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Bob Thompson papers

Creator:
Thompson, Bob, 1937-1966  Search this
Names:
Billiard Place  Search this
David Anerson Gallery  Search this
Donald Morris Gallery  Search this
Sluggs Jazz Club  Search this
The Billard Palace  Search this
Whitney Museum of American Art  Search this
Baraka, Amiri, 1934-2014  Search this
Beskind, Dorothy Levitt  Search this
Bridwell, Margaret  Search this
Covi, Dario A.  Search this
Crodel, Charles, 1894-1973  Search this
Cruz, Emilio, 1938-  Search this
Ginsberg, Allen, 1926-  Search this
Martin, Mary, 1913-  Search this
May, Mary Spencer  Search this
Ratcliff, Carter  Search this
Schapiro, Meyer, 1904-  Search this
Spellman, A. B., 1935-  Search this
Thompson, Bessie  Search this
Thompson, Carol  Search this
Wilke, Ulfert, 1907-1987  Search this
Wilson, Judith, 1952-  Search this
Young, Kenneth, 1933-  Search this
Extent:
2 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Photographs
Date:
1949-2005
Summary:
The papers of New York African American figurative painter Bob Thompson measure 2 linear feet and date from 1949 to 2005. The collection includes biographical material, videocassettes, correspondence, writings by Bob Thompson and others, exhibition files, scattered personal business records, printed material, photographs, and photograph albums. The correspondence is mostly between Carol Thompson, the artist's wife, and others concerning Bob Thompson's artwork.
Scope and Contents:
The papers of New York African American figurative painter Bob Thompson measure 2 linear feet and date from 1949 to 2005. The collection includes biographical material, videocassettes, correspondence, writings by Bob Thompson and others, exhibition files, scattered personal business records, printed material, photographs, and photograph albums. The correspondence is mostly between Carol Thompson, the artist's wife, and others concerning Bob Thompson's artwork.

Biographical material includes certificates, school memorabilia, biographical chronologies, a memorial program and obituaries, and a transcript of "Bob Thompson: His Life and Friendships" panel discussion with several notable artists commenting on Thompson. There is also a video recording copy of a 1965 film by Dorothy Levitt Beskind titled Bob Thompson Happening which was made to accompany a 1999 exhibition at the Whitney Museum of Art.

Carol Thompson's correspondence is with various galleries, dealers, and friends primarily concerning Bob Thompson's artwork and posthumous exhibitions. There is correspondence with art historian Judith Wilson, the artist's mother Bessie Thompson, David Anderson Gallery, and Donald Morris Gallery.

Writings by Bob Thompson include church speeches, a letter to the editor of Louisville Courier Journal, a poem, and an artist statement. There are also writings about Thompson by others, including his mother Bessie Thompson, wife Carol Thompson, and artists and friends, including Margaret Bridwell, Dario Covi, Carl Crodel, Emilio Cruz, Allen Ginsberg, LeRoi Jones, Mary H. Martin, Mary Spencer May, Carter Ratcliff, Meyer Schapiro, A. B. Spellman, Ulfert Wilke, and Ken Young. The writings by friends are mostly in the form of recollections by friends that were gathered as a memorial tribute to Thompson.

Exhibition files consist of material related to posthumous group and solo exhibitions of Bob Thompson's work.

The majority of the personal business records are posthumous and include inventories, loan and consignment forms, sales and appraisal records, and scattered correspondence.

Printed material includes exhibition catalogs, magazine and newspaper clippings about Bob Thompson, blank postcards of artwork, posters, and press releases.

There are photographs of Bob Thompson, family, and friends, including many artists, shot in various locations in New York City and Provincetown, as well as in Spain, France, and Italy. There are images of Thompson's Rivington Street studio, the Billiard Palace and the Slugs Jazz Club in New York City, exhibitions, events, street scenes, and artwork. There are four photographs albums, one of the Thompson's wedding, two of exhibitions (one is disbound), and one personal album with many photographs of friends and family, including the artist's mother Bessie Thompson and wife Carol Thompson.
Arrangement:
The collection is arranged as 7 series.

Missing Title

Series 1: Biographical Material, 1953-2003 (0.2 linear feet; Box 1)

Series 2: Carol Thompson's Correspondence, 1971-2000 (0.1 linear feet; Box 1)

Series 3: Writings, 1949-1998 (0.1 linear feet; Box 1)

Series 4: Exhibition Files, 1978-2001 (0.1 linear feet; Box 1)

Series 5: Personal Business Records, 1965-2001 (0.1 linear feet; Box 1)

Series 6: Printed Material, 1960-2005 (0.7 linear feet; Boxes 1-2, 4, OV 5)

Series 7: Photographs, 1951-2000 (0.7 linear feet; Boxes 2-4)
Biographical / Historical:
Bob Thompson (1937-1966) was an African American figurative painter who worked primarily in New York City.

Thompson was born in Louisville, Kentucky in 1937. He attended Boston University as a pre-med student, but quit the program and returned to Kentucky to attend the University of Louisville and study painting under German expressionist artist Ulfert Wilke. As a student, he spent a summer in Provincetown, Massachusetts and immersed himself in the art communities there. In 1958, Thompson moved to New York City and reunited with several artists he had met in Provincetown and participated in some of the earliest "happenings," somewhat informal art events or gatherings usually involving performance art and music, in 1960. He became a regular at the jazz clubs The Five Spot and Slugs and became friends with several jazz musicians. Many of Thompson's paintings reflect his interest in jazz. He also formed friendships with writers Allen Ginsberg and LeRoi Jones. In 1960, he had his first solo exhibition at the Delancy Street Museum.

The same year as his first solo exhibition, Thompson married Carol Plenda and the couple lived in Paris from 1961-1962 after he received a Whitney Foundation fellowship. They lived in Ibiza, Spain the following year. Thompson painted prolifically while abroad, and when he returned to New York City in 1963, he brought many paintings with him. He quickly found representation by Martha Jackson Gallery and the gallery featured Thompson's work in solo exhibitions in 1963-1965. His reputation grew and more exhibitions across the country followed.

