Search Results

Collection Photographer:

Teiwes, Helga  Search this

Extent:

5 Photographic prints

89 Transparencies

946 Slides (photographs)

1296 Negatives (photographic)

Type:

Archival materials

Photographic prints

Transparencies

Slides (photographs)

Negatives (photographic)

Date:

2002

1996

1969-1990

Scope and Contents:

Series 3: Diné (Navajo) is the largest series in the Helga Teiwes collection. Though the dates range from 1969-2002 the majority of the photographs were taken in 1979-1980 and then in 1989-1990. The Navajo Nation covers over 27,000 square miles in Arizona, New Mexico and Utah and is the largest land area held by a sovereign Native American nation. This series is divided into seven subseries and includes media of all types including slides, negatives, prints and transparencies. Artists and Artisans (Subseries 3.1) includes photographs of jewelers, potters, painters and weavers at work and with their families. People and Families (Subseries 3.2) includes photographs of Diné (Navajo) families and individuals across the Navajo Nation. Of particular note are the photographs of the Greyeyes family, particularly of Bessie Salt Greyeyes. Additional series include photographs of Industry and Agriculture (Subseries 3.3), Trading Posts and Markets (Subseries 3.4), Places (Subseries 3.5), School (Subseries 3.6) and Other Topics (Subseries 3.7). Most of the photographs in this series have been identified by Teiwes and it is evident that she maintained a close relationship with the Greyeyes family during her many trips to Tsegi Canyon where they lived. As with much of the rest of her collection, this series includes a mix of intimate portraits, landscape views, event photography and group photgraphs. In 1991, 160 photographs that Teiwes took among the Diné were used to illustrate Wolfgang Lindig's book Navajo: Tradition and Change in the Southwest which was published in German. An english translation was published in 1993.

Arrangement:

Arranged in subseries by subject and then alphabetically within the subseries.

Collection Restrictions:

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

Collection Rights:

Please contact the NMAI Archive Center (NMAIArchives@si.edu) regarding the use of this collection, donor restrictions apply.

Collection Citation:

Identification of specific item; Date (if known); Helga Teiwes Photograph Collection, Box and Item Number; National Museum of the American Indian Archive Center, Smithsonian Institution.

Identifier:

NMAI.AC.070, Series 3

See more items in:

Helga Teiwes photograph collection

Archival Repository:

National Museum of the American Indian

EDAN-URL:

ead_component:sova-nmai-ac-070-ref8

Film producer:

Romero, Victor  Search this

Film director:

Romero, Christine Solinski  Search this

Names:

United States. Department of the Interior  Search this

Houser, Allan, 1914-1994  Search this

Extent:

6 Film reels (16mm)

3 Sound tape reels (1/4 inch)

5 Videocassettes (Betacam)

0.25 Linear feet

Culture:

Warm Springs Chiricahua Apache (New Mexico)  Search this

Zia Pueblo  Search this

Diné (Navajo)  Search this

Potawatomi  Search this

Type:

Collection descriptions

Archival materials

Film reels

Sound tape reels

Videocassettes (betacam)

Date:

May 12, 1992

Summary:

This collection contains an unpublished documentary film shot on May 12, 1992 that depicts an interview with artist Allan Houser [Warm Springs Chiricahua Apache (New Mexico)] discussing his remembrances of painting murals at the U.S. Department of the Interior headquarters in Washington, DC in 1939-1940. The film was shot by Victor Romero (Isleta Pueblo) and Christine Romero.

Scope and Contents:

This collection contains an unpublished documentary film that was shot by filmmakers Victor Romero (Isleta Pueblo) and Christine Romero, which depicts an interview with artist Allan Houser [Warm Springs Chiricahua Apache (New Mexico)]. The footage was shot on May 12, 1992 in the Department of the Interior penthouse in Washington, DC with Houser providing remembrances of his life and his perspective of painting murals there in 1939-1940 as part of the Treasury Department's Section of Painting and Sculpture public art program. In the documentary, Houser views the murals for the first time since he painted them 50 years before and recalls his experiences with fellow artists- Velino Shije Herrera (Zia Pueblo), Gerald Nailor [Diné (Navajo)], and Woody Crumbo (Potawatomi)- who were painting their own murals in the penthouse at the same time. At the time of filming, the penthouse was closed and off-limits and the murals were about to undergo restoration.

