The International Film and Television Workshops for Documentary Camera 7/7/2002 to 7/13/2002 (Bestor Cram). Segments without sound: "Roadside" chyron; shots of vehicles driving on road; strange close ups of trees, plants being cut, leaves; close up of an old woman, exterior of a house, flowers in the sun. Segments with sound: "Motel" chyron; clock marking time; old woman talking about death; "Grand Old Girls" chyron; old people in nursing home. End chyrons: "Special Thanks to My Family"; Bester Cram; Juliet Erickson. Boating; flag "Will Row For Beer"; boat maintenance, comments from the people maintaining the boat, rowing the boat, interviews with people about the boat. Chyron By Liz Canner and Chris Bladwin. Sign: "Welcome to Rockland, Maine". Waterfront scenes. Chyron "Lobster Maine-ia"; interviews about fanciful lobster sculptures. Chyron "Tow Ears and One Mouth"; shots of an auto dealership, Fuller Chevrolet. Chyron "By Dave Brown and Elena de Brujine" and "Thanks to Ed and the Guys at Fuller Chevrolet". Chyron "Life is a Boat"; scenes and interview on a sail boat. Chyron "a film by Jennifer Keegan and Paul Mathieu".
Film Type: Color; Sound; VHS
Run Time: 0:25:47
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.
Collection Citation:
David M. Brown Papers, Acc. 2006-0013, National Air and Space Museum, Smithsonian Institution.
Shōken, Empress, consort of Meiji, Emperor of Japan, 1850-1914 Search this
Extent:
616 Items (approximate count)
Type:
Collection descriptions
Archival materials
Mammoth plates
Photographs
Photograph albums
Stereographs
Cartes-de-visite
Photographic prints
Place:
Japan
Japan -- 1890-1900
Kyoto (Japan)
Tokyo (Japan)
Yokohama-shi (Japan)
Date:
1860 - ca. 1900
Scope and Contents:
Assembled by collectors Dr. Henry D. Rosin and Nancy Rosin to document nineteenth-century and early twentieth-century photography of Japan. Includes albumen prints, portions handcolored, some signed and numbered in the negative. Taken by photographers Felice Beato (b. ca. 1825), Baron Raimon von Stillfried (1938-1911), Kusakabe Kimbei (active 1880s), Ueno Hikoma (1838-1904), Ogawa Kazumasa (1860-1929) and unknown photographers to depict architecture, landscapes, formal studio portraits, and daily activities.
Arrangement:
Organized chronologically by the creators.
Biographical / Historical:
Henry and Nancy Rosin were collectors of Japanese photography of the nineteenth and twentieth centuries.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Printed catalog of the Kimbei Studio in Yokohama, one of the leading commercial studios in Japan in the mid and late Meiji period. The catalog is divided by Costumes (mostly studio portraits and assemblages), and then by scenic regions. The catalog has extensive annotations in pencil and red ink.
Biographical / Historical:
Born to a family of textile merchants in Kofu, Yamanashi Prefecture, Kusakabe Kimbei moved to Yokohama in 1859. Although unclear, Kusakabe apprenticed under either Felice Beato and/or Raimond von Stillfried. Kimbei managed a studio in Yokohama, first at Bentendori until 1881, then later at Honchodori. His photo studio catered primarily to visiting foreigners.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Collection Citation:
Smithsonian Institution, Archives of American Gardens, W. Atlee Burpee & Company Records.
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Collection Citation:
Smithsonian Institution, Archives of American Gardens, W. Atlee Burpee & Company Records.
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Collection Citation:
Smithsonian Institution, Archives of American Gardens, W. Atlee Burpee & Company Records.
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Collection Citation:
Smithsonian Institution, Archives of American Gardens, W. Atlee Burpee & Company Records.
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Collection Citation:
Smithsonian Institution, Archives of American Gardens, W. Atlee Burpee & Company Records.
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Collection Citation:
Smithsonian Institution, Archives of American Gardens, W. Atlee Burpee & Company Records.
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Collection Citation:
Smithsonian Institution, Archives of American Gardens, W. Atlee Burpee & Company Records.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording (digital audio file)
Type:
Archival materials
Sound recordings
Date:
2017 June 30
Scope and Contents:
Regie Cabico (presenter); Nyuma Waggeh; Jerrica Escoto; Gowri K; and Día Bùi ;Capturing Fire is an international trans and queer poetry slam organized by National Poetry Slam champion Regie Cabico. Now in its seventh year, the D.C. event has galvanized queer poets of color around a poetry slam where workshops, reading, and panels foster professional and social justice awareness. This session features poets who participated in the 2017 event: Nyuma Waggeh, Jessica Escoto, Gowri K, and Día Bùi.
