-97a9-8992b58fb403

EDAN-URL:

ead_collection:sova-nmah-ac-0945

Creator:

Bojórquez, Chaz  Search this

Extent:

5.9 Linear feet

98.44 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Drawings

Sketchbooks

Date:

1956-2017

Summary:

The papers of Chicano painter and commercial artist Charles "Chaz" Bojórquez measure 5.9 linear feet and 98.44 GB and date from 1956 to 2017. The collection documents Bojórquez's career as an artist through professional files, writings and notes, project books, printed and digital material, artwork, and photographic material.

Scope and Contents:

The papers of Chicano painter and commercial artist Charles "Chaz" Bojórquez measure 5.9 linear feet and 98.44 GB and date from 1956 to 2017. The collection documents Bojórquez's career as an artist through professional files, writings and notes, project books, printed and digital material, artwork, and photographic material.

Professional files primarily include correspondence with attached business records or press clippings regarding Bojórquez's involvement with graffiti groups. Writings by Bojórquez include writings on graffiti, interview responses, transcripts of talks, and notes. Project books were compiled by Bojórquez to document commercial projects for companies such as Fendi, Reebok, Disney, MTV, and Vans and include drawings, notes, travel documents, price lists and other materials. Printed material primarily includes published designs by Bojórquez. The collection also includes approximately 14 sketchbooks and four portfolios containing drawings and designs by Bojórquez, as well as photographic materials depicting Bojórquez with his friends and family and his artwork. All series contain materials in digital format.

Arrangement:

The collection is arranged as six series.

Series 1: Professional Files, 1970-2008 (Boxes 1, 8; 0.5 linear feet, ER01-ER04; 2.86 GB)

Series 2: Writings and Notes, circa 1985-2015 (Box 1; 0.2 linear feet, ER05-ER12, ER95-ER105; 25.52 GB)

Series 3: Project Books, 1979-2017 (Boxes 1-3, 6-8; 2.5 linear feet, ER13-ER93; 30.85 GB)

Series 4: Printed Materials, 1994-circa 2010 (Box 3; 0.5 linear feet, ER94, ER106; 0.141 GB)

Series 5: Artwork, 1956-2017 (Boxes 4, 7-9; 1.3 linear feet, ER107-ER134; 27.75 GB)

Series 6: Photographic Materials, 1968-circa 2010 (Boxes 4-5; 0.9 linear feet, ER135-145; 11.32 GB)

Biographical / Historical:

Charles "Chaz" Bojórquez (1949- ) is a Chicano painter and commercial artist in Los Angeles, California.

Bojórquez attended the Chouinard Art Institute, now known as the California Institute of the Arts or CalArts, where he studied calligraphy under Master Yun Chung Chiang. Bojórquez is regarded as a pioneer in street art. Since the 1960s, he has been integrating the graffiti style of the East Los Angeles Mexican American community with the calligraphy styles of other cultures. As a commercial designer, Bojórquez has designed products for Fendi, Disney, Vans, and other major companies internationally. His work is in the collections of the Smithsonian Institution, the Museum of Contemporary Art in Los Angeles, and other collections throughout the U.S. He has been active in numerous arts groups including graffiti advocacy groups such as the Arroyo Arts Collective, Graffiti Arts Coalition, and the Chicano Axis Art Group.

Provenance:

The papers were donated in 2016 and 2017 by Chaz Bojórquez.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival born-digital records with no duplicate copies requires advance notice.

Occupation:

Painters -- California -- Los Angeles  Search this

Commercial artists -- California -- Los Angeles  Search this

Topic:

Latino and Latin American artists  Search this

Graffiti art  Search this

Chicano artists  Search this

Genre/Form:

Drawings

Sketchbooks

Citation:

Charles "Chaz" Bojórquez papers, 1956-2017. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.

Identifier:

AAA.bojochaz

See more items in:

Charles "Chaz" Bojórquez papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9461b2a0f-aa0c-4337-9785-e6aa864ca611

EDAN-URL:

ead_collection:sova-aaa-bojochaz

Creator:

Kelker, Nancy L.  Search this

Names:

Casas, Mel, 1929-2014  Search this

Valdez, Vincent  Search this

Extent:

1.3 Linear feet

0.001 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Interviews

Lectures

Sound recordings

Video recordings

Date:

1890-circa 2011

bulk 1968-2005

Summary:

The Nancy Kelker research material regarding Mel Casas measures 1.3 linear feet and 0.001 GB dates from 1890 to circa 2011 with the bulk of the collection dating from 1968 to 2005. The material includes sound and video recordings of interviews with Casas by Kelker and Vincent Valdez, and a talk by Casas at Georgia Southwestern University; research files that include Casas' business and legal records, correspondence, exhibition records, photographs, and student papers about Casas; and printed materials consisting of clippings, exhibition announcements and catalogs, journals, newsletters, and posters relating to Casas' activities during his career. One interview transcript is in digital format. The material was compiled by Kelker for the book Mel Casas: Artist as Cultural Adjuster.

Scope and Contents:

The Nancy Kelker research material regarding Mel Casas measures 1.3 linear feet and 0.001 GB and dates from 1890 to circa 2011 with the bulk of the collection dating from 1968 to 2005. The material includes sound and video recordings of interviews with Casas by Kelker and Vincent Valdez, and a talk by Casas at Georgia Southwestern University; research files that include Casas' business and legal records, correspondence, exhibition records, photographs, and student papers about Casas; and printed materials consisting of clippings, exhibition announcements and catalogs, journals, newsletters, and posters relating to Casas' activities during his career. One interview transcript is in digital format. The material was compiled by Kelker for the book Mel Casas: Artist as Cultural Adjuster.

Arrangement:

The collection is arranged as three series.

Series 1: Interviews and Talks, 1999-2005 (Box 1; 4 folders, ER01; 0.001 GB)

Series 2: Research and Project Files, 1978-2001 (Box 1; 0.4 linear feet)

Series 3: Printed Materials, 1890-circa 2000 (Box 1, OVs 2-4; 0.5 linear feet)

Biographical / Historical:

Nancy Kelker (1951- ) is an art historian in Murfreesboro, Tennessee. and the author of Mel Casas: Artist as Cultural Adjuster.

Mel Casas (1929-2014) was a painter and educator in San Antonio, Texas. Casas was a member of Con Safo, an organization that promoted Chicano concepts and the Chicano art movement. Humanscapes, Casas' series of 150 paintings, was produced between 1965 and 1989 and has been exhibited throughout the U.S. and Mexico. Casas died in San Antonio, Texas. in 2014.

Provenance:

The Nancy Kelker research material regarding Mel Casas was donated in 2016 by Nancy Kelker.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.

Topic:

Chicano movement  Search this

Mexican American art  Search this

Latino and Latin American artists  Search this

Genre/Form:

Interviews

Lectures

Sound recordings

Video recordings

Citation:

Nancy Kelker research material regarding Mel Casas, 1890-circa 2011, bulk 1968-2005. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center.

Identifier:

AAA.kelknanc

See more items in:

Nancy Kelker research material regarding Mel Casas

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94b5141e8-5635-4d38-852f-4a8d3cacc57d

EDAN-URL:

ead_collection:sova-aaa-kelknanc