In late 1965, Thompson and his wife traveled to Rome, Italy, where he continued to study art and paint. Thompson died in Rome in 1966 at the age of 28 from a drug overdose not long after receiving gall bladder surgery.
Provenance:
The collection was donated by Elaine Plenda, the artist's sister-in-law, in 2006, 2010, 2011, and 2012.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of video recording requires advance notice. Contact Reference Services for more information.
Rights:
"Bob Thompson Happening" (1965) video: Permission to publish, quote or reproduce requires written permission from Joanne Elkin. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Topic:
African American artists  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Video recordings
Photographs
Citation:
Bob Thompson papers, 1949-2005. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.thombob
See more items in:
Bob Thompson papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95cbba908-2706-4ba6-8bb0-58c271c29d62
EDAN-URL:
ead_collection:sova-aaa-thombob
Online Media:

Moses and Frances Asch Collection

Creator:
Asch, Moses  Search this
Distler, Marian, 1919-1964  Search this
Folkways Records  Search this
Names:
Courlander, Harold, 1908-1996  Search this
Guthrie, Woody, 1912-1967  Search this
Jenkins, Ella  Search this
Leadbelly, 1885-1949  Search this
Ramsey, Frederic, 1915-1995  Search this
Seeger, Pete, 1919-2014  Search this
Extent:
841 Cubic feet
Type:
Collection descriptions
Archival materials
Business records
Correspondence
Phonograph records
Photographic prints
Audiotapes
Date:
1926-1986
bulk 1948-1986
Summary:
This collection, which dates from 1926-1986, documents the output of Moses Asch through the various record labels he founded and co-founded, and includes some of his personal papers. The Asch collection includes published recordings, master tapes, outtakes, business records, correspondence, photographs, and film.
Scope and Contents:
The Moses and Frances Asch Collection measures 841 cubic feet and dates from 1926-1987, with some contemporary, relevant correspondence, clippings, and ephemera added after 1987.

Most of the collection consists of audio recordings (commercial 78 rpm and long-playing records, open reel tapes, acetate discs, and test pressings), correspondence with recording artists and producers, artwork, photographs, ephemera, clippings, record production materials, writings, and business papers relating to Folkways Records. Materials relating to Folkways Records can be found primarily in the Correspondence, Folkways Production, Business Records, Photographs, Artwork, Sound Recordings, and Film series.

The collection also contains some biographical materials and personal correspondence, including materials related to Asch's first business, Radio Laboratories, located in the Biographical Materials series. Correspondence, ephemera, photographs, record production materials, business papers, and recordings relating to Asch's record labels before Folkways Records (Asch Recordings, Disc Company of America, Cub Records) are located in the Early Label Materials series as well as the Audio Recordings and Photographs series.
Arrangement note:
The collection is arranged in 10 series:

Series 1: Correspondence, 1942-1987

Series 2: Folkways Production, 1946-1987

Series 3: Business Records, 1940-1987

Series 4: Woody Guthrie papers, 1927-1985

Series 5: Early Label Materials, 1940-1949

Series 6: Biographical Materials, 1926-1987

Series 7: Photographs

Series 8: Artwork

Series 9: Audio Recordings

Series 10: Film

At this time, the collection is partially processed. Please contact rinzlerarchives@si.edu for more information.
Biographical/Historical note:
The son of Yiddish writer Sholem Asch, Moses Asch was born in Poland in 1905. His childhood was spent in Poland, France, Germany, and New York. While young, Asch developed an interest in radio electronics, which ultimately lead him to his life's work, recording the music and sounds of the world. He established several record labels in succession, sometimes partnering with other record companies. Two of his fist record companies, Asch Recordings and DISC Co. of America, went bankrupt. They were followed by his best-known label, Folkways Records, which was founded in 1948 with Marian Distler (1919-1964). He was still working on Folkways recordings when he died in 1986.

Folkways Records sought to document the entire world of sound. The 2,168 titles Asch released on Folkways include traditional and contemporary music from around the world, spoken word in many languages, and documentary recordings of individuals, communities, and current events. Asch's business practices revolved around the commitment to keep every recording issued by Folkways in print, despite low sales. Asch stayed afloat by cutting costs where he could (such as color printing) and offering a high-quality product, meticulously recorded and accompanied by extensive liner notes. In doing this, he could charge a slightly higher price than other commercial outfits. Despite a tenuous relationship with financial solvency, Folkways grew to be not only one of the most important independent record companies in the United States in the 20th century, but also one of the largest and most influential record companies in the world.

Moses Asch's record labels featured famous and lesser known American writers, poets, documentarians, ethnographers, and grass roots musicians on commercial recordings. American folk icon Woody Guthrie recorded on the Asch, Disc, and Folkways labels, and the Asch Collection includes some of his correspondence, lyrics, drawings, and writings. The collection also includes correspondence with other notable musicians and artists such as John Cage, Langston Hughes, Margaret Walker, Huddie "Lead Belly" Ledbetter, Pete Seeger, Peggy Seeger, Ewan MacColl, Alan Lomax, Henry Cowell, and Kenneth Patchen. Also in the collection are ethnographic field notes and photographs by as well as correspondence with Béla Barók, Sidney Robertson Cowell, Harold Courlander, Helen Creighton, Laura Boulton, and Samuel Charters. Asch hired various prominent artists and graphic designers including David Stone Martin, Ben Shahn, John Carlis, and Ronald Clyne to create album cover art for his recordings. Much of the original art and designs for these covers can be found in the Asch Collection.

Asch's output of recordings on various labels, including published recordings, open reel master tapes, outtakes, and acetate disks, in addition to his business papers, correspondence, photographs, and other files were acquired by the Smithsonian Institution in 1987. The collection came to the Smithsonian with the understanding that all 2168 titles under the Folkways label would be kept available in perpetuity.
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://folklife.si.edu/archives#shared-stewardship.
Provenance:
Ralph Rinzler arranged the Smithsonian's acquisition of the Moses and Frances Asch Collection in 1987, beginning with Asch before his death in 1986 and continuing with extensive discussions between Rinzler and the Asch family. Since its acquisition, archivist Jeff Place and others have added contemporary, relevant correspondence with Folkways artists and related individuals.
Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
Folk music  Search this
Folk dance music  Search this
Electronic music  Search this
Oral interpretation of poetry  Search this
Oral interpretation of fiction  Search this
Music -- 20th century  Search this
Music -- 19th century  Search this
Music -- 18th century  Search this
Jazz  Search this
Folk music -- United States  Search this
World music  Search this
Sounds  Search this
Vocal music  Search this
Popular music -- 20th century -- United States  Search this
Genre/Form:
Business records
Correspondence
Phonograph records
Photographic prints
Audiotapes
Citation:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.ASCH
See more items in:
Moses and Frances Asch Collection
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk533b8a927-559a-44ac-98d2-f32d871058b4
EDAN-URL:
ead_collection:sova-cfch-asch
Online Media:

Robert Alexander papers and Temple of Man records

Creator:
Alexander, Robert  Search this
Temple of Man (Venice, Calif.)  Search this
Names:
Temple of Man (Venice, Calif.)  Search this
Beattie, Paul, 1924-1988  Search this
Berman, Wallace, 1926-1976  Search this
Herms, George, 1935-  Search this
Hirschman, Jack, 1933-  Search this
Extent:
11.7 Linear feet
1.01 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Video recordings
Date:
1938-2015
Summary:
The papers of poet, artist, and ordained priest Robert Alexander and the records of Venice, California's Temple of Man measure 11.7 linear feet and 1.01 GB, and date from 1938-2015. The papers and records document Alexander and the Temple of Man, which he founded in 1960 to serve as a meeting place for a community of artists, poets, and musicians. The collection contains biographical material pertaining to Alexander, Temple of Man administrative records, correspondence and artists files, project files, printed material, and photographic material.
Scope and Contents:
The papers of poet, artist, and ordained priest Robert Alexander and the records of Venice, California's Temple of Man measure 11.7 linear feet and 1.01 GB, and date from 1938-2015. The papers and records document Alexander and the Temple of Man, which he founded in 1960 to serve as a meeting place for a community of artists, poets, and musicians. The collection contains biographical material pertaining to Alexander, Temple of Man administrative records, correspondence and artists files, project files, printed material, and photographic material.

Correspondence and artists files comprise the bulk of the collection and contain a wide variety of material pertaining to Temple of Man artists and affiliates, including mail art, over one hundred artworks, poetry, writings, exhibition announcements, clippings, and photographs. Artists include Anita Alexander, Bob Alexander, John Altoon, Aya, Paul Beattie, Michael Bergt, Wallace Berman, Charles Britton, Cameron, Bruce Connor, William Dailey, Gayle Davis, George Herms, Jack Hirschman, Maurice Lacy, Fred Mason, Kenneth Patchen, Peter Paul, Stuart Perkoff, Artie Richer, Tony Scibella, Ben Talbert, Zack Walsh, Edwin Ward, Marcia Ward, Saul White, Steve Wilson, and others. A small amount of born-digital material includes a video recording of Renick Stevenson, images of artworks, and photographs.
Arrangement:
The collection is arranged as six series.

Series 1: Biographical Material, 1938-1988 (0.2 linear feet; Box 1)

Series 2: Temple of Man Administrative Records, 1960-2010 (0.4 linear feet; Box 1, OV 13)

Series 3: Correspondence and Artists Files, circa 1948-2015 (9.8 linear feet, Boxes 1-6, 9-12, 30-33, OVs 14-28; 0.99 GB, ER01-ER02)

Series 4: Project Files, circa 1967-2014 (0.9 linear feet, Boxes 6-7; 0.015 GB, ER03)

Series 5: Printed Material, 1958-2014 (0.8 linear feet; Boxes 7-8, OV 29)

Series 6: Photographic Material, circa 1960-2009 (1 folder, Box 8; 0.001 GB, ER04)
Biographical / Historical:
Robert Alexander (1923-1987), also known as Bob and "Baza," was a poet, collagist, printer, assemblage artist, and ordained priest from Venice, California. Alexander founded the Temple of Man in 1960 in San Francisco, moving it to his home in Venice, California in 1968. The Temple served as a meeting place for artists, poets, and musicians, and contained a collection of artworks by Temple of Man members, also ordained priests. Many of the artworks which form the core of the collection were on display at the Alexander residence and are dedicated to Alexander and his wife Anita. Members also created and exchanged mail art, handmade cards, and poems with one another. After Alexander's death in 1987, the Temple of Man was directed by Anita Alexander and, since 1992, by a board of directors.
Related Materials:
Also found in the Archives of American Art are an oral history interview with artist George Herms conducted by Paul Karlstrom in 1993-1994, the papers of California artist and poet Wallace Berman, and the papers of curator and founding board member of the Temple of Man, Hal Glicksman.
Provenance:
Donated to the Archives of American Art by Alexander's widow Anita Alexander in 1990 and in 2017 and 2018 by the Temple of Man via George Herms, Officer, and Yoav Getzler, Registered Agent of record.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Poets -- California -- Venice  Search this
Collagists -- California -- Venice  Search this
Assemblage artists -- California -- Venice  Search this
Priests -- California -- Venice  Search this
Genre/Form:
Video recordings
Citation:
Robert Alexander papers and Temple of Man records, 1938-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.alexbob
See more items in:
Robert Alexander papers and Temple of Man records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97be82627-46ab-4b66-8e3c-d3d79d85dc55
EDAN-URL:
ead_collection:sova-aaa-alexbob
Online Media:

Magic Theatre (New Magic Theatre)

Collection Creator:
Alexander, Robert  Search this
Temple of Man (Venice, Calif.)  Search this
Container:
Box 7, Folder 10
Type:
Archival materials
Date:
circa 1967
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Robert Alexander papers and Temple of Man records, 1938-2015. Archives of American Art, Smithsonian Institution.
See more items in:
Robert Alexander papers and Temple of Man records
Robert Alexander papers and Temple of Man records / Series 4: Project Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9be959f1e-812c-47b4-a4ef-c81543a7d72f
EDAN-URL:
ead_component:sova-aaa-alexbob-ref59

Explorations in the City of Light: African-American Artists in Paris, 1945-1965 (1996-1997) Touring Exhibition and Symposium - Correspondence

Collection Creator:
Clark, Edward, 1926-2019  Search this
Extent:
Includes one sound cassette containing a recorded interview.
Container:
Box 5, Folder 13
Type:
Archival materials
Date:
1995-1997
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Collection Citation:
Ed Clark papers, 1923-2017. Archives of American Art, Smithsonian Institution.
See more items in:
Ed Clark papers
Ed Clark papers / Series 5: Professional Activities / Projects and Exhibitions
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw980fb0f62-55f4-43c8-b30d-e057d57bd0d3
EDAN-URL:
ead_component:sova-aaa-clarked-ref150
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  • View Explorations in the City of Light: African-American Artists in Paris, 1945-1965 (1996-1997) Touring Exhibition and Symposium - Correspondence digital asset number 1
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James C. Jones collection from Bolivia