The materials in this collection include six 16mm processed film reels; three 1/4" sound reels; three BetacamSP transfers of reels 1 through 6; a BetacamSP master of a 2:30 promo edit; a BetacamSP transfer of music by David Spotted Eagle licensed for the promo; an interview transcript; a log of avid bins; a disc of avid bins; and other textual documents.

Victor E. Romero served as the Producer, Christine Solinski Romero as Director, Gary Geboy as Cinematographer, and Haven McKinney as the Audio Recordist. Unfortunately, the Kodak film stock they used was defective and the footage turned out grainy, while the audio of the interview turned out clear. Subsequently, the intended documentary about the restoration of the murals was not completed other than a short demo reel.

Arrangement:

Materials are arranged by media.

Allan Houser and the Department of the Interior Murals:

Allan Houser is considered one of the most renown Native American painters and sculptors of the 20th century. Born Allan Capron Houser (originally Haozous) on June 30, 1914 near Apache, Oklahoma, Houser was a member of the Warm Springs Chiricahua Apache tribe.

He left Oklahoma in 1934 to study painting with Dorothy Dunn at her Santa Fe Indian School and remained a student there until 1938. In addition to painting murals at the Department of the Interior in Washington, D.C. in 1939, he also painted murals for the Golden Gate Exposition in San Francisco and the New York World's Fair.

In 1940, Houser studied with Swedish artist Olle Nordmark at the Fort Sill Indian School art program and was encouraged to take up sculpture. Eight years later, the Haskell Institute in Lawrence, Kansas commissioned his first sculpture, Comrades in the Mourning. Houser taught art at Intermountain Indian School in Brigham City, Utah beginning in 1952 and left in 1962 to teach sculpture at the Institute of American Indian Arts in Santa Fe, New Mexico. He retired from academic life in 1975. Allan Houser died in Santa Fe in 1994.

The murals that are depicted in this documentary were commissioned by the Treasury Department's Section of Painting and Sculpture public art program, which was often referred to as the "Section." Created in 1934 during the Great Depression by President Franklin D. Roosevelt's administration, the program was designed to increase employment for artists. The Section artists were commissioned to create art to decorate public buildings often in the form of murals or reliefs. At the Department of the Interior headquarters in Washington, DC, six artists were commissioned from five tribes including artists Velino Shije Herrera (Ma Pe Wi [Red Bird]), Zia Pueblo, 1902-1973; Gerald Nailor (To Yah), Diné (Navajo), 1917-1952; and Woody Crumbo (Woodrow Wilson Crumbo), Potawatomi [Oklahoma], 1912-1989. The Section program was discontinued in 1943.

Victor and Christine Romero:

Victor Eugene Romero (Pueblo of Isleta) is a graduate of New Mexico State University (BA, Journalism and Mass Communications, 1976). Following a stint as an independent video producer, Victor transitioned to a career at the U.S. Census Bureau, including varied service as manager of video/photo/radio production, and team leader for promotions and branding initiatives. His high-level contributions feature extensive work on Census 1990, 2000, 2010, 2020.

Christine Solinski Romero is a graduate of the University of Texas at Austin (BS, Radio-TV-Film, 1976). Her extensive documentary production credits as Producer, Director, Editor include programs for PBS, National Geographic Television, Discovery Channel, Smithsonian Channel, and an award-winning independent documentary feature, Besa: The Promise, the story of Albanians Muslims who protected refugee Jews during the Holocaust. In 2012, Christine transitioned to a career as a Yoga Instructor and Therapist.

Provenance:

Gift of Victor and Christine Romero, 2019.

Restrictions:

Access to the media materials in this collection are closed until the materials have been digitized. Textual materials are available to view for reference purposes only. Access to NMAI Archives 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 Archives Center. Please submit a written request to nmaiphotos@si.edu.

Topic:

American Indian art and culture  Search this

Mural painting and decoration  Search this

Citation:

Identification of specific item; Date (if known); Victor and Christine Romero film of Allan Houser, box # and folder #, NMAI.AC.401; National Museum of the American Indian Archives Center, Smithsonian Institution.

