Search Results

Creator:

National Museum of the American Indian  Search this

Type:

Lectures

YouTube Videos

Uploaded:

2020-11-24T01:52:37.000Z

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_S70de55VfaY

Creator:

Coe, Ralph T., 1929-2010  Search this

Fine, Ruth, 1941-  Search this

Type:

Sound Recording

Date:

1997 March

Citation:

Ralph T. Coe and Ruth Fine. Interview with Ted Coe, 1997 March. Ruth Fine papers, circa 1929-2016. Archives of American Art, Smithsonian Institution.

Record number:

(DSI-AAA)24552

See more items in:

Ruth Fine papers, circa 1929-2016, bulk 1950s-2016

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_24552

Artist:

James McNeill Whistler (1834-1903)  Search this

Medium:

Etching; ink on paper

Dimensions:

H x W: 12.2 x 17.2 cm (4 13/16 x 6 3/4 in)

Type:

Print

Origin:

United States

Date:

ca. 1880-1881

Topic:

work  Search this

architecture  Search this

Italy  Search this

United States  Search this

American Art  Search this

shop front  Search this

Credit Line:

Gift of Charles Lang Freer

Accession Number:

F1905.188

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye3626048de-67c4-437c-a5fb-b6773cf70f75

EDAN-URL:

edanmdm:fsg_F1905.188

Artist:

James McNeill Whistler (1834-1903)  Search this

Medium:

Etching; ink on paper

Dimensions:

H x W: 16.6 x 24.1 cm (6 9/16 x 9 1/2 in)

Type:

Print

Origin:

United States

Date:

ca. 1886-1888

Topic:

commerce  Search this

architecture  Search this

United States  Search this

American Art  Search this

shop front  Search this

Credit Line:

Gift of Charles Lang Freer

Accession Number:

F1905.338

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye3c78ee7da-c620-4da3-bd6d-3067df2fd9d9

EDAN-URL:

edanmdm:fsg_F1905.338

Creator:

Anacostia Community Museum  Search this

Names:

Anacostia Community Museum  Search this

Anacostia Neighborhood Museum  Search this

Extent:

12 Linear feet

392 Sound recordings (50 open reel 1/4" sound recordings ; 5 microcassette sound recordings ; 337 audio cassette sound recordings)

266 Video recordings (1 Super 8 film reel ; 152 open reel 1/2" video recordings ; 3 U-matic 3/4" video recordings ; 110 VHS 1/2" video recordings)

Type:

Collection descriptions

Archival materials

Sound recordings

Video recordings

Museum records

Place:

Anacostia (Washington, D.C.)

Date:

1967-1989

Scope and Contents note:

This collection contains video and audio recordings of events, talks, and ceremonies hosted at or by the Anacostia Community Museum. It also contains audiovisual PR materials for the museum and its events. The collection includes recordings of a wide array of events, including the opening of the Anacostia Community Museum, award and dedication ceremonies, and documentation of on- and off-site events and talks, such as recordings of lectures and sermons delivered by founding Museum Director John Kinard.

General:

Many of the video recordings originally recorded onto 1/2" open reel were transferred to VHS in 1990.

Restrictions:

Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.

Topic:

African Americans  Search this

Genre/Form:

Museum records

Sound recordings

Video recordings

Citation:

Anacostia Community Museum Programs and Projects, 1967-1989, Anacostia Community Museum Archives, Smithsonian Institution.

Identifier:

ACMA.09-023

See more items in:

Museum Events, Programs, and Projects, 1967-1989

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa7ac90de80-1771-4cbc-a6f4-6cea794cedc5

EDAN-URL:

ead_collection:sova-acma-09-023

Creator:

Anacostia Community Museum  Search this

Names:

Anacostia Community Museum  Search this

Anacostia Neighborhood Museum  Search this

Extent:

3 Linear feet

7 Sound recordings (7 audio cassette sound recordings)

59 Video recordings (29 open reel 1/2" video recordings ; 30 VHS 1/2" video recordings)

Type:

Collection descriptions

Archival materials

Sound recordings

Video recordings

Conferences

Museum records

Place:

Anacostia (Washington, D.C.)

Date:

1973-1992

bulk 1976-1976

Scope and Contents note:

This collection contains video and audio recordings of conference sessions and seminars held at, hosted by, or attended by personnel of the Anacostia Community Museum. It includes recordings from the years 1973-1992, with the majority being created in 1976. Notable conferences documented in the collection include the First Annual Black History Museums Seminar in 1976, the Black Records Conference, and the Anacostia Neighborhood Museum's Sixth Anniversary Seminar.

Provenance:

Many of the video recordings originally recorded onto 1/2" open reel were transferred to VHS in 1990.

Restrictions:

Use of the materials requires an appointment. Some items are not accessible due to obsolete format and playback machinery restrictions. Please contact the archivist at acmarchives@si.edu.

Topic:

African Americans  Search this

Genre/Form:

Conferences

Museum records

Sound recordings

Citation:

Conference Recordings, Anacostia Community Museum Archives, Smithsonian Institution

Identifier:

ACMA.AV09-021

See more items in:

Conference Recordings

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa7c7f5c637-4ce3-4731-a12b-46c1cd193a0d

EDAN-URL:

ead_collection:sova-acma-av09-021

Extent:

855.72 Gigabytes (96 MP3's; 19 QuickTime Movies, 12.3 GBs of Audio Interviews 843.42 GBs of Video Interviews )

Culture:

Hispanic Americans  Search this

Chinese Americans  Search this

African Americans  Search this

Type:

Collection descriptions

Archival materials

Gigabytes

Interviews

Oral histories (document genres)

Place:

Washington Metropolitan Area

Chinatown (Washington, D.C.)

Anacostia (Washington, D.C.)

Barry Farms (Washington, D.C.)

Shaw (Washington, D.C.)

Columbia Heights (Washington, D.C.)

Adams Morgan (Washington, D.C.)

Mount Pleasant (Washington, D.C.)

Chevy Chase (Md.)

Brookland (Washington, D.C.)

Deanwood (northeast Washington, D.C.)

Capitol Hill (Washington, D.C.)

Foggy Bottom (Washington, D.C.)

Georgetown (Washington, D.C.)

Baltimore (Md.)

Southwest (Washington, D.C.)