Creator:
Jones, James C. (James Clyde), 1944-  Search this
Extent:
910 Slides (photographs) (color, 35mm)
2 Sound cassettes
Culture:
Moxo (Mojo)  Search this
Type:
Collection descriptions
Archival materials
Slides (photographs)
Sound cassettes
Sound cassette
Place:
Bolivia
Date:
1977-1979
1988
Summary:
This collection includes slides (photographic) and audio-cassettes created by James Jones during research trips to San Ingnacio de Moxos, Beni, Bolivia in 1977-1979 and 1988. Jones was conducting research to complete his dissertation in anthropology and photographed many indigenous Moxo (Mojo) community members he interviewed during the course of his research, as well as local festivals and agricultural activities.
Scope and Contents:
The James C. Jones collection includes photographic slides (35mm) and two audio-cassettes made by Jones in San Ignacios de Moxis, Beni, Bolivia in 1977-1979 and in 1988. The majority of the photographic slides in this collection were taken by Jones during his 1977-1979 research trip for his PhD dissertation. There are a small number of slides that were shot in 1988 on a return trip to Beni, Bolivia. The slides from 1977-1979 were shot in 25 rolls with 36 slides per roll. The majority of the photographs were shot in and near San Ignacio de Moxos in Beni, Bolivia an indigenous village in Norther Bolivia, though additional locations in Bolivia visited include Trinidad and La Paz. Jones interviewed around 70 local Moxo (Mojo) men and women in and near San Ignacio. During and in between interviews Jones shot photographs that documented daily life for his interviewees with a particular focus on agricultural activities such as farming and cooking. Many of the photographs include images of the Rivero family (Ignacito and Yolanda) with whom Jones stayed for extended periods of time. Jones also took a special interest in the many celebrations and festivals that occurred during his stay in Bolivia and took photographs of dancers, musicians and processions. He also shot many landscape views of the village, farms, "pampas," as well as aerial views of roads and rivers and close up images of the local flora and fauna.

The two audio-cassettes, recorded by Jones in 1977-1978, includes music played by local Moxo musicians during special occasions, such as Christmas, Independence Day as well as music played in the local church. There are also interviews with Juan Bautista Savala and Chaco war veteran Horacio Semani.
Arrangement:
Arranged chronologically and by slide roll or sound-cassette.
Biographical / Historical:
James C. Jones was born in Harlan, Kentucky in 1944. He graduated from University of Kentucky in 1966 with a B.A. in Science in Mathematics. Jones spent two years teaching math in Columbia (1969-1970) and developed an interest in Latin American studies while traveling around South America. Due to this interest, he pursued and received a Master's degree and later PhD in anthropology at the University of Florida. Jones first visited San Ignacio/Beni in 1976 for three months to define his topic for his PhD thesis with funding from the University of Florida's Tropical South American Program. He returned to Bolivia with funding from the Inter-American Foundation in 1977 (September) and stayed through the first quarter of 1979. Returning to Florida, Jones finished his dissertation in 1980 titled "Conflict between Whites and Indians on the Llanos de Moxos, Beni Department" (PhD diss., University of Florida, 1980).

After completing his degree, Jones left the field of anthropology and received a Master's degree in agricultural economics, entering the world of development for the next 15 years. During this time Jones worked on development and security issues across the globe. Jones resumed research on Bolivia in the late 1980's and 1990s and published an essay, "Development: Reflections from Bolivia" in the Society for Applied Anthropology's Human Organization, Vol. 56, No. 1 (Spring 1997), pp.111-120. Since then, Jones has worked as an independent contractor.
Separated Materials:
Jones took copious notes that describe that photographic and audio materials but these are still in the possession of Jones himself. The Archive Center has copies of these notes for reference purposes only.
Provenance:
Gift of James Jones, 2017.
Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Topic:
Indians of South America -- Bolivia  Search this
Photographs  Search this
Applied anthropology  Search this
Genre/Form:
Slides (photographs) -- 1950-2000
Sound cassette
Citation:
Identification of specific item; Date (if known); James Jones collection from Bolivia, Item Number; National Museum of the American Indian Archive Center, Smithsonian Institution
Identifier:
NMAI.AC.110
See more items in:
James C. Jones collection from Bolivia
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv4d29abf08-ec3a-48a0-9436-35ad7b76ceeb
EDAN-URL:
ead_collection:sova-nmai-ac-110
Online Media:

Photographic slides taken in San Ignacio de Moxos, Beni, Bolivia

Collection Creator:
Jones, James C. (James Clyde), 1944-  Search this
Extent:
910 Slides (photographs) (color)
Culture:
Moxo (Mojo)  Search this
Type:
Archival materials
Slides (photographs)
Date:
1977-1979
1988
Scope and Contents:
The majority of the photographic slides in this Series were taken by Jones during his 1977-1979 research trip for his PhD dissertation. There are a small number of slides that were shot in 1988 on a return trip to Beni, Bolivia. The slides from 1977-1979 were shot in 25 rolls with 36 slides per roll. The majority of the photographs were shot in and near San Ignacio de Moxos in Beni, Bolivia an indigenous village in Norther Bolivia, though additional locations in Bolivia visited include Trinidad and La Paz. Jones interviewed around 70 local Moxo (Mojo) men and women in and near San Ignacio. During and in between interviews Jones shot photographs that documented daily life for his interviewees with a particular focus on agricultural activities such as farming and cooking. Many of the photographs include images of the Rivero family (Ignacito and Yolanda) with whom Jones stayed for extended periods of time. Jones also took a special interest in the many celebrations and festivals that occurred during his stay in Bolivia and took photographs of dancers, musicians and processions. He also shot many landscape views of the village, farms, "pampas," as well as aerial views of roads and rivers and close up images of the local flora and fauna.
Collection Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Collection Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Collection Citation:
Identification of specific item; Date (if known); James Jones collection from Bolivia, Item Number; National Museum of the American Indian Archive Center, Smithsonian Institution
Identifier:
NMAI.AC.110, Series 1
See more items in:
James C. Jones collection from Bolivia
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv44db051a6-f5ac-4090-8e49-c075496a8784
EDAN-URL:
ead_component:sova-nmai-ac-110-ref1