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2017 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording (digital audio file)
Type:
Archival materials
Sound recordings
Date:
2017 June 30
Scope and Contents:
Mark Puryear (presenter); Reggie Cabico; Jerrico Escoto ;Regie Cabico is a pioneering spoken word poet and theater artist who produces the annual festival Capturing Fire: A National Queer Poetry Slam and Summit. Cabico won the 1993 Nuyorican Poets Cafe Grand Slam and took top prizes in the 1993, 1994, and 1997 National Poetry Slams. He is the producer and host of ongoing poetry events in D.C. and has worked as a slam coach for individual and team competitors in the United States and Canada.
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2017 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Extent:
1 Sound recording (digital audio file)
Type:
Archival materials
Sound recordings
Date:
2017 July 06
Scope and Contents:
Regie Cabico; Jerrica Escoto ;Regie Cabico is a pioneering spoken word poet and theater artist who produces the annual festival Capturing Fire: A National Queer Poetry Slam and Summit. Cabico won the 1993 Nuyorican Poets Cafe Grand Slam and took top prizes in the 1993, 1994, and 1997 National Poetry Slams. He is the producer and host of ongoing poetry events in D.C. and has worked as a slam coach for individual and team competitors in the United States and Canada.
Collection Restrictions:
Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Collection Citation:
Smithsonian Folklife Festival records: 2017 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Andrew, A. Piatt (Abram Piatt), 1873-1936 Search this
Extent:
3.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Poems
Diaries
Date:
1863-1968
Summary:
The papers of the painter Cecilia Beaux measure 3.3 linear feet and date from 1863 to 1968. Papers document her education, career and personal life through family and professional correspondence, twelve diaries, lectures, essays, poems, notes, clippings, catalogs, pamphlets, exhibition records, business records, photographs, certificates, diplomas, and artifacts.
Scope and Content Note:
The papers of the painter Cecilia Beaux measure 3.3 linear feet and date from 1863 to 1968.
Biographical Materials include autobiographical notes written by Beaux, published biographical essays, and articles about Beaux. A lengthy correspondence from Beaux to her friend A. Piatt Andrew of Massachusetts is found, as well as correspondence with family and professional associates. Lengthy letters from Beaux to her family during trips to Europe contain scattered illustrations. Professional correspondents include other artists, teachers, patrons, critics, curators, dealers, and writers.
Writings include one early diary from the 1870s, and a series of eleven additional diaries dating from 1905 to 1913, which record daily activities related to her artwork and personal life. Numerous lectures and essays from her later career are found, often in multiple drafts, as are manuscripts of published and unpublished poems by Beaux. A single sketch, a study for a portrait, is also found.
A floor plan, lists of paintings, receipts, written bids, and other notes document the exhibition and sale of Beaux's artwork. Printed materials related to her career include exhibition catalogs and other ephemera, a scrapbook of primarily clippings related to her early career, and loose clippings related to her later career. Photographs include formal portraits of Cecilia Beaux and informal photographs of Beaux alone and with colleagues, friends, and family members in various settings including Concarneau, Pittsburgh, Philadelphia, Gloucester, and Malines, Belgium. Also found is a photograph of John Singer Sargent painting.
Arrangement:
The collection is arranged into 6 series, with multiple subseries in Series 2:
Missing Title
Series 1: Biographical Materials, circa 1893-1943 (Box 1, OV 4-5; 0.3 linear feet)
Series 2: Correspondence, circa 1863-1968 (Boxes 1-2; 1.2 linear feet)
Series 3: Writings, circa 1868-1954 (Boxes 2-3, OV 6; 0.8 linear feet)
Series 4: Personal Business Records, circa 1883-1936 (Box 3, OV 6; 0.2 linear feet)
Series 5: Printed Materials, circa 1874-1953 (Box 3, OV 6; 0.5 linear feet)
Series 6: Photographs, circa 1888-1919(Box 3; 0.3 linear feet)
Biographical Note:
Cecilia Beaux was born in Philadelphia in 1855. Her mother died just days after her birth, and Beaux and her sister went to live with their grandmother and aunts. Her adoptive family exposed her to fine art throughout her childhood and, once in school, Beaux excelled in her drawing classes and began training in the studio of Catherine A. Drinker, an artist and a cousin of her uncle Will Biddle. From 1881-1883 she attended life classes directed by William Sartain, who traveled to Philadelphia from New York to give criticisms. She also counted the Pennsylvania Academy of the Fine Arts master Thomas Eakins among her early influences, though she did not receive direct instruction from him.
Her first major success in painting was a double-portrait of her sister and nephew entitled Les Derniers Jours d'Enfance, exhibited first at the American Art Association, and in 1885 at the Pennsylvania Academy, where it won the Mary Smith Prize, the first of many prizes Beaux received during her lifetime. In 1887, the painting was exhibited at the Paris salon to critical acclaim. Beaux's reputation as a Philadelphia portraitist grew steadily with the execution of several portraits her in Chestnut Street studio, and in 1888 she traveled to Europe to continue her studio education.