Date:

2016-2018

Summary:

The oral histories in this collection were conducted as part of the research for an exhibition exploring the history of neighborhood change and civic activism in the nation's capital. Focused on the dynamic histories of six DC neighborhoods—Adams Morgan, Anacostia, Brookland, Chinatown, Shaw and Southwest—the exhibition recounted the story of these communities through the eyes of the Washingtonians who helped shape and reshape the city in extraordinary ways. The exhibit was organized by the Anacostia Community Museum and curated by Samir Meghelli. The audio and video interviews were conducted between 2016-2018.

Scope and Contents:

In the early twenty-first century, as Washington, DC was experiencing rapid population growth, mounting tensions over gentrification, and persistent inequality, the Anacostia Community Museum's "A Right to the City" exhibition explored the history of neighborhood change and civic activism in the nation's capital. Focused on the dynamic histories of six DC neighborhoods—Adams Morgan, Anacostia, Brookland, Chinatown, Shaw and Southwest—the exhibition recounted the story of these communities through the eyes of the Washingtonians who helped shape and reshape the city in extraordinary ways: through their fights for quality public education, healthy and green urban spaces, equitable development and transportation, and a genuinely democratic approach to city planning. The oral histories that comprise this collection were conducted as part of the research for the exhibition. The audio and video interviews were conducted between 2016-2018.

Provenance:

"A Right to the City" Exhibition were created by the Anacostia Community Museum. Records of "A Right to the City" Exhibition were created by the Anacostia Community Museum.

Restrictions:

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

Rights:

Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.

Topic:

Museum exhibits  Search this

Neighborhoods -- Washington, D.C. -- History  Search this

Gentrification  Search this

City planning  Search this

Urban renewal  Search this

Urban policy  Search this

Activism  Search this

Housing policy  Search this

Genre/Form:

Interviews -- 21st century

Oral histories (document genres)

Citation:

"A Right to the City" Exhibition Records, Anacostia Community Museum Archives, Smithsonian Institution.

Identifier:

ACMA.03-119

See more items in:

A Right to the City Exhibition Records

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa70de8ee2c-83f7-49a7-880f-d272715441b6

EDAN-URL:

ead_collection:sova-acma-03-119

Creator:

Finch College. Museum of Art  Search this

Varian, Elayne H.  Search this

Names:

Acconci, Vito, 1940-  Search this

Anderson, David K., 1935-  Search this

Benglis, Lynda, 1941-  Search this

Benyon, Margaret, 1940-  Search this

Bochner, Mel, 1940-  Search this

Brooks, James, 1906-1992  Search this

Castelli, Leo  Search this

Chase, Doris, 1923-  Search this

Cross, Lloyd G.  Search this

Davis, Douglas  Search this

Dwan, Virginia  Search this

Feigen, Richard L., 1930-  Search this

Glimcher, Arnold B.  Search this

Gottlieb, Adolph, 1903-1974  Search this

Graham, Dan, 1942-  Search this

Hollander, Irwin  Search this

Insley, Will, 1929-2011  Search this

Jackson, Martha Kellogg  Search this

Janis, Sidney, 1896-1989  Search this

Kirby, Michael  Search this

Levine, Les, 1935-  Search this

Lichtenstein, Roy, 1923-1997  Search this

Mazur, Michael, 1935-2009  Search this

Meyer, Ursula, 1915-  Search this

Nauman, Bruce, 1941-  Search this

O'Doherty, Brian  Search this

Parsons, Betty  Search this

Richter, Hans, 1888-1976  Search this

Siegelaub, Seth, 1941-  Search this

Smith, Tony, 1912-1980  Search this

Sonfist, Alan  Search this

Weiner, Sam  Search this

Wise, Howard  Search this

Extent:

20.9 Linear feet

Type:

Collection descriptions

Archival materials

Transcripts

Interviews

Photographs

Sound recordings

Video recordings

Museum records

Date:

1943-1975

bulk 1964-1975

Summary:

The exhibition records of the Contemporary Study Wing of the Finch College Museum of Art measure 20.9 linear feet and date from 1943 to 1975, with the bulk of records dating from the period its galleries were in operation, from 1964 to 1975. Over two-thirds of the collection consists of exhibition files, which contain a wide range of documentation including artist files, checklists, correspondence, writings, photographs, interviews, numerous films and videos, artist statements, printed materials, and other records. Also found within the collection are administrative records of the museum, artist files, and papers of the Contemporary Wing's director and curator, Elayne Varian, which were produced outside of her work at Finch College.

Scope and Contents:

The exhibition records of the Contemporary Study Wing of the Finch College Museum of Art measure 20.9 linear feet and date from 1943 to 1975, with the bulk of records dating from the period its galleries were in operation, from 1964 to 1975. Over two-thirds of the collection consists of exhibition files, which contain a wide range of documentation including artist files, checklists, correspondence, writings, photographs, interviews, numerous films and videos, artist statements, printed materials, and other records. Also found within the collection are administrative records of the museum, artist files, and papers of the Contemporary Wing's director and curator, Elayne Varian, which were produced outside of her work at Finch College.

Administrative records include records relating to the general operation of the Contemporary Wing concerning fundraising, professional associations, budget, contact information for artists, donors, and lenders to exhibitions. Also found are records of the permanent collection of artworks acquired by the museum between 1964 and 1975 from contemporary artists and collectors of contemporary art.

Artist files contain basic biographical information on over 150 contemporary artists, with scattered correspondence, photographs, technical information about artworks, artist statements, and other writings. Artist files also include an incomplete run of artist questionnaires gathered by the New York Arts Calendar Annual for 1964.

Elayne Varian's personal papers include curatorial records, a course schedule and syllabus related to her teaching activities, and various writings. Curatorial projects documented in Varian's papers include three programs produced outside of Finch College, including a juried show at the New York State Fair in 1967, a film series at Everson Museum of Syracuse University, and an exhibition at Guild Hall in East Hampton in 1973. Several of Varian's writing projects involved interviews, which are also found in this series in the form of sound recordings and transcripts. Interview-based writing projects include individual profiles on Brian O'Doherty and Babette Newberger, and interviews conducted for an article on the artist-dealer relationship published in Art in America (January 1970). Dealers interviewed for the latter project include Leo Castelli, Virginia Dwan, John Gibson, Richard Feigen, Arnold Glimcher, Fred Mueller, Martha Jackson, Sidney Janis, Betty Parsons, Seth Siegelaub, and Howard Wise. Artists interviewed include Roy Lichtenstein, Adolph Gottlieb, and Charles Ross.