Recordings of Bolivian Music

Collection Creator:
Jones, James C. (James Clyde), 1944-  Search this
Extent:
2 Sound cassettes
Culture:
Moxo (Mojo)  Search this
Type:
Archival materials
Sound cassettes
Date:
1977-1979
Scope and Contents:
The two audio-cassettes, recorded by Jones in 1977-1979, includes music played by local Moxo musicians during special occasions, such as Christmas, Independence Day as well as music played in the local church. There are also interviews with Juan Bautista Savala and Chaco war veteran Horacio Semani.
Collection Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Collection Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Collection Citation:
Identification of specific item; Date (if known); James Jones collection from Bolivia, Item Number; National Museum of the American Indian Archive Center, Smithsonian Institution
Identifier:
NMAI.AC.110, Series 2
See more items in:
James C. Jones collection from Bolivia
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv4540f118d-0771-4de5-8a3b-ced317f86e6f
EDAN-URL:
ead_component:sova-nmai-ac-110-ref2

Music Tape #1

Collection Creator:
Jones, James C. (James Clyde), 1944-  Search this
Extent:
1 Sound cassette
Type:
Archival materials
Sound cassettes
Date:
1977-1978
Scope and Contents:
Taped by James C. Jones—San Ignacio de Moxos, 1977-1978 Notes provided by James C. Jones.

Side A

2. "Himno National," as played on the violin by Abelino Masapaija, Ignaciano Indian and founder of Pueblo Nuevo. Don Abelino is maestro de capilla (second only to Isidoro Teco; both learned music in the Escuela Indigenal of Padre Marchena), and as such, is well versed in related functions—such as prayer (rezador)—of the local Catholic liturgy (of Jesuit origin). November 20, 1977.

3. "Himno al Beni," as played by Abelino Masapaija on the violin. November 20, 1977.

4. Musicos of church in San Ignacio as they perform at a Christmas novenary Mass. Nine are performing tonight. The instruments: panpipes, pajarillo, drums, violins, and flute. The pajarillo is a Christmas-season instrument and is taken out only at that time. December 19, 1977.

5. Abelino Masapaija, maestro de capilla, relates how difficult it is for the Musicos to make the transition from Latin to Spanish, which Father Alfonso Elorriaga is pushing. Their canticles have by tradition been sung in Latin, and some of the Indians have even been trained to take part in responsive liturgy in Latin. November 20, 1977.

6. Macheteros perform on Christmas Day in the Belen. The composition is entitled "Taquirari Ignaciano" (the only name I'm given) and the flautist is Cirilo Yaca. December 25, 1977.

7. The bells toll, the drums roll. Such is the call to Mass in San Ignacio. Dia de la Degollacion de los Inocentes. December 28, 1977.

8. Musicians play a taquirari as Herod's soldiers dance in the Belen prior to beheading the male children. The musical instruments: 2 bajones (panpipes), 2 flutes, 2 violins, and 2 drums. December 28, 1977.

9. The Jerure perform in front of a Nino in the home of Marcelino Coseruna. The Jerure is an instrumental group of taitas. The day is January 1, 1978, or Dia de San Manuel. Members of the Jerure shout "San Manuel" at the close of the number

10. Abelino Masapaija, Chaco War veteran and founder of Pueblo Nuevo in the early 1950s, tells how he responded to efforts of the Carai (whites are called Caraiyana) Juan Ahez to block the creation of Pueblo Nuevo. Ahez was sending a Trinitario mozo to the new village site to pull up horcones which had been set for the capilla. When Abelino, leader of the founding party (which settled at Pueblo Nuevo after searching for the Loma Santa for six months), stopped the Trinitario mozo and defied Ahez, the latter had him called to San Ignacio by the authorities. This happened several times, until Abelino threatened to use force. Ahez said that the wood for the horcones belonged to him, but in reality, according to Abelino, Ahez wanted the Indians for his mozos; he did not want them to be free. November 5, 1977.

11. Sounds of the tropical night: sapos (ranas mainly) sing after a night and day of heavy rain. January 16, 1978 (behind the house of Ignacito Rivero).

12. Cantos en Idioma (Ignaciano), on a Friday afternoon of the Lenten season. Four or five male Cantores lead the cantos, with the Abadesas singing only what seems to be a chorus. Only the Cantores and Abadesas are present; all are seated toward the front of the church near the altar. February 24, 1978.

Side B

2. A speech made in the Belen by Horacio Semani, Corregidor Indigenal, Abelino Masapaija, Maestro de Capilia; and Salvador Chapi. The occasion is Chapi's retirement after 30 years as a teacher All these men are Indian, though Chapi has not taken part in the Indian culture since he returned from the Chaco War; it is significant that Chapi speaks in Spanish rather than in Ignaciano. March 5, 1978. In the Belen. [Chapi, though born among the Indians and educated in Father Marchena's Escuela Indigenal, takes a superior attitude toward them, an attitude which they much resent. They refer to him pejoratively as Carai, or "white." He seems to be more proud of having escaped his Indian past than of the past itself. There is much tension between him and the other Indians, and I was surprised that this event occurred; I do not know who arranged it—but probably Chapi did ]

3. A song "ofalegrla" in Ignaciano, sung by Manuel Inchu. He tells me the song can be sung on any festive occasion, though I recorded this at a velorio. March 20, 1978.

4. This song is sung mainly by the parents of a bride and groom during a marriage feast, after everybody has had lots of chicha Horacio Semani sings. March 20, 1978.

5. This song, music and lyrics, was composed by Manuel Inchu to commemorate the departure of Ignacianos from San Ignacio in 1959, led by a Guarayu, in search of the Loma Santa. He says the song expresses the tragedy of the event, the great suffering experienced by the "parientes" on this occasion He calls the song La Loma Santa. March 20, 1978.

6. Several songs are here sung by Benedicta Guayacuma de Caiti (wife of Jose Caiti).

7. Chaco War veteran Horacio Semani (ne 1910) talks generally about the Chaco War and contrasts the perseverance and strength of the youth of his time with those of today. He talks about how malnourished the youth of today are, of how they no longer consume dairy products. March 8, 1978.

8. Chaco War veteran Horacio Semani compares Kollas with Cambas (the Kolla Indian with the Camba Indian), noting how dense (or torpid) the Kollas are as compared to the Cambas, even though both are Indios. March 10, 1978.

9. Horacio Semani contrasts the current economic conditions of Ignacianos with those he knew as a child March 14, 1978.

10. Juan Bautista Savala contrasts life before the arrival of the Caraiyana with the misery of today. March 25, 1978.

11. Juan Bautista Savala talks of consequences of Reforma Agraria (though he does not call it that) for Ignacianos. March 25, 1978.