Identifier:

NMAI.AC.401

See more items in:

Victor and Christine Romero film of Allan Houser

Archival Repository:

National Museum of the American Indian

EDAN-URL:

ead_collection:sova-nmai-ac-401

Creator::

Smithsonian Institution. Office of Telecommunications  Search this

Extent:

15.5 cu. ft. (15 record storage boxes) (1 document box)

Type:

Collection descriptions

Archival materials

Videotapes

Video recordings

Date:

1981-1991, 1996, 1999

Descriptive Entry:

This accession consists of videotapes and audiotapes created during the production of "Here At The Smithsonian" ("HATS"), an eight volume series of television productions. The series was conceived by Nazaret Cherkezian, Director, Office of Telecommunications (1976-1986) and produced by Ann Carroll (Volumes I-IV) and John P. Meehan (Volumes V-VIII). Due to funding cuts, the series ceased production in 1989.

"HATS" was a series of short features, designed and produced for broadcast via commercial newscasts to disseminate information about Smithsonian Institution exhibitions and research activities. The features were short (no more than 2 minutes) and flexibly produced. Segments utilized split track audio allowing stations to use either the voice of their own newscaster or the voice provided by the Smithsonian; beginnings and ends of the features were left with extra video and audio, permitting fade-in and fade-out; and no one appearing on the features was identified on screen, allowing stations to use the fonts and typefaces normally used for their own newscasts. The brevity of segments and flexible style of production made them easy to insert anywhere in a newscast.

During the second volume (1983), it became apparent that public television stations were much more interested in using the features than commercial news stations. Eventually, the features were lengthened to three to four minutes to suit the public television format and further refined. Changes included the use of fade-in and fade-out to black; fully mixed audio tracks; and identification of all on-screen persons. Also, a standard musical theme, opening and closing sequences, and titling, were added.

Volume I (1982) includes "At Home with the Apes;" "The Rebirth of Dinosaurs;" "Hooray for Amelia!;" "The Woolly Mammoth of Washington;" "How Does Your Sculpture Grow?;" "Diplomats in Buckskins;" "Hooray for the Red, White and Blue;" "A Festival of Animals;" "What Lives in Your Lawn?;" "Celebrations 'Round the World;" "Horse Races on the Mall;" "Living with the Eskimos;" "A Modern Noah's Ark;" and "Raphael Soyer: An Art of Real Life."

Volume II (1983) includes "Inside Meteorites;" "From Fiddles to Banjos;" "Corals in Captivity;" "A Life with Aviation;" "The Universe in a Box;" "The Ultimate Model;" "The Elephant's Tale;" "Japan's Ceramic Treasures;" "A Museum for the Community;" "The World of Mathew Brady;" "American Picture Palaces;" "Time Capsule of the Revolution;" "The Smithsonian's Giant Squid;" "Faulkner: A Living Portrait;" "Design for the People;" "Video Astronomy;" "France Meets New Jersey;" "Ballooning's 200th Birthday;" "The Art of Craft;" and "An Invasion of Painters."

Volume III (1984) includes "Keeping Perfect Time;" "Nature Through a Viewfinder;" "The Precious Legacy;" "Surgery is Painless;" "Islam in Africa;" "Big Ideas in Small Packages;" "The 20,000 Year-Old-Man;" "A Place for Touching;" "Microscopes Make it Big;" "The Plastic Historian;" "Panda Playground;" "More Than 'Whistler's Mother';" "Collecting the 'Stuff' of Politics;" "The Golden Age of Aviation;" "The Birdman of America;" "Celebrating American Folklife;" "Eyes on the Universe;" "Strike up the Band;" "An Ancient Game Reborn;" "Past Visions of the Future;" "That's Entertainment;" "Our Violent Universe;" "TR in Africa;" "Outer Space Artist;" and "Happy Birthday, Hirshhorn Museum."

Volume IV (1985) includes "Say It Ain't So, Wesley;" "Black Artists in the 19th Century;" "Mechanical Musical Marvels;" "America's Castle;" "The Vanishing Frontier;" "Deep Sea Mysteries;" "The Smithsonian's Model Shop;" "Keeping Orchids Alive;" "Something to Hang the Paint On;" "The World's Biggest Camera;" "The Tale of the Kite;" "Treasures of African Art;" "A Modern Noah's Ark" (repeat); "Restoring it to 'Wright';" "Diplomats in Buckskins" (repeat);" "Folklife '85;" "Advertising Yesterday and Today;" "Video Astronomy" (repeat);" "A Woman Ahead of Her Time;" and "The Old Country Post Office."