Exhibition files, comprising the bulk of the collection, document exhibitions held in the Contemporary Wing during its existence from 1964 to 1975. Types of records found in the series include exhibition catalogs, correspondence, loan agreements, lists, contact information, insurance valuations of artworks, photographs, biographical information on artists, clippings, posters, press releases, and other publicity materials. In addition to the rich textual and photographic records found for exhibitions, numerous audiovisual recordings are also found, some of which were made in preparation for an exhibition, some document mounted exhibitions, and others are artworks themselves or components of artworks exhibited in the galleries. Interviews with artists, dealers, and others involved in exhibitions include Alan Sonfist, Mel Bochner, Hans Richter, Ruth Richards, James Brooks and Janet Katz, Margaret Benyon, Irwin Hollander (transcript only), David Anderson, Doris Chase, Will Insley, Michael Kirby, Les Levine, Ursula Meyer, Brian O'Doherty, Charles Ross, Tony Smith, Douglas Davis, Jane Davis, Russ Connor, Les Levine, Michael Mazur, Paul Gedeohn, and physicists Lloyd G. Cross, Allyn Z. Lite, and Gerald Thomas Bern Pethick. Video artworks, recordings of performances, or components of multimedia artworks are found by artists Vito Acconci, Kathy Dillon, Douglas Davis, Dan Graham, Les Levine, Bruce Nauman, Michael Netter, Eric Siegel, and Robert Whitman. A film of the Art in Process: The Visual Development of a Structure (1966) exhibition is found, and video recordings of artists Lynda Benglis, Michael Singer, and Sam Wiener form as part of the documentation for the Projected Art: Artists at Work (1971) exhibition.

Arrangement:

The collection is arranged as 4 series.

Missing Title

Series 1: Administrative Records, 1950-1975 (2 linear feet; Boxes 1-2, 22, OV 23)

Series 2: Artist Files, 1958-1975 (2.4 linear feet; Boxes 3-4, 22, OV 23, FC 27-28)

Series 3: Elayne Varian Personal Papers, 1965-1970 (1.3 linear feet; Boxes 5-6)

Series 4: Exhibition Files, 1943-1975 (14.9 linear feet; Boxes 6-22, OV 24-25, FC 26)

Biographical / Historical:

The Contemporary Study Wing of the Finch College Museum of Art, later called simply the "Contemporary Wing," was established in 1964 by the president of Finch College, Roland De Marco, as an extension the Finch College Museum of Art in New York City.

Its mission was to educate art history students at the Manhattan women's college who were interested in working with contemporary art. DeMarco, himself an art collector, hired Elayne Varian as director and curator of the contemporary wing. DeMarco met Varian in the New York office of the prominent international art dealership Duveen Brothers, where she had worked since the mid-1940s, most recently as an art dealer. Varian received her art education in Chicago, where she studied art history and education at the University of Chicago, and took classes in film at the Bauhaus and in fine art the Art Institute of Chicago. Sensitive to emerging art movements in galleries and studios around the city of New York, as the contemporary wing's curator, Varian quickly established a reputation for thoughtfully conceived, cutting-edge exhibitions which were consistently well-received by the press.

Under Varian, the Contemporary Wing carried out a dual mission of showing work of living artists and educating students and the public about the artwork and museum work in general. Varian used the galleries to provide practical training to students interested in a gallery or museum career throughout its existence. For several years, she also maintained an assistantship position for post-graduate museum professionals to gain experience in the field, many of whom went on to careers in museums across New York State.

The Contemporary Wing's best-known exhibitions formed a series of six shows called Art in Process, held between 1965 and 1972. Each of the Art in Process shows took a different medium, including painting, sculpture, collage, conceptual art, installation art, and serial art, and brought the process of art-making into the gallery with the artworks in various ways. For example, for Art in Process V (1972), the show about installation art, the galleries were open to the public for the entire process of its installation, allowing visitors to watch the works take shape. Another show entitled Documentation (1968) exhibited artworks with documentation such as artist's notes, sales records, and conservation records, bringing to light the value of record-keeping in the visual arts. Two exhibitions entitled Projected Art were also innovative, with the first (1966-1967) bringing experimental films from the cinema to the galleries, and the second (1971) showing artists' processes via footage and slides of artists working. Another show, Artists' Videotape Performances (1971), involved both screening of and creation of works in the gallery using a range of experiments with recent video technology. The museum also participated in an experimental broadcast of an artwork entitled Talk Out! by Douglas Davis, in which a telephone in the gallery allowed visitors to participate in its creation while it was broadcast live from Syracuse, NY. Other exhibitions that showcased experimentation in art included N-Dimensional Space (1970), on holography in art, Destruction Art(1968), on destructive actions being incorporated into contemporary art-making, and Schemata 7 (1967), a show about the use of environments in contemporary art, whose working title was "Walk-in Sculpture."

Other popular exhibitions at the Contemporary Wing included shows on Art Deco (1970) and Art Nouveau (1969). Several shows mined the private collections of prominent contemporary art collectors including Martha Jackson, Betty Parsons, George Rickey, Paul Magriel, Jacques Kaplan, Josephine and Philip Bruno, and Carlo F. Bilotti. A number of exhibitions featured contemporary art from overseas including Art from Belgium (1965), Art from Finland (1973), Seven Swedish Painters (1965), and Art in Jewelry (1966), which featured mainly international jewelry artists. Retrospective exhibitions of Hans Richter, Hugo Weber, and James Brooks were also held.

Hundreds of contemporary artists were shown at the Contemporary Wing in the eleven years of its existence, including many who came to be leading figures in contemporary art, and some who already were, including Andy Warhol, Roy Lichtenstein, Mel Bochner, Eva Hesse, Lynda Benglis, Bruce Nauman, Robert Morris, Lawrence Weiner, Robert Smithson, Sol Le Witt, Dan Flavin, Philip Pearlstein, and Yayoi Kusama, to name just a few.

The Contemporary Wing and the entire Finch College Museum of Art shut its doors in 1975, when Finch College closed due to lack of funds. The permanent collection was sold at that time, and the proceeds were used to pay Finch College employee salaries. Elayne Varian went on to the position of curator of contemporary art at the John and Mabel Ringling Museum in Sarasota, Florida. She died in 1987.

Related Materials:

Also found in the Archives of American Art is an oral history interview with curator Elayne Varian conducted by Paul Cummings, May 2, 1975.