12. Horacio Semani, Corregidor Indigenal, tells of how youth of today no longer want to dance in the fiestas; of how they no longer speak Ignaciano; of how costumbres are being lost; and of how population increase and the commercialization of skins and pelts have affected Ignacianos—everybody now is a cazador. Tremendous changes since his youth. March 15, 1978.

13. Selections from velorio of Virgen de Carmen (July 16, velorio held on night of July 15th) held in home of Felipe Apace. First on the tape are the Ovejitos (a song-and-dance group), then the "salves" are sung by don Felipe and a rezador (a compadre of Felipe Apace). The rezador has a sheet on which are written the words of the salves. Toward the last, the Toritos (another song-and-dance group) arrive and are heard; Daniel Yuco (my good friend) plays the flute. July 15, 1978.

14. Jerure play in the Belen on evening of July 29 (antevispera of the Fiesta de San Ignacio) just before doing a turn of the plaza to announce the fiesta season. July 29, 1978.

15. A sample of dance number played by flautist and drummers from Macheteros in home of First Cacique of Macheteros during a private fiesta The Macheteros are performing before the home altar August 3, 1978.
Collection Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Collection Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Collection Citation:
Identification of specific item; Date (if known); James Jones collection from Bolivia, Item Number; National Museum of the American Indian Archive Center, Smithsonian Institution
See more items in:
James C. Jones collection from Bolivia
James C. Jones collection from Bolivia / Series 2: Recordings of Bolivian Music
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv44646ad1d-9d65-4639-808c-e6cc9f22d24c
EDAN-URL:
ead_component:sova-nmai-ac-110-ref3

Music Tape #2

Collection Creator:
Jones, James C. (James Clyde), 1944-  Search this
Extent:
1 Sound cassette
Type:
Archival materials
Sound cassettes
Date:
1978-1979
Scope and Contents:
Taped by James C. Jones—San Ignacio de Moxos, 1978-1979 Notes provided by James C. Jones.

Side A

2. Macheteros play in house of Ignacito Rivero on August 6, 1978 (Independence Day in Bolivia). Instruments: 1 side flute (Cirilo Yaca playing); 2 drums; and ankle rattles (made of nuts) on each of the dancers. Cirilo tells me that the tune they here play is Taquirari de los Macheteros, that it has no other name. San Ignacio de Moxos.

3. Same as #1 (August 6, 1978).

4. Jerure does a turn of the plaza in San Ignacio at 10:00 of the evening, announcing the Fiesta del Nino. December 23 1978 [see field-note card 53(43) for details]

5. Toque al Nino, as Abelino Masapaija describes this number (the title seems to be Picaflor) December 24, 1978. In choir loft of church in San Ignacio de Moxos. 5—Toque al Niho. December 24, 1978 (Noche Buena). Choir plays in church in San Ignacio de Moxos.

6. Toque al Niho (?), alternating with rezos. Choir in church in San Ignacio. December 24, 1978.

7. Second repique for Mass on morning of Reyes, January 6, 1979. Instruments: 3 campanas, 3 cajeros (drummers), 4 Macheteros (1 flautero, 3 drummers, with each drum a different size). San Ignacio de Moxos.

8. Procesion de los Curas, at noon on Reyes (January 6, 1979). In the procession: Cirilo Yaca plays the flute; two Macheteros with their ankle rattles (very audible); Cajeros of the church, and Musicos of Coro. San Ignacio de Moxos.

9. Section of the Coro plays a tune in the Belen (where the Indian Cabildo meets, part of the church complex) for bailadores of entourages of the Three Kings January 6, 1979. Bailadores perform before the altar in the Belen. Instruments of the several musicians: 1 side flute (which carries the melody), 2 bajones largos, 1 violin, and 2 drums (a large one and a small one)
Collection Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Collection Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Collection Citation:
Identification of specific item; Date (if known); James Jones collection from Bolivia, Item Number; National Museum of the American Indian Archive Center, Smithsonian Institution
See more items in:
James C. Jones collection from Bolivia
James C. Jones collection from Bolivia / Series 2: Recordings of Bolivian Music
Archival Repository:
National Museum of the American Indian
GUID:
https://n2t.net/ark:/65665/sv440b4bf27-ba01-4387-b01a-727029e33ae4
EDAN-URL:
ead_component:sova-nmai-ac-110-ref4

Josephine Baker

Artist:
Lucien Bertaux, born 1905  Search this
Sitter:
Josephine Baker, 3 Jun 1906 - 12 Apr 1975  Search this
Medium:
Watercolor, gouache, and pencil on paperboard
Dimensions:
Image: 37.5 × 27.2 cm (14 3/4 × 10 11/16")
Sheet: 49.5 × 32.5 cm (19 1/2 × 12 13/16")
Type:
Drawing
Date:
c. 1927
Topic:
Costume\Jewelry  Search this
Costume\Jewelry\Necklace  Search this
Costume\Jewelry\Earring  Search this
Interior  Search this
Home Furnishings\Furniture\Seating\Chair  Search this
Architecture\Window  Search this
Costume\Jewelry\Bracelet  Search this
Home Furnishings\Lighting Devices\Lamp  Search this
Symbols & Motifs\Emblem\Coat of arms  Search this
Nature & Environment\Animal\Bird\Owl  Search this
Game\Cards  Search this
Home Furnishings\Tablecloth  Search this
Josephine Baker: Female  Search this
Josephine Baker: Performing Arts\Performer\Musician\Singer  Search this
Josephine Baker: Performing Arts\Performer\Actor\Movie  Search this
Josephine Baker: Performing Arts\Performer\Dancer  Search this
Josephine Baker: Legion of Honor  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; bequest of Jean-Claude Baker
Object number:
NPG.2016.44
Restrictions & Rights:
Usage conditions apply
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm47b37e793-b0cc-4040-849e-3ddb776f736f
EDAN-URL:
edanmdm:npg_NPG.2016.44