Volume V (1986) includes "Magnificent Voyagers;" "The Tale of the Kite" (extended); "A Gallery for Today;" "Balloon Astronomy;" "Hollywood: Legend and Reality;" "Black Wings;" "Art in New Mexico;" "At Home on the Road;" "Folklife '86;" "The California Artist;" "Brand New at the Zoo;" "Discover Graphics;" "Air and Space Anniversary;" "Reaching Rural Africa;" "At Mr. Hirshhorn 's Bequest;" "Corals in Captivity" (repeat); "A Smithsonian Holiday;" "Russia: The Land and the People;" "The Harlem Renaissance;" and "A Painter at Large."

Volume VI (1987) includes "From Field to Factory;" "Second Nature;" "Engines of Change;" "Meet the Beetles;" "Capturing the Spirit;" "A Grasp of Reality;" "Zoo Vets;" "Spanning the Distance;" "American Art Deco;" "The Making of a Dinosaur;" "TR in Africa" (repeat); "Contemporary Expressions;" "Remembering John La Farge;" "Folklife Festival '87;" "Building a Biosphere;" "Portrait of a Life;" "Treasures Down Under;" "African Splendors;" "Dr. Sackler's Gift;" and "A Garden for All Seasons."

Volume VII (1988) includes "Climbing Jacob's Ladder;" "Old and New Traditions;" "From Reliable Sources;" "A More Perfect Union;" "Magellans of the Air;" "From Field to Factory" (repeat);" "Spineless Wonders;" "King Herod's Dream;" "Splendidly Stradivarius;" "Different Drummers;" "The Unseen Smithsonian;" "New Deal Murals;" "The Commonwealth of Massachusetts;" "Folklife Exchange;" "New Political Conventions;" "Antietam Revisited;" "Warming up to Reptiles;" "Kalabari Kinetics;" "Crossroads of Two Continents;" and "On the Air."

Volume VIII includes "Cultural Crossroads;" "The Jeweler's Eye;" "Black Wings" (repeat); "The Perpetual Man Ray;" "The Portraits of Isamu Noguchi;" "African Sounding Forms;" "Rocks in a Hard Place;" "Zoo Vets" (repeat); "The Way to Independence;" "Aloha, Hawai'i!;" "A Continuity of Culture;" "The Brush of Innocence;" "Engines of Change;" "Tending a Sculpture Garden;" "A Holiday Celebration;" "A Smithsonian Holiday;" "A Touch of Glass;" "Duke Ellington, American Musician;" "Happy Birthday, National Zoo;" and "The Decorative Designs of Frank Lloyd Wright."

Materials in this accession include original footage, segment masters, dub masters, dubs, interviews, and related materials on a variety of videotape formats and two reels of 1/4" audiotape.

Note: The original materials were created by the Office of Telecommunications. Some dubs that are part of this accession were made by its successor units, Smithsonian Press/Smithsonian Productions and Smithsonian Productions.

Note: Preservation copies of all episodes are located in Resv19, Boxes 5-8.

Restrictions:

Restrictions pertaining to the use of these materials may apply (based on contracts/copyright). Access restrictions may also apply if viewing copies are not currently available. Viewing copies can be made for a fee. Contact reference staff for details.

Topic:

Museum exhibits  Search this

Research  Search this

Television -- Production and direction  Search this

Documentary television programs  Search this

Genre/Form:

Videotapes

Video recordings

Citation:

Smithsonian Institution Archives, Accession 08-084, Smithsonian Institution. Office of Telecommunications, Productions

Identifier:

Accession 08-084

See more items in:

Productions

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_collection:sova-sia-fa08-084

Creator::

Smithsonian Institution. Office of Telecommunications  Search this

Extent:

36.54 cu. ft. (58 document boxes) (7.54 tall document boxes)

Type:

Collection descriptions

Archival materials

Video recordings

Videotapes

Date:

1982-1989

Descriptive Entry:

Here At The Smithsonian was a series of short features for television created and produced by the staff of the Smithsonian's Office of Telecommunications between the years 1982 and 1989. The series was designed for public dissemination of information about Smithsonian exhibition and research activities. Each year had a volume number [1982 (Volume I) through 1989 (Volume VIII)], within the volume were multiple editions (four to five), and multiple segments within each edition (three to six). Although some segments were repeated, they were often lengthened for a second broadcast. Features totaled 160 (including repeats).