Provenance:

The Archives of American Art acquired these records from the Finch College Museum of Art after it closed permanently in June 1975.

Restrictions:

Use of original papers requires an appointment. 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.

Occupation:

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

Museum administrators -- New York (State) -- New York  Search this

Museum curators -- New York (State) -- New York  Search this

Topic:

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

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

Gallery directors  Search this

Gallery owners  Search this

Genre/Form:

Transcripts

Interviews

Photographs

Sound recordings

Video recordings

Museum records

Citation:

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program. Funding for the digitization of two motion picture films was provided by the Smithsonian Women's Committee, and for the remaining sound and video recordings from the Smithsonian's Collection Care Pool Fund. Funding for the digitization of the collection, not including audiovisual materials, was provided by The Walton Family Foundation and the Terra Foundation for American Art.

Identifier:

AAA.finccoll

See more items in:

Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ed5f13a2-eeb3-452a-8735-204ff25576b5

EDAN-URL:

ead_collection:sova-aaa-finccoll

Creator:

Gibson, Gordon D. (Gordon Davis), 1915-2007  Search this

Names:

Center for the Study of Man (Smithsonian Institution)  Search this

Lewis, Kepler-Morden African Expedition  Search this

National Anthropological Film Center (U.S.)  Search this

National Museum of Natural History (U.S.)  Search this

Smithsonian Institution. Museum of Man  Search this

Smithsonian Institution. United States National Museum. Expedition to Madagascar -- 1962  Search this

Estermann, Carlos  Search this

Lomax, Alan, 1915-2002  Search this

Marshall, Lawrence Kennedy, 1898-1980  Search this

Mohun, Richard Dorsey  Search this

Perry, Matthew Calbraith, 1794-1858  Search this

Reining, Priscilla  Search this

Taunt, Emory H.  Search this

Tisdel, Willard P.  Search this

Verner, Samuel Phillips, 1873-1943  Search this

Ward, Herbert, 1863-1919  Search this

Correspondent:

Adams, Robert McCormick (Americanist)  Search this

Bohannan, Paul James  Search this

Cavendish, Marian W.  Search this

Dibble, Charles  Search this

Doyle, David W.  Search this

Fenkykovi, J.J.  Search this

Gill, Lunda Hoyle  Search this

Hartley, G.W.  Search this

Mead, Margaret, 1901-1978  Search this

O'Bryan, Deric  Search this

Robbins, Warren M.  Search this

Stanley, Jo Ann T.  Search this

Stone, Janet  Search this

Summers, Roger  Search this

Tax, Sol, 1907-1995  Search this

Thieme, Darius and Mimi  Search this

Trousdale, William  Search this

Turnbull, Colin  Search this

Wagley, Charles, 1913-1991  Search this

Wentzel, Volkmar Kurt, 1915-2006  Search this

Photographer:

Duggan-Cronin, A. M. (Alfred Martin), 1874-  Search this

Friedmann, Herbert, 1900-1987  Search this

Lewis, Ralph Kepler  Search this

Wentzel, Volkmar Kurt, 1915-2006  Search this

Extent:

95 Linear feet (154 document boxes, 1 manuscript folder, 63 card file boxes, 1 oversize box, plus 64 microfilm reels, 137 sound recordings, 3 map folders, and 3 sets of rolled maps )

Culture:

Kuba  Search this

Bayei (African people)  Search this

Bushmen  Search this

Kuvale (African people)  Search this

Mbundu (African people)  Search this

Mbandieru (African people)  Search this

Keyu  Search this

Kongo (African people)  Search this

Herero (African people)  Search this

Himba (African people)  Search this

Hakawona  Search this

Diriku (African people)  Search this

Turkana  Search this

Tchavikwa  Search this

Suk (African people)  Search this

Suk  Search this

Ovambo (African people)  Search this

Nzima (African people)  Search this

Nyaneka (African people)  Search this

Ndongona (African people)  Search this

Type:

Collection descriptions

Archival materials

Place:

Namibia

Botswana

Angola

Date:

1936-2007

Summary:

This collection is comprised of the professional papers of Gordon D. Gibson. The collection contains his correspondence, field notes, research files, museum records, writings, photographs, sound recordings, and maps.The bulk of the collection consists of Gibson's southwestern Africa research. This includes his field notes, film scripts, photographs, sound recordings, and grant proposals he wrote in support of his fieldwork in Botswana, Namibia, and Angola. In addition, the collection contains his research notes, maps, drafts, publications, and papers presented at conferences. While most of his research focused on the Herero and Himba, the collection also contains his research on the Ovambo and Okavango and other southwestern African groups. In the collection is a great deal of photocopies and microfilms of literature on southwestern African ethnic groups, many of which are in Portuguese and German and which he had translated for his files. He was also interested in African material culture, especially Central African headgear. His research on African caps is well-represented in the collection, and includes photos of caps at various museums, source materials, research notes, and textile samples of knots and loop work. Gibson's files as the curator of African ethnology at the National Museum of Natural History also make up a significant portion of the collection. Among these records are his files for the museum's Hall of African Cultures and other African exhibits; his files on the museum's African collections, early donors and collectors of the collections; his personnel files; documents relating to his committee work; department and museum memos; meeting minutes; and his records as head of the Old World Division and acting chair of the department. The collection also documents the efforts to establish the Smithsonian's National Anthropological Film Center, now the Human Studies Film Archives, as well as his work on the planning committee to establish the Museum of Man at the Smithsonian. Memos and minutes relating to the Smithsonian's Center for the Study of Man are also present in the collection. In addition to Gibson's field photos, the collection also contains African photos taken by others. Among these are Herbert Friedmann's photos of Kenya; Hausmann's Libya photos; photos by Ralph Kepler Lewis during the Morden Africa Expedition in Kenya; and photos by Lawrence Marshall, Volkmar Wentzel, Alfred Martin Duggan Cronin, and Father Carlos Estermann. There are also photos of the exhibit cases from the Hall of African Cultures; photos of Smithsonian and non-Smithsonian African artifacts; and copies of photographs he obtained from different archives, including the National Anthropological Archives. Other materials in the collection include his files as film reviews editor for the American Anthropologist during the 1960s and 70s and his activities in different organizations.