Roland Hayes

Artist:
Winold Reiss, 16 Sep 1886 - 29 Aug 1953  Search this
Sitter:
Roland Hayes, 3 Jun 1887 - 1 Jan 1977  Search this
Medium:
Pastel on illustration board
Dimensions:
Sheet: 49.4 × 40.6 cm (19 7/16 × 16")
Frame: 62.8 × 54.2 cm (24 3/4 × 21 5/16")
Type:
Drawing
Date:
1924
Topic:
Roland Hayes: Male  Search this
Roland Hayes: Performing Arts\Performer\Musician\Composer  Search this
Roland Hayes: Education and Scholarship\Educator\Teacher  Search this
Roland Hayes: Performing Arts\Performer\Musician\Singer  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; purchase funded by Lawrence A. Fleischman and Howard Garfinkle with a matching grant from the National Endowment for the Arts
Object number:
NPG.72.81
Restrictions & Rights:
CC0
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4a788d4d6-b817-4c10-bf99-392ed201043b
EDAN-URL:
edanmdm:npg_NPG.72.81

Clara Louise Kellogg

Artist:
Charles DeForest Fredricks, 11 Dec 1823 - 25 May 1894  Search this
Sitter:
Clara Louise Kellogg, 12 Jul 1842 - 13 May 1916  Search this
Medium:
Albumen silver print
Dimensions:
Image/Sheet: 9.2 × 5.5 cm (3 5/8 × 2 3/16")
Mount: 10.5 × 6.3 cm (4 1/8 × 2 1/2")
Type:
Photograph
Place:
United States\New York\Kings\New York
Date:
c. 1863
Topic:
Costume\Jewelry  Search this
Printed Material\Book  Search this
Costume\Jewelry\Ring  Search this
Home Furnishings\Furniture\Table  Search this
Photographic format\Carte-de-visite  Search this
Interior\Studio\Photography  Search this
Home Furnishings\Tablecloth  Search this
Clara Louise Kellogg: Female  Search this
Clara Louise Kellogg: Performing Arts\Performer\Musician\Singer\Opera  Search this
Clara Louise Kellogg: Performing Arts\Performer\Musician\Singer\Soprano  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
NPG.78.104
Restrictions & Rights:
CC0
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4b3003ed8-01b7-45d2-9be0-3b0341ec0ad0
EDAN-URL:
edanmdm:npg_NPG.78.104

Adelina Patti

Attribution:
Mathew Brady Studio, active 1844 - 1894  Search this
Sitter:
Adelina Patti, 19 Feb 1843 - 27 Sep 1919  Search this
Medium:
Glass plate collodion negative
Dimensions:
Plate: 10.1 × 7.1 × 0.2 cm (4 × 2 13/16 × 1/16")
Type:
Photographic Negative
Date:
c. 1860-70
Topic:
Costume\Jewelry  Search this
Interior  Search this
Home Furnishings\Furniture  Search this
Home Furnishings\Furniture\Seating\Chair  Search this
Printed Material\Book  Search this
Costume\Jewelry\Ring  Search this
Home Furnishings\Furniture\Table  Search this
Home Furnishings\Furniture\Seating\Ottoman  Search this
Home Furnishings\Tablecloth  Search this
Adelina Patti: Female  Search this
Adelina Patti: Performing Arts\Performer\Musician\Singer\Opera  Search this
Adelina Patti: Performing Arts\Performer\Musician\Singer\Soprano  Search this
Adelina Patti: Rulers and Aristocracy\Aristocrat\Baroness  Search this
Adelina Patti: Rulers and Aristocracy\Aristocrat\Marquise  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; Frederick Hill Meserve Collection
Object number:
NPG.81.M1284
Restrictions & Rights:
CC0
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm43046ec8c-ecac-402b-8adf-1297463fcc28
EDAN-URL:
edanmdm:npg_NPG.81.M1284

Minnie Warren and Another

Alternate Title:
Suzie Reed and Another
Attribution:
Mathew Brady Studio, active 1844 - 1894  Search this
Sitter:
Minnie Warren, 02 Jun 1849 - 23 Jul 1878  Search this
Unidentified Woman  Search this
Formerly identified as:
Suzie Reed  Search this
Medium:
Glass plate collodion negative
Dimensions:
Plate: 9.5 × 6.1 × 0.2 cm (3 3/4 × 2 3/8 × 1/16")
Type:
Photographic Negative
Place:
United States\New York\Kings\New York
Date:
c. 1860-70
Topic:
Costume\Jewelry  Search this
Costume\Jewelry\Necklace  Search this
Costume\Jewelry\Earring  Search this
Interior  Search this
Home Furnishings\Furniture  Search this
Printed Material\Book  Search this
Home Furnishings\Furniture\Table  Search this
Container\Vase  Search this
Home Furnishings\Curtain  Search this
Costume\Jewelry\Pin  Search this
Home Furnishings\Tablecloth  Search this
Unidentified Woman: Female  Search this
Minnie Warren: Female  Search this
Minnie Warren: Performing Arts\Performer\Musician\Singer  Search this
Suzie Reed: Female  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; Frederick Hill Meserve Collection
Object number:
NPG.81.M1339
Restrictions & Rights:
CC0
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm45979e733-ca6e-458b-a968-2ff48fa6a0a6
EDAN-URL:
edanmdm:npg_NPG.81.M1339

Minnie Warren and Another

Alternate Title:
Suzie Reed and Another
Attribution:
Mathew Brady Studio, active 1844 - 1894  Search this
Sitter:
Minnie Warren, 02 Jun 1849 - 23 Jul 1878  Search this
Unidentified Woman  Search this
Formerly identified as:
Suzie Reed  Search this
Medium:
Glass plate collodion negative
Dimensions:
Plate: 9.5 × 6.1 × 0.2 cm (3 3/4 × 2 3/8 × 1/16")
Type:
Photographic Negative
Place:
United States\New York\Kings\New York
Date:
c. 1860-70
Topic:
Costume\Jewelry  Search this
Costume\Jewelry\Necklace  Search this
Costume\Jewelry\Earring  Search this
Interior  Search this
Home Furnishings\Furniture  Search this
Printed Material\Book  Search this
Home Furnishings\Furniture\Table  Search this
Container\Vase  Search this
Home Furnishings\Curtain  Search this
Costume\Jewelry\Pin  Search this
Home Furnishings\Tablecloth  Search this
Unidentified Woman: Female  Search this
Minnie Warren: Female  Search this
Minnie Warren: Performing Arts\Performer\Musician\Singer  Search this
Suzie Reed: Female  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; Frederick Hill Meserve Collection
Object number:
NPG.81.M1341
Restrictions & Rights:
CC0
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm45ab6e47d-ee0a-4bd4-8932-40c5d7c82a47
EDAN-URL:
edanmdm:npg_NPG.81.M1341

