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Portraits Alive! 2013: Teen Theatrical Gallery Tour

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

Indigenous Food Sovereignty | Youth in Action

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

American Art Research Council records

Creator:
American Art Research Council  Search this
Names:
Whitney Museum of American Art  Search this
Force, Juliana, 1876-1948  Search this
Extent:
3 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1935-1956
bulk 1942-1947
Summary:
The records of the American Art Research Council, a cooperative research group headquartered at the Whitney Museum of American Art in New York, measure 3 linear feet and date from 1935 to 1956. The records include Chairman Juliana Force's correspondence, administrative correspondence, advisory committee files, miscellaneous administrative files, scattered financial records, and printed materials.
Scope and Contents:
The records of the American Art Research Council, a cooperative research group headquartered at the Whitney Museum of American Art in New York, measure 3 linear feet and date from 1935 to 1956. The records include Chairman Juliana Force's correspondence, administrative correspondence, advisory committee files, miscellaneous administrative files, scattered financial records, and printed materials.

Correspondence consists of Chairman Juliana Force's correspondence with museums, curators, and others, in addition to general AARC correspondence on various subjects. The Advisory Committee series consists of correspondence, lists, reports, and meeting minutes.

Administrative records include assorted material such as reports on paintings owned by private individuals and art centers, correspondence and drafts on a special issue of Art in America, a bibliography, and surveys. Survey files consist of survey responses and indexes of results for several surveys conducted by the AARC.

Financial records consist of assorted material such as contribution records, ledgers, bank statements, and cancelled checks. Printed materials include clippings, academic journals, bulletins, and press releases.
Arrangement:
The collection is arranged as 5 series.

Series 1: Correspondence, 1942-1947 (1 linear feet; Box 1)

Series 2: Advisory Committee, 1942-1947 (0.2 linear feet; Box 2)

Series 3: Administrative Records, 1935-1950 (0.9 linear feet; Boxes 2-3)

Series 4: Financial Records, 1942-1956 (0.7 linear feet; Boxes 3-4)

Series 5: Printed Material, 1942-1947 (0.2 linear feet; Box 5)
Biographical / Historical:
The American Art Research Council (AARC) was founded in 1942 when the Whitney Museum of American Art in New York City proposed that museums across the country establish a collaborative centralized organization for American art research. In April 1942, directors and representatives of 15 prominent museums met and founded the AARC.

Headquartered in and administered by the Whitney Museum, the AARC broadened its scope to include staff from over 30 museums and universities across the country. The organization formed a Committee on Research consisting of experts and scholars of American art that authenticated art, shared research records about artists, and conducted multiple surveys on various subjects. The AARC also facilitated researchers by sharing their information in catalogs and publications.
Provenance:
The American Art Research Council records were donated by the Whitney Museum of American Art in 1978 as part of a larger donation of museum records.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Facility.
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:
Art -- Study and teaching  Search this
Citation:
American Art Research Council records, 1935-1956. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.amerartr
See more items in:
American Art Research Council records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9981d5c2f-180b-457a-a4af-a468139bdb59
EDAN-URL:
ead_collection:sova-aaa-amerartr
Online Media:

Triner postal scale

User:
Post Office Department, (1792-1971)  Search this
Manufacturer:
Triner Scales and Manufacturing Company  Search this
Medium:
metal; glass
Dimensions:
Height x Width x Depth: 12 x 6 1/4 x 2 in. (30.48 x 15.88 x 5.08 cm)
Type:
Mail Processing Equipment
Place:
California
Date:
1912-1926
Object number:
1992.2002.1000
See more items in:
National Postal Museum Collection
Data Source:
National Postal Museum
GUID:
http://n2t.net/ark:/65665/hm8605b4091-eb51-4c1c-8b4b-8ca79eee86e8
EDAN-URL:
edanmdm:npm_1992.2002.1000
Online Media:

Banner Stone, Winged type

Donor Name:
Bureau Of American Ethnology  Search this
Object Type:
Bannerstone
Place:
Rhea County, Tennessee, United States, North America
Accession Date:
3 Sep 1886
Topic:
Archaeology  Search this
Accession Number:
017928
USNM Number:
A115871-0
See more items in:
Anthropology
Data Source:
NMNH - Anthropology Dept.
GUID:
http://n2t.net/ark:/65665/3eda82bbf-c713-489f-9154-3d97df8dd2c1
EDAN-URL:
edanmdm:nmnhanthropology_8008325
Online Media:

Bannerstone, quartz butterfly type

Donor Name:
D. M. Harris  Search this
Culture:
Prehistoric  Search this
Object Type:
Bannerstone
Place:
Claiborne Parish, Louisiana, United States, North America
Accession Date:
1881
Topic:
Archaeology  Search this
Accession Number:
010513
USNM Number:
A58516-0
See more items in:
Anthropology
Data Source:
NMNH - Anthropology Dept.
GUID:
http://n2t.net/ark:/65665/36109ab88-abe1-4782-beb2-91423b210113
EDAN-URL:
edanmdm:nmnhanthropology_8303551
Online Media:

Lockheed P-38J-10-LO Lightning

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 (UHC)
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv9f8c73f98-d611-4493-a62b-0c7b0d79a9e9
EDAN-URL:
edanmdm:nasm_A19600295000
Online Media:

Macbeth Gallery records

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.
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
Online Media:

Writings: "Let's Go to the Elmira Soaring Meet", US Air Service

Collection Creator:
Junkin, Hattie Meyers, 1896-1985  Search this
Container:
Box 4, Folder 16
Type:
Archival materials
Text
Date:
1931-08
Collection Restrictions:
No restrictions on access
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
See more items in:
Hattie Meyers Junkin Papers
Hattie Meyers Junkin Papers / Series 3: General materials of Hattie Meyers Junkin
Archival Repository:
National Air and Space Museum Archives
GUID:
https://n2t.net/ark:/65665/pg2b364c559-f50f-444e-bd6a-42839bad15dc
EDAN-URL:
ead_component:sova-nasm-xxxx-0171-ref129
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Ceremonial Weapon - Drilled, Bannerstone

Donor Name:
D. M. Harris  Search this
Culture:
Prehistoric  Search this
Object Type:
Bannerstone
Place:
Claiborne Parish, Louisiana, United States, North America
Accession Date:
1881
Topic:
Archaeology  Search this
Accession Number:
010513
USNM Number:
A58517-0
See more items in:
Anthropology
Data Source:
NMNH - Anthropology Dept.
GUID:
http://n2t.net/ark:/65665/3bd365f21-32af-4cd8-b86b-c4182b2b5df1
EDAN-URL:
edanmdm:nmnhanthropology_8303552
Online Media:

Stone pipe, bird effigy

Donor Name:
N. M. Clark  Search this
Culture:
Prehistoric  Search this
Object Type:
Pipe
Place:
Decatur County, Tennessee, United States, North America
Accession Date:
1881
Topic:
Archaeology  Search this
Accession Number:
010625
USNM Number:
A58853-0
See more items in:
Anthropology
Data Source:
NMNH - Anthropology Dept.
GUID:
http://n2t.net/ark:/65665/362bf50e3-2e19-48b8-87f1-dd018704a88a
EDAN-URL:
edanmdm:nmnhanthropology_8303904
Online Media:

American Association of Museums Audiovisual Records

Creator:
Anacostia Community Museum  Search this
Names:
American Association of Museums  Search this
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Extent:
0.25 Linear feet
38 Sound recordings (38 audio cassette sound recordings)
Type:
Collection descriptions
Archival materials
Sound recordings
Museum records
Conferences
Date:
1983-1994
bulk 1983-1990
Scope and Contents note:
This collection contains audio recordings of meetings and conferences led by the American Association of Museums, which is now known as the American Alliance of Museums (AAM). It includes recordings of AAM events from the years 1976-1994, with the majority being created in the 1980s.
Provenance:
The American Association of Museums changed its name to the American Alliance of Museums in 2012 to better reflect the organization's mission to unite museums across the country.
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:
Sound recordings
Museum records
Conferences
Citation:
American Association of Museums Audiovisual Records, Anacostia Community Museum Archives, Smithsonian Institution
Identifier:
ACMA.AV09-020
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa7282f0f38-e4ed-48dc-a1f6-f347054b9901
EDAN-URL:
ead_collection:sova-acma-av09-020