Arrangement:

Arranged into 19 series: (1) Correspondence, 1938-1998; (2) Southwestern Africa Research, 1951-2004; (3) Caps Research; (4) Nineteenth Century Collectors; (5) General Research Files; (6) Exhibits, 1959-2007; (7) Curatorial Files, 1936-1984; (8) National Anthropological Film Center, 1965-1983; (9) Museum of Man, 1952-1981 [bulk 1968-1981]; (10) Center for the Study of Man (1967-1979); (11) Writings, 1947-1981; (12) Organizations; (13) Daily Log, 1958-1983; (14) Personal Files ; (15) Card Files; (16) Photographs, circa 1904-1983 [bulk 1953-1983]; (17) Microfilm; (18) Maps; (19) Sound Recordings

Biographical Note:

Gordon D. Gibson (1915-2007) was trained at the University of Chicago (Ph.D., 1952) and joined the staff of the Smithsonian's Department of Anthropology in 1958 as its curator of African ethnology. He served in that capacity until 1983. During the 1960s, he undertook a major renovation of the National Museum of Natural History's African exhibits, which had been on display since the 1920s. He developed the Hall of African Cultures, which opened in 1969 and remained on view until 1992. He was also instrumental in establishing the National Anthropological Film Center, now the Human Studies Film Archives. During his tenure, he also served as the first chairman of the Senate of Scientists of the National Museum of Natural History (1963-1964), chairman of the museum's photographic facilities committee (1968), member of the Center for the Study of Man, and member and chairman of the Department of Anthropology collections committee and its photographs records committee (1970s-1980s). He also had special interests in the department's library and processing lab. In 1980, he was chairman of a committee which studied the feasibility of establishing a Smithsonian Institution Museum of Man. Gibson held several offices and committee memberships with the Anthropological Society of Washington during the during the 1960s and 1970s and served as film review editor of the American Anthropologist. Gibson conducted fieldwork among the Herero and Himba in Botswana (1953, 1960-61), Namibia (1960-61, 1971-73), and Angola (1971-73). Articles produced from his field research include "Bridewealth and Other Forms of Exchange Among the Herero," "Double Descent and Its Correlates among the Herero of Ngamiland," "Herero Marriage," and "Himba Epochs." While in the field, he also filmed footage of the Herero, Himba, Zimba, and Kuvale. His edited films include Herero of Ngamiland (1953), Himba Wedding (1969), and The Himba (1972). In addition to the Herero and Himba, he also conducted research on the Okavango and Ovambo people. He edited and translated Carlos Estermann's Ethnography of Southwestern Angola (published in 3 volumes in 1976-81) and edited and contributed to The Kavango Peoples (1981). Gibson's research interests also included Central African headgear, coauthoring High Status Caps of the Kongo and Mbundu (1977) with Cecilia R. McGurk.

Related Materials:

Other materials relating to Gordon Gibson at the National Anthropological Archives can be found in the Records of the Department of Anthropology, Records of the Bureau of American Ethnology, and the Records of the American Anthropological Association.

The Human Studies Film Archives holds his films on the Herero, Himba, Kuvale, and Zimba.

The Smithsonian Institution Archives has materials relating to Gibson's work as the first chairman of the Senate of Scientists.

Provenance:

The papers of Gordon D. Gibson were received in three separate accessions. The first accession (comprised of correspondence; committee files; and materials relating to the Herbert Ward collection, the National Anthropological Film Center, the Center for the Study of Man, and the Museum of Man) was transferred to the National Anthropological Archives by Gibson after his retirement. A guide to this accession was created in 2001. An accretion (consisting of correspondence, fieldwork and research files, curatorial files, writings, photographs, sound recordings, and maps) was transferred to the archives by Gibson's family in 2007. His exhibition and museum specimen files were transferred to the archives in 2008 by the Department of Anthropology.

Restrictions:

The Gordon Davis Gibson papers are open for research. Access to the computer disks in the collection are restricted due to preservation concerns. The personnel files of Smithsonian staff have also been restricted.

Access to the Gordon Davis Gibson papers requires an appointment.

Topic:

Africa -- Ethnology  Search this

American Anthropologist -- film editor  Search this

Headwear -- Africa, Central  Search this

Exhibitions -- National Museum of Natural History  Search this

Language and languages -- Documentation  Search this

Citation:

Gordon Davis Gibson papers, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.1984-13

See more items in:

Gordon Davis Gibson papers

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw379619042-2f6c-46c7-8819-45a504628089

EDAN-URL:

ead_collection:sova-naa-1984-13

Creator:

Macbeth Gallery  Search this

Names:

Hartley, Marsden, 1877-1943  Search this

Homer, Winslow, 1836-1910  Search this

Macbeth, Robert W. (Robert Walker), 1884-1940  Search this

Macbeth, William, 1851-1917  Search this

McIntyre, Robert G. (Robert George), b. 1885  Search this

Stuart, Gilbert, 1755-1828  Search this

Weir, Robert Walter, 1803-1889  Search this

Extent:

131.6 Linear feet

Type:

Collection descriptions

Archival materials

Daguerreotypes

Photographs

Scrapbooks

Date:

1947-1948

1838-1968

bulk 1892-1953

Summary:

The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. Through extensive correspondence files, financial and inventory records, printed material, scrapbooks, reference and research material, and photographs of artists and works of art, the records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.

Scope and Content Note:

The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. The records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.

The gallery's correspondence files form the core of the collection and illuminate most aspects of American art history: the creation and sale of works of art, the development of reputations, the rise of museums and art societies, change and resistance to change in the art market, and the evolution of taste. Ninety-five feet of correspondence house substantial and informative letters from dozens of important American painters and sculptors, including older artists and younger contemporaries of the gallery in its later years. There are also letters from collectors, curators, other galleries, and critics.

The financial files found in the collection offer insight into the changing economic climate in which the gallery operated. They include information ranging from the details of individual sales and the market for individual artists, to consignment activities and artist commissions, to overviews of annual sales. This information is augmented by the firm's inventory records and the photographs of artwork with their accompanying records of paintings sold. The inventory records provide details of all works of art handled by the gallery, both sold and unsold, and the buyers who purchased them; the photographs of artwork include images of artwork sold with accompanying sales information.

The highlight of the gallery's printed material is the publication Art Notes. Although published only until 1930, Art Notes provides an excellent and detailed view of the gallery's exhibition schedule and the relationship of the gallery owners with many of the artists whose work they handled. It was a house organ that also provided a running commentary on events in the art world. The gallery's 19 fragile scrapbooks, maintained throughout the firm's history, provide further coverage of activities through exhibition catalogs and related news clippings. Printed material from other sources provides a frame of reference for activities in the art world from the mid-19th to the mid-20th-centuries and includes an almost complete run of the rare and important pre-Civil War art publication The Crayon.