Minnie Warren and Another

Alternate Title:
Suzie Reed
Attribution:
Mathew Brady Studio, active 1844 - 1894  Search this
Sitter:
Minnie Warren, 02 Jun 1849 - 23 Jul 1878  Search this
Unidentified Woman  Search this
Formerly identified as:
Suzie Reed  Search this
Medium:
Glass plate collodion negative
Dimensions:
Plate: 9.5 × 6.1 × 0.2 cm (3 3/4 × 2 3/8 × 1/16")
Type:
Photographic Negative
Place:
United States\New York\Kings\New York
Date:
c. 1860-70
Topic:
Costume\Jewelry  Search this
Costume\Jewelry\Necklace  Search this
Costume\Jewelry\Earring  Search this
Interior  Search this
Home Furnishings\Furniture  Search this
Printed Material\Book  Search this
Home Furnishings\Furniture\Table  Search this
Container\Vase  Search this
Home Furnishings\Curtain  Search this
Costume\Jewelry\Pin  Search this
Home Furnishings\Tablecloth  Search this
Unidentified Woman: Female  Search this
Minnie Warren: Female  Search this
Minnie Warren: Performing Arts\Performer\Musician\Singer  Search this
Suzie Reed: Female  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; Frederick Hill Meserve Collection
Object number:
NPG.81.M1342
Restrictions & Rights:
CC0
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4670984fc-f3a0-452d-b0ae-9096e9afd5bc
EDAN-URL:
edanmdm:npg_NPG.81.M1342

Minnie Warren and Another

Alternate Title:
Suzie Reed and Another
Attribution:
Mathew Brady Studio, active 1844 - 1894  Search this
Sitter:
Minnie Warren, 02 Jun 1849 - 23 Jul 1878  Search this
Unidentified Woman  Search this
Formerly identified as:
Suzie Reed  Search this
Medium:
Glass plate collodion negative
Dimensions:
Plate: 9.5 × 6.1 × 0.2 cm (3 3/4 × 2 3/8 × 1/16")
Type:
Photographic Negative
Place:
United States\New York\Kings\New York
Date:
c. 1860-70
Topic:
Costume\Jewelry  Search this
Costume\Jewelry\Necklace  Search this
Costume\Jewelry\Earring  Search this
Interior  Search this
Home Furnishings\Furniture  Search this
Printed Material\Book  Search this
Home Furnishings\Furniture\Table  Search this
Container\Vase  Search this
Home Furnishings\Curtain  Search this
Costume\Jewelry\Pin  Search this
Home Furnishings\Tablecloth  Search this
Unidentified Woman: Female  Search this
Minnie Warren: Female  Search this
Minnie Warren: Performing Arts\Performer\Musician\Singer  Search this
Suzie Reed: Female  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; Frederick Hill Meserve Collection
Object number:
NPG.81.M1343
Restrictions & Rights:
CC0
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4b31b7f64-8486-4647-b738-f0f6f6d4121e
EDAN-URL:
edanmdm:npg_NPG.81.M1343

Signor Agostino Guilliano Susini and wife

Attribution:
Mathew Brady Studio, active 1844 - 1894  Search this
Sitter:
Agostino Guilliano Susini  Search this
Isabella Hinckley, 1840 - 1862  Search this
Medium:
Glass plate collodion negative
Dimensions:
Plate: 9 × 6.1 × 0.2 cm (3 9/16 × 2 3/8 × 1/16")
Type:
Photographic Negative
Place:
United States\New York\Kings\New York
Date:
c. 1860-70
Topic:
Interior  Search this
Home Furnishings\Furniture  Search this
Printed Material\Book  Search this
Home Furnishings\Furniture\Table  Search this
Personal Attribute\Facial Hair\Mustache  Search this
Costume\Dress Accessory\Glove  Search this
Costume\Headgear\Hat\Top hat  Search this
Container\Inkwell  Search this
Costume\Dress Accessory\Neckwear\Tie\Necktie  Search this
Home Furnishings\Tablecloth  Search this
Isabella Hinckley: Female  Search this
Isabella Hinckley: Performing Arts\Performer\Musician\Singer\Opera  Search this
Agostino Guilliano Susini: Male  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; Frederick Hill Meserve Collection
Object number:
NPG.81.M1472
Restrictions & Rights:
CC0
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm47afb6b0f-9ca1-495d-9a51-8473b65aad64
EDAN-URL:
edanmdm:npg_NPG.81.M1472

Strattons, G.W.M Nutt, and Minnie Warren

Attribution:
Mathew Brady Studio, active 1844 - 1894  Search this
Sitter:
Charles Sherwood Stratton, 4 Jan 1838 - 15 Jul 1883  Search this
Lavinia Warren Stratton, 31 Oct 1841 - 25 Nov 1919  Search this
George Washington Morrison Nutt, 01 Apr 1848 - 25 May 1881  Search this
Minnie Warren, 02 Jun 1849 - 23 Jul 1878  Search this
Medium:
Glass plate collodion negative
Dimensions:
Plate: 9.5 × 6.3 × 0.2 cm (3 3/4 × 2 1/2 × 1/16")
Type:
Photographic Negative
Place:
United States\New York\Kings\New York
Date:
c. 1860-70
Topic:
Interior  Search this
Home Furnishings\Furniture  Search this
Home Furnishings\Furniture\Seating\Chair  Search this
Home Furnishings\Furniture\Table  Search this
Home Furnishings\Furniture\Seating\Sofa  Search this
Game\Playing cards  Search this
Home Furnishings\Tablecloth  Search this
Lavinia Warren Stratton: Female  Search this
Lavinia Warren Stratton: Education and Scholarship\Educator\Teacher  Search this
Lavinia Warren Stratton: Performing Arts\Performer  Search this
George Washington Morrison Nutt: Male  Search this
George Washington Morrison Nutt: Performing Arts\Performer\Entertainer  Search this
Charles Sherwood Stratton: Male  Search this
Charles Sherwood Stratton: Performing Arts\Performer  Search this
Minnie Warren: Female  Search this
Minnie Warren: Performing Arts\Performer\Musician\Singer  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; Frederick Hill Meserve Collection
Object number:
NPG.81.M1706
Restrictions & Rights:
CC0
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4f4dd6121-e9be-4a68-bd80-232d9e05fe24
EDAN-URL:
edanmdm:npg_NPG.81.M1706

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