Professional Development and Museology Audiovisual Records

Creator:
Anacostia Community Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Extent:
14 Video recordings (5 open reel 1/2" video recordings ; 9 VHS 1/2" video recordings)
19 Sound recordings (1 open reel 1/4" sound recordings ; 4 vinyl record sound recordings ; 14 audio cassette sound recordings)
Type:
Collection descriptions
Archival materials
Video recordings
Sound recordings
Museum records
Place:
Anacostia (Washington, D.C.)
Date:
1972-1990
bulk 1972-1980
Scope and Contents note:
This collection includes video recordings related to professional development, museology, and human resources and serve as documentation of personnel training at the Anacostia Community Museum.
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:
Sound recordings
Museum records
Video recordings
Citation:
Professional Development and Museology Audiovisual Records , Anacostia Community Museum Archives, Smithsonian Institution
Identifier:
ACMA.AV09-022
See more items in:
Professional Development and Museology Audiovisual Records
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa76a49c013-43c4-4f08-be1d-22be66736129
EDAN-URL:
ead_collection:sova-acma-av09-022

African American Museums Association Audiovisual Records

Creator:
Anacostia Community Museum  Search this
Names:
African American Museums Association  Search this
Anacostia Community Museum  Search this
Anacostia Museum and Center for African American History and Culture  Search this
Anacostia Neighborhood Museum  Search this
Extent:
0.2 Linear feet
75 Sound recordings (71 audio cassette sound recordings ; 4 microcassette sound recordings)
Type:
Collection descriptions
Archival materials
Sound recordings
Museum records
Conferences
Date:
1978-1995
bulk 1978-1979
Scope and Contents note:
This collection contains audio recordings of meetings and conferences led by the African American Museums Association (AAMA). It includes recordings of AAMA events from the years 1978-1995, with the majority being created in 1978 and 1979.
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
Conferences
Sound recordings
Citation:
African American Museums Association Audiovisual Records, Anacostia Community Museum Archives, Smithsonian Institution
Identifier:
ACMA.AV09-019
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa72638c14a-4b03-4138-b552-e93635eecc96
EDAN-URL:
ead_collection:sova-acma-av09-019

Oral history interview with Charles Burr

Extent:
1 Sound recording ((1 data disk DVD-R digital, 24-bit 96kHz WAV.)))
1 Sound recording ((1 sound disk CD-R (00:40:15). digital, 16-bit 44.1 KhZ))
1 Sound recording ((1 sound cassette (00:40:15)))
Container:
Box 1, Tape n/a
Type:
Archival materials
Sound recordings
Scope and Contents note:
An interview of Charles Burr conducted in 1975 for the Anacostia Oral History Project through the Center for Anacostia Studies and the Anacostia Community Museum.; Recording of a women reading Charles Burr's "Index of History of Anacostia." The writing discusses various subdivisions of the area and how/when/by whom things were built. It cites descriptions and surveys of the area dating back to the early 1800s.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Citation:
Anacostia Oral History Project, Anacostia Community Museum Archives, Smithsonian Institution
See more items in:
Anacostia Oral History Project, 1975
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa79bf84b65-47dc-4cd0-9060-5c87f3b36bad
EDAN-URL:
ead_component:sova-acma-09-006-ref207

Recording from the Anacostia 1891 Star Paper "Roadside Sketches" and Washingtonian Clippings

Extent:
1 Sound recording ((1 sound cassette (00:53:17)))
1 Sound recording ((1 sound disk CD-R (00:53:17). digital, 16-bit 44.1 KhZ))
1 Sound recording ((1 data disk DVD-R digital, 24-bit 96kHz WAV.)))
Container:
Box 2, Tape n/a
Type:
Archival materials
Sound recordings
Scope and Contents note:
Side 1: Anacostia 1891 Star Paper "Roadside Sketches";

Side 2: History - Anacostia 1800-1939, Washingtonian Clippings. A recording for the Anacostia Oral History Project through the Center for Anacostia Studies and the Anacostia Community Museum.; Recording of a woman reading an article titled "Changes in recent years – The beginning of Anacostia – The Neighboring settlement of Hillsdale – Where Frederick Douglass Lives – Picturesque things from the Hills" from the Anacostia Star Paper from Saturday Dec. 5, 1891.
Restrictions:
Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.
Collection Citation:
Anacostia Oral History Project, Anacostia Community Museum Archives, Smithsonian Institution
See more items in:
Anacostia Oral History Project, 1975
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa7fb3417ca-a27d-44a4-aa5b-03a455844488
EDAN-URL:
ead_component:sova-acma-09-006-ref227