Reference files record the interest which the gallery owners took in the work of early portrait painters and in later artists such as George Inness and Winslow Homer. Together with the immense volume of correspondence with buyers and sellers of paintings by the great portraitists and the Hudson River School found in the gallery's correspondence files, these records are still useful sources of information today and underscore the deep interest that the Macbeths and Robert McIntyre took in 18th and 19th-century American art.

The photographs of artists found here are a treasure trove of images of some of the major figures of the 19th and 20th-centuries. There are photographs of artists such as Chester Beach, Emil Carlsen, Charles Melville Dewey, Frederick Carl Frieseke, Childe Hassam, Winslow Homer, George Inness, Maurice Prendergast, and Julian Alden Weir, many of them original prints and the majority of them autographed.

With the exception of the "The Eight" and a few of their contemporaries, an important aspect of art history, the modernist movement, is generally represented in the Macbeth Gallery records only in a negative form as the three successive proprietors of the gallery showed very little interest in this area. Nevertheless, the collection is a highly significant source of information on many of the major and minor figures in American art in the period after 1890.

Arrangement:

The collection is arranged into eight series:

Missing Title

Series 1: Correspondence, 1838-1968 (Box 1-95, 163-164, OV 165; 96.2 linear feet)

Series 2: Financial and Shipping Records, 1892-1956 (Box 96-110; 11.8 linear feet)

Series 3: Inventory Records, 1892-circa 1957 (Box 111-113; 3.0 linear feet)

Series 4: Printed Material, 1838-1963 (Box 114-119, 162; 5.0 linear feet)

Series 5: Scrapbooks, 1892-1952 (Box 120-130; 3.3 linear feet)

Series 6: Reference Files, 1839-1959 (Box 131-132; 0.6 linear feet)

Series 7: Miscellaneous Files, 1912-1956 (Box 133-134; 0.8 linear feet)

Series 8: Photographs, circa 1880-circa 1968 (Box 135-161; 12.1 linear feet)

Historical Note:

The Macbeth Gallery was established in 1892 by William Macbeth, a Scotch-Irish immigrant who had spent ten years with the print dealer Frederick Keppel before he opened his doors to the art-buying public at 237 Fifth Avenue in New York. Despite the prevailing interest in foreign art at that time, particularly in that of the Barbizon and Dutch schools, Macbeth was determined to dedicate his gallery to "the permanent exhibition and sale of American pictures, both in oil and water colors."

Although some of the gallery's earliest exhibitions were of work by European artists, the business soon became the only gallery in continuous operation that kept American art permanently on display. In the January 1917 issue of Art Notes, Macbeth recounts those early days remembering that "The opening of my gallery......was a rash venture under the existing conditions, and disaster was freely predicted." Nevertheless, he struggled through the financial crisis of 1893 and persisted with his devotion to American art; slowly the market for his pictures grew more amenable.

Macbeth moved to more spacious quarters at 450 Fifth Avenue in 1906 and two years later undertook what was to become the major event in the gallery's early history: the 1908 exhibition of "The Eight," featuring work by Arthur B. Davies, Willam J. Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, and John Sloan. "The Eight" were an unlikely combination of social realists, visionaries and impressionists eager to challenge the dominating influence of the National Academy. The exhibition received an immense amount of publicity and instantly entered into art history as a successful assault on tradition.

Despite the splash that the exhibition made and its implications for the future of American art, nothing that the gallery did subsequently indicated that Macbeth intended to capitalize on its significance. It is true that Macbeth supported many artists later considered leaders in American art when the public would pay no attention to them because of their modernist tendencies; Arthur B. Davies, Paul Dougherty, Maurice Prendergast, Theodore Robinson, and F. Ballard Williams all held their first exhibitions at his gallery. Nevertheless, neither Macbeth nor the gallery's two successive proprietors, Robert G. McIntyre (William's nephew) and Robert Macbeth (William's son), who joined the gallery in 1903 and 1906 respectively, ever developed a true interest in modern art. The November 1930 issue of Art Notes summarizes their collective disdain for modernism, stating: "We believe that, by and large, modern art is amusing. We are heretical enough to believe that much of it was started for the amusement of its creators and that no one was more surprised than they when it was taken seriously by a certain audience to whom the bizarre and the unintelligible always makes an appeal." So while the Macbeths and McIntyre cetainly championed American artists and insisted they deserved as much recognition as the Europeans, their deepest and most abiding interest was undoubtedly the established artists of the 18th and 19th-centuries and those of the early 20th-century who continued in a more conservative style. Artists such as Emil Carlsen, Charles Harold Davis, Frederick C. Frieseke, Robert Henri, Winslow Homer, Chauncey F. Ryder, Abbot Handerson Thayer, J. Francis Murphy, A. H. Wyant were the gallery's bread and butter.

When William Macbeth died in 1917 Robert Macbeth took up the reins with the assistance of Robert G. McIntyre . Although they incorporated the business as William Macbeth, Inc., in 1918 the gallery continued to be known, as it always would be, simply as Macbeth Gallery. Macbeth and McIntyre continued to show work in the same vein as the elder Macbeth. They concentrated primarily on oil paintings at this time, having found by the 1920s that "oils are all that our gallery owners will buy," though they also exhibited an occasional group of watercolors and pastels in addition to bronzes and other sculpture by contemporary American artists such as Chester Beach and Janet Scudder.

Of the early American painters the Macbeths and McIntyre were particularly interested in colonial portraits and miniatures, especially those painted by prominent artists in the latter part of the eighteenth century such as John Singleton Copley, Gilbert Stuart, Thomas Sully and John Trumbull. In its early years the gallery also handled the work of a few prominent American etchers including Frank W. Benson, Emil Fuchs, Daniel Garber, Childe Hassam and Chauncey F. Ryder. The print department was generally discontinued, however, in the late 1930s although the gallery continued to show prints by contemporaries such as Stow Wengenroth.