In Paris, she joined the Academie Julien, where she received criticisms from Tony Robert Fleury and William Adolph Bougereau. She spent the summer in Concarneau, Brittany, where Alexander Harrison and Charles Lazar critiqued her work, and returned to Paris, where she attended the Academie Colarossi under and sought out private criticisms in the atelier of Benjamin Constant. She copied paintings and classical sculpture at the Louvre, and traveled throughout Europe to view the works of old masters. In England, she painted several portraits of her friends, the Darwins, before returning to Philadelphia in August of 1889. She traveled to Europe several more times in her life, including a trip in 1896 to see six of her paintings exhibited at the Salon de Champs de Mars. At the time this was an unprecedented number of paintings shown there by an American, and their strength earned her a membership in the Societé Nationale des Beaux-Arts.
In the 1890s, Beaux earned a living painting commissioned portraits at her Philadelphia studio, while experimenting with and refining her style and technique with portraits of friends and family such as Sita and Sarita, of her cousin Sarah Leavitt with her cat, The Dreamer, of her friend Caroline Smith, and Ernesta with Nurse, of her niece, who was a favorite sitter of Beaux's throughout her life. Beaux became the first full-time female faculty member at the Pennsylvania Academy of the Fine Arts in 1895, and continued teaching there until 1915.
In the late 1890s, Beaux painted several works for which she would be repeatedly honored, including Mother and Daughter, a double-portrait of Mrs. Clement A. Griscom and her daughter Frances, which won four gold medals at international exhibitions, and The Dancing Lesson, a double-portrait of Dorothea and Francesca Gilder, the daughters of Richard Watson Gilder, editor of Century Magazine and himself a devoted friend and supporter of Beaux. The Gilders, and especially Dorothea, were steady companions as well as sitters for Beaux throughout her adult life. In 1901 and 1902, Beaux painted Mrs. Theodore Roosevelt and her daughter Ethel in the White House, and in 1903, she was elected to the National Academy of Design.
By 1905 Beaux was living and working primarily in New York during the winter, and at "Green Alley," a home she built in Gloucester, Massachusetts, in the summer. She was introduced to Gloucester by her friend, the Harvard economist A. Piatt Andrew, and entertained a steady stream of intellectual, literary, and artistic friends such as Isabella Stuart Gardner, William James, and Thornton Oakley. Beaux continued to amass prizes and honors for her artwork, including an honorary doctorate at the University of Pennsylvania in 1908. She had solo exhibitions at Macbeth Gallery in 1910, the Corcoran Gallery in 1912, and M. Knoedler Gallery in 1915 and 1917. She had regular public speaking appearances, published articles, and interviews on such subjects as art education, women in art, and modernist art, the pervasive influence of which she eschewed as a passing fad.
In 1919, she traveled to war-torn Europe as the official portraitist of the United States War Portraits Commission painted the portraits of three European war heroes: Cardinal Mercier, Admiral Beatty, and Georges Clemenceau. In 1924, she broke her hip in Paris, and although she continued to paint, she would never again be the prolific painter of her earlier years due to the injury. She wrote her autobiography Background with Figures in 1930, and in 1935-1936, the American Academy of Arts and Letters held the largest exhibition of her work that was mounted during her lifetime. Beaux died in 1942 in Gloucester, at the age of 87.
Related Material:
The Pennsylvania Academy of the Fine Arts holds additional papers related to Cecilia Beaux, particularly personal photographs. Portions of these papers were loaned to the Archives of American Art for microfilming in 1985 and were microfilmed on reel 3658.
The Archives of American Art also holds the Dorothea Gilder papers regarding Cecilia Beaux.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 3425 and 3658) including a sketchbook and other related papers. Lent materials were returned to the lenders and are not described in the collection container inventory.
Provenance:
Portions of the papers were first lent for microfilming by Harrison Cultra in 1968. The bulk of the collection was donated in1970-1971 by Catherine Drinker Bowen, Beaux's niece, and by Cultra. In 1985, the sketchbook on reel 3425 was lent for microfilming by art dealer Jeffrey Brown with additional material by The Pennsylvania Academy of Fine Arts. A palette was donated by Helen Seely Wheelwright, whose former husband, Paul Seeley, was an artist and friend of Beaux. Awards and diplomas were gifted in 1995 by Cecilia Saltonstall, a descendant of Beaux. Material and a poster reproduction of Beaux's portrait of Rear-Admiral Sampson advertising an article in Century Magazine, 1899, was donated in 1991 by Alfred J. Walker, a dealer who organized a Beaux exhibition. He received the material along with artwork he exhibited from the estate of Richard Barker, who had received them from Harrison Cultra. Cultra had inherited them from Beaux's niece, Ernesta Drinker Barlow.
Restrictions:
The collection has been digitized and is available online via AAA's website.
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:
Painters -- Pennsylvania -- Philadelphia Search this
Portrait painters -- Pennsylvania -- Philadelphia Search this
Educators -- Pennsylvania -- Philadelphia Search this