Museum Events, Programs, and Projects, 1967-1989

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

ACM Education Department Programs Audiovisual Records

Creator:
Anacostia Community Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Collection Creator:
Anacostia Community Museum  Search this
Extent:
9.5 Linear feet
167 Video recordings (VHS, 1/2")
1 Video recording (Betacam)
3 Video recordings (BetacamSP)
6 Video recordings (miniDV)
66 Sound recordings (audio cassette)
Type:
Archival materials
Video recordings
Sound recordings
Museum records
Place:
Anacostia (Washington, D.C.)
Date:
1967-2008
bulk 1990s
Scope and Contents:
This collection contains audiovisual documentation of educational programs, lectures, and events held by Anacostia Community Museum's Education Department between the years 1968 and 2008, with most of the recordings being created in the 1990s. It includes audio and video recordings of workshops, lectures, and other educational events held both on- and off-site and serves as documentation of the Education Department's work over the years.
Collection 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:
Museums  Search this
African Americans  Search this
Genre/Form:
Museum records
Video recordings
Sound recordings
Citation:
ACM Education Department Programs Audiovisual Records 1967-2008, Record Group 09-007.7, Anacostia Community Museum Archives, Smithsonian Institution
Identifier:
ACMA.09-023, Series ACMA 09-007.7
See more items in:
Museum Events, Programs, and Projects, 1967-1989
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa793b78f39-2a50-4e35-a937-c653cf94e3fa
EDAN-URL:
ead_component:sova-acma-09-023-ref1553

Stokely Carmichael Lecture at Howard University

Creator:
Anacostia Neighborhood Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
Howard University  Search this
Carmichael, Stokely, 1941-1998  Search this
Collection Creator:
Anacostia Community Museum  Search this
Extent:
2 Video recordings (open reel, 1/2 inch)
Type:
Archival materials
Video recordings
Lectures
Place:
Anacostia (Washington, D.C.)
Washington (D.C.)
United States
Date:
circa 1972
Scope and Contents:
During a lecture to students at Howard University, Stokely Carmichael speaks about the movement of black people toward unity with a clear, common ideology based on science. He stresses black people must put theory into practice - organize and take action. He speaks about the differences between revolutionary and reform movements; Pan-Africanism; the All African People's Revolutionary Party; scientific socialism; nkrumahism; capitalism; and imperialism.
Lecture. Part of ACM Museum Events, PR, and Ceremonies Recordings. Poor picture quality. AV000784: poor sound quality, speech until 001510 (followed by Panorama: Nikki Giovanni and Stokely Carmichael and Panorama: Alyce C. Gullattee, James P. Comer, John Williams). Undated.
Local Numbers:
ACMA AV000784
Collection 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
Civil rights leaders  Search this
Race  Search this
Black power  Search this
Pan-Africanism  Search this
Socialism  Search this
Capitalism  Search this
Imperialism  Search this
Genre/Form:
Video recordings
Lectures
Citation:
Stokely Carmichael Lecture at Howard University, Record Group AV09-023, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.09-023, Item ACMA AV003096
See more items in:
Museum Events, Programs, and Projects, 1967-1989
Museum Events, Programs, and Projects, 1967-1989 / Recordings of lectures
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa7f178b193-21ab-42db-9f0e-77d8ed3c3783
EDAN-URL:
ead_component:sova-acma-09-023-ref529

Live Musical Performances at Anacostia Neighborhood Museum

Creator:
Anacostia Neighborhood Museum  Search this
Names:
Anacostia Community Museum  Search this
Anacostia Neighborhood Museum  Search this
The Colombians  Search this
Collection Creator:
Anacostia Community Museum  Search this
Extent:
1 Video recording (open reel, 1/2 inch)
Type:
Archival materials
Video recordings
Music
Place:
Anacostia (Washington, D.C.)
Washington (D.C.)
United States
Date:
1974
Scope and Contents:
Live music by The Colombians and other groups at Anacostia Neighborhood Museum. Introduction by Zora Martin-Felton.
Music. Part of ACM Museum Events, PR, and Ceremonies Recordings. Music until 001752 (followed by Dedication of Mary McLeod Bethune Statue at Lincoln Park). Dated 19740712.
Collection 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
Music  Search this
Genre/Form:
Video recordings
Music
Citation:
Live Musical Performances at Anacostia Neighborhood Museum, Record Group AV09-023, Anacostia Community Museum Archives, Smithsonian Institution.
Identifier:
ACMA.09-023, Item ACMA AV003558
See more items in:
Museum Events, Programs, and Projects, 1967-1989
Archival Repository:
Anacostia Community Museum Archives
GUID:
https://n2t.net/ark:/65665/qa7e0b2584a-ab3f-442e-863a-5e0406b1612f
EDAN-URL:
ead_component:sova-acma-09-023-ref570

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