In 1924 relative prosperity allowed the gallery to move uptown to 15 East Fifty-seventh Street. When the 1930s brought new financial hardship for the gallery Macbeth and McIntyre took a variety of approaches to boosting sales. In 1930 they decided to hold only group exhibitions throughout the season to the exclusion of one-man shows, and also held some special exhibitions of paintings priced at a hundred dollars each in the hope that they could tempt those "willing to take advantage of a rare chance to secure representative examples of good art at a most attractive price." A move to smaller quarters at 15 East Fifty-seventh Street in 1935 was made with the intention of concentrating their efforts on the work of fewer contemporary artists, while continuing to handle the work of the older Americans they had long supported.

When Macbeth died suddenly and unexpectedly in August 1940 following an operation for appendicitis, McIntyre continued to run the gallery with the assistance of Hazel Lewis. During the 1940s McIntyre and Lewis showed primarily contemporary art in a wide range of media including oil, watercolor, pastel, drawing and sculpture, while continuing, as always, to show the occasional group of 19th-century Americans. The great success of the gallery's later years was undeniably Andrew Wyeth whose first exhibition, held at Macbeth Gallery in 1937, resulted in the sale of all twenty-two paintings cataloged.

Although subsequent Wyeth exhibitions were also successful, McIntyre struggled financially throughout the 1940s and periodically considered liquidating the company. Although "vitally interested" in contemporary art by people such as Robert Brackman, Jay Connaway, Carl Gaertner, James Lechay, Herbert Meyer and Ogden M. Pleissner he found that, for the most part, it did not pay. McIntyre continued operations until 1953 when he decided that doing so for profit was not only a financial burden but also ran contrary to his desire to spend more time devoted to his first love, early American art. When the lease expired on 11 East Fifty-seventh Street in April 1953 McIntyre did not renew it. After closing the gallery's doors he sold art from his New York apartment and from his home in Dorset, Vermont. He officially dissolved William Macbeth, Inc., in 1957.

The history of the Macbeth Gallery is a long and distinguished one with each successive proprietor making a significant contribution to art in America. William Macbeth helped establish an audience and a market for American art when few were willing to give it serious consideration. Robert Macbeth continued to cement the gallery's reputation as one of the leading firms in New York and was instrumental in organizing the American Art Dealers Association. Robert G. McIntyre claimed in a letter to Lloyd Goodrich, dated 22 June 1945, that the thing of which he was most proud was "the share I have had in the formation of the collection of the Addison Gallery of American Art, at Andover, Massacusetts." McIntyre was widely respected in the art community as a dealer, as an adviser to curators, and as a scholar whose research and book on Martin Johnson Heade helped "rediscover" an important American artist. One of his most significant and lasting contributions to the history of art in America, however, was undoubtedly his gift of the gallery's historical records to the Archives of American Art.

Related Material:

Among the holdings of the Archives of American are a small collection of scattered Robert McIntyre's papers and 9 items of William Macbeth's papers. Macbeth Gallery exhibition catalogs are also available in the American Art Exhibition Catalog collection and the Brooklyn Museum Records, both loaned and microfilmed collections.

An extensive collection of Macbeth Gallery exhibition catalogs are also held by the Frick Art Reference Library and the Watson Library of the Metropolitan Museum of Art.

Provenance:

The bulk of the Macbeth Gallery records were donated and microfilmed in several installments between 1955 and 1966 by Robert G. McIntyre and Estate. Additional Macbeth Gallery printed material was donated by Phoebe C. and William Macbeth II, grandchildren of William Macbeth, in 1974.

Restrictions:

Use of 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.

Topic:

Eight (Group of American artists)  Search this

Artists -- United States  Search this

Art -- Collectors and collecting  Search this

Art, American  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Daguerreotypes

Photographs

Scrapbooks

Citation:

Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Grant Program. Digitization of the scrapbooks was supported by a grant from the Smithsonian Institution Women's Committee. Correspondence, financial and shipping records, inventory records, and printed material were digitized with funding provided by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the Terra Foundation for American Art and The Walton Family Foundation.

Identifier:

AAA.macbgall

See more items in:

Macbeth Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9755cec30-3318-4f15-a7b7-031c448a7a46

EDAN-URL:

ead_collection:sova-aaa-macbgall

Manufacturer:

Lockheed Aircraft Company  Search this

Materials:

All-metal

Dimensions:

Overall: 390 x 1170cm, 6345kg, 1580cm (12ft 9 9/16in. x 38ft 4 5/8in., 13988.2lb., 51ft 10 1/16in.)

Type:

CRAFT-Aircraft

Country of Origin:

United States of America

Date:

1943

Credit Line:

Transferred from the U.S. Air Force

Inventory Number:

A19600295000

Restrictions & Rights:

Usage conditions apply

See more items in:

National Air and Space Museum Collection

Location:

Steven F. Udvar-Hazy Center in Chantilly, VA

Exhibit Station:

World War II Aviation

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv9f8c73f98-d611-4493-a62b-0c7b0d79a9e9

EDAN-URL:

edanmdm:nasm_A19600295000

Collector:

Dr. Thomas Mcmillan  Search this

Donor Name:

Army Medical Museum  Search this

Culture:

Navajo (Diné)  Search this

Object Type:

Bow / Arrow / Quiver / Bow Case

Place:

Not Given

Accession Date:

18 Feb 1869

Topic:

Ethnology  Search this

Accession Number:

416140

USNM Number:

E8598-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/3dab222ef-1a19-4820-9535-9d3933fa59e2

EDAN-URL:

edanmdm:nmnhanthropology_8483277

Creator:

National Portrait Gallery  Search this

Type:

YouTube Videos

Uploaded:

2013-08-16T13:56:30.000Z

YouTube Category:

Education  Search this

Topic:

Portraits  Search this

See more by:

NatlPortraitGallery

Data Source:

National Portrait Gallery

YouTube Channel:

NatlPortraitGallery

EDAN-URL:

edanmdm:yt_IxPq5lwKePs

Collection Creator:

Gardner, Alexander, 1821-1882  Search this

Container:

Oversize Box 6

Type:

Archival materials

Photographs

Date:

1868

Scope and Contents:

Sophie Mosseau (standing in middle) and six Indian Peace Commissioners at Fort Laramie for the 1868 treaty signing. The Commissioners are from left to right General Alfred Howe Terry, General William S. Harney, General William Tecumseh Sherman, John B. Sanborn, Colonel Samuel F. Tappan, and General Christopher C. Auger. According to a photograph in the Autry Museum of the American West, Sophie Mosseau was the daughter of a Lakota mother and French-Canadian trapper. However, in other museum records, there are other conflicting identifications.

Collection Restrictions:

Access to NMAI Archive Center collections is by appointment only, Monday - Thursday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).

Collection Rights:

Some images restricted: Cultural Sensitivity

Permission to publish or broadcast materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.

Collection Citation:

Identification of specific item; Date (if known); William T. Sherman collection of Alexander Gardner photographs, P#####; National Museum of the American Indian Archive Center, Smithsonian Institution.

Identifier:

NMAI.AC.077, File P15389

See more items in:

William T. Sherman collection of Alexander Gardner photographs

William T. Sherman collection of Alexander Gardner photographs / Series 1: Fort Laramie, Wyoming / 1.3: American Indians at Fort Laramie, Wyoming / 1.3.2: Lakota

Archival Repository:

National Museum of the American Indian

GUID:

https://n2t.net/ark:/65665/sv43e6b1d26-d8d4-45a4-a8e6-e838a3c7a755

EDAN-URL:

ead_component:sova-nmai-ac-077-ref101

Collection Creator:

Walker, Phillip L., 1947-2009  Search this

Container:

Box 2

Type:

Archival materials

Date:

1993

Collection Restrictions:

The Phillip Walker papers are open for research.

Requests to view forensic files are subject to review by the NAA. Forensic files can only be viewed in the National Anthropological Archives reading room. No copies are permitted unless permission is granted by the agency the report was written for.

Access to the Phillip Walker papers requires an appointment.

Collection Rights:

Contact the repository for terms of use.

Collection Citation:

Phillip Walker papers, National Anthropological Archives, Smithsonian Institution

Sponsor:

Funding for the processing of this collection was provided by the Wenner-Gren Foundation.

See more items in:

Phillip Walker papers

Phillip Walker papers / Series 1: California projects and research / 1.1: Project and research files / Channel Islands: / San Clemente Island (SCLI):

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw35e45b347-fc01-4c92-82bc-d13a993275af

EDAN-URL:

ead_component:sova-naa-2014-08-ref111

Collection Creator:

Walker, Phillip L., 1947-2009  Search this

Container:

Box 3

Type:

Archival materials

Date:

circa 1993

Collection Restrictions:

The Phillip Walker papers are open for research.

Requests to view forensic files are subject to review by the NAA. Forensic files can only be viewed in the National Anthropological Archives reading room. No copies are permitted unless permission is granted by the agency the report was written for.

Access to the Phillip Walker papers requires an appointment.

Collection Rights:

Contact the repository for terms of use.

Collection Citation:

Phillip Walker papers, National Anthropological Archives, Smithsonian Institution

Sponsor:

Funding for the processing of this collection was provided by the Wenner-Gren Foundation.

See more items in:

Phillip Walker papers

Phillip Walker papers / Series 1: California projects and research / 1.1: Project and research files / Channel Islands: / San Clemente Island (SCLI): / Los Angeles County (LACO):

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3a7e7fe97-0b05-4060-91d9-e8740d2b4c7c

EDAN-URL:

ead_component:sova-naa-2014-08-ref116

Collection Creator:

Walker, Phillip L., 1947-2009  Search this

Container:

Box 3

Type:

Archival materials

Date:

circa 1993

Collection Restrictions:

The Phillip Walker papers are open for research.

Requests to view forensic files are subject to review by the NAA. Forensic files can only be viewed in the National Anthropological Archives reading room. No copies are permitted unless permission is granted by the agency the report was written for.

Access to the Phillip Walker papers requires an appointment.

Collection Rights:

Contact the repository for terms of use.

Collection Citation:

Phillip Walker papers, National Anthropological Archives, Smithsonian Institution

Sponsor:

Funding for the processing of this collection was provided by the Wenner-Gren Foundation.

See more items in:

Phillip Walker papers

Phillip Walker papers / Series 1: California projects and research / 1.1: Project and research files / Channel Islands: / San Clemente Island (SCLI): / Los Angeles County (LACO):

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3b92d2dfb-a5f4-402e-a1fe-463822fff943

EDAN-URL:

ead_component:sova-naa-2014-08-ref119

Collection Creator:

Walker, Phillip L., 1947-2009  Search this

Container:

Box 4

Type:

Archival materials

Date:

1993

Collection Restrictions:

The Phillip Walker papers are open for research.

Requests to view forensic files are subject to review by the NAA. Forensic files can only be viewed in the National Anthropological Archives reading room. No copies are permitted unless permission is granted by the agency the report was written for.

Access to the Phillip Walker papers requires an appointment.

Collection Rights:

Contact the repository for terms of use.

Collection Citation:

Phillip Walker papers, National Anthropological Archives, Smithsonian Institution

Sponsor:

Funding for the processing of this collection was provided by the Wenner-Gren Foundation.

See more items in:

Phillip Walker papers

Phillip Walker papers / Series 1: California projects and research / 1.1: Project and research files / Channel Islands: / San Clemente Island (SCLI):

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw337487747-b887-4530-bdd0-625b2aa121b1

EDAN-URL:

ead_component:sova-naa-2014-08-ref124

Collection Creator:

Walker, Phillip L., 1947-2009  Search this

Container:

Box 3

Type:

Archival materials

Date:

circa 1993

Collection Restrictions:

The Phillip Walker papers are open for research.

Requests to view forensic files are subject to review by the NAA. Forensic files can only be viewed in the National Anthropological Archives reading room. No copies are permitted unless permission is granted by the agency the report was written for.

Access to the Phillip Walker papers requires an appointment.

Collection Rights:

Contact the repository for terms of use.

Collection Citation:

Phillip Walker papers, National Anthropological Archives, Smithsonian Institution

Sponsor:

Funding for the processing of this collection was provided by the Wenner-Gren Foundation.

See more items in:

Phillip Walker papers

Phillip Walker papers / Series 1: California projects and research / 1.1: Project and research files / Channel Islands: / San Clemente Island (SCLI):

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3565e5285-c91c-43e0-8f95-d271af3ff56a

EDAN-URL:

ead_component:sova-naa-2014-08-ref128

Author:

Milwaukee Public Museum  Search this

Subject:

Milwaukee Public Museum  Search this

Physical description:

7 v. : ill. ; 26 cm

Type:

Periodicals

Date:

1944

1950

1944-1950

Topic:

Natural history museums  Search this

Call number:

AM1 .M87Z

AM1.M87Z

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_187588