This accession contains some of the original camera footage, all of the cut shows, and preservation masters of all of the cut shows. The initial features were written and shot by in-house staff using rented professional broadcast equipment, recorded on U-matic tape, rough cut on U-matic tape, then edited to 1-inch tape at a commercial post production house (first at FAX Productions in Bethesda, Maryland, then at Techniarts in Silver Spring, Maryland). Features were shot on Betacam beginning in 1987, and mastered to D-2 beginning in 1989. In 1987, post production work moved to Henninger Video in Arlington, Virginia.

Due to the long run of the series, different individuals were associated with the various functions including series producer, segment producer, and narrator. Those playing the largest roles in the development and refinement of Here At The Smithsonian were Ann Carroll (series producer, Volumes I - IV) and John P. Meehan (series producer Volumes V - VIII).

Restrictions:

Restrictions pertaining to the use of these materials may apply (based on contracts/copyright). Access restrictions may also apply if viewing copies are not currently available. Viewing copies can be made for a fee. Contact reference staff for details.

Topic:

Television -- Production and direction  Search this

Zoos  Search this

Orchids  Search this

Corals  Search this

Kites  Search this

Meteorites  Search this

Scientific expeditions  Search this

Astronomy  Search this

Audio-visual materials  Search this

Paleontology  Search this

Reptiles  Search this

Insects  Search this

Squid  Search this

Video recordings -- Production and direction  Search this

Documentary videos  Search this

Genre/Form:

Video recordings

Videotapes

Citation:

Smithsonian Institution Archives, Accession 00-132, Smithsonian Institution. Office of Telecommunications, Productions

Identifier:

Accession 00-132

See more items in:

Productions

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_collection:sova-sia-fa00-132

Collection Creator:

Alexander, Charles P. (Charles Paul), 1889-1981  Search this

Type:

Archival materials

Collection Citation:

Smithsonian Institution Archives, Record Unit 7298, Charles P. Alexander Papers

See more items in:

Charles P. Alexander Papers

Charles P. Alexander Papers / Series 12: 35mm Color Slides, 1940-1975 and undated / Box 106

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_component:sova-sia-faru7298-refidd1e14453

Collector:

Sultner-Welles, Donald H. (Sultner, Donald Harvey), 1914-1981  Search this

Printer:

Janus, Allan  Search this

Interviewee:

Hanfstaengl, Erna  Search this

Names:

Baltimore Symphony Orchestra  Search this

Chautauqua Institute  Search this

Colonial Williamsburg Foundation  Search this

Holland-America Cruises  Search this

Hitler, Adolf, 1889-1945  Search this

Extent:

87.6 Cubic feet (318 boxes)

Type:

Collection descriptions

Archival materials

Passports

Photographs

Travelogs

Receipts

Ephemera

Files

Filmstrips

Lecture notes

Personal papers

Silver-dye bleach process

Contracts

Notebooks

Prints

Press releases

Ships' passenger lists

Project files

Magnetic tapes

Posters

Postcards

Vertical files

Dye destruction process

Travel diaries

Letters (correspondence)

Professional papers

Bank statements

Correspondence

Audiotapes

Series 12.

Clippings

Card files

Concert programs

Dye destruction photoprints

Biography files

Awards

Business records

Birthday cards

Date:

circa 1790-1981

bulk 1945-1980

Scope and Contents:

This collection is primarily the work of one individual, Donald Harvey Sultner, known professionally as Donald Sultner-Welles (1914-1981). The collection forms a written and visual record of Sultner's family, life, and career from 1913-1980. Its major strength is Sultner's photographic documentation of the world during his travels, ca. 1950-1980. Work by other photographers and artists, correspondence, greeting cards, and contemporary memorabilia and ephemera are included, along with fewer than fifty examples of earlier materials, ca. 1790-1900, collected by Sultner.

The entire collection reflects Sultner's lifework and interests. Housed in boxes the collection is organized into eleven series: Personal Papers; Professional Papers; Lecture Materials; Biographical Materials; Transparencies; Photoprints; Photonegatives; Prints, Drawings, Mixed Media; Audio Tapes; Miscellaneous; and Restricted Materials. The arrangement within each series is based as closely as possi-ble on Sultner's own organization of the materials. However, in several instances similar materials were found separated and have been placed together. In addition, obvious filing mistakes and spelling errors have been corrected. The spelling of geographic place names is based on Official Standard Names prepared by the U.S. Board on Geographic Names, Office of Geography, U.S. Department of the Interior. Not all names given by Sultner were found in the gazetteers, so there may be errors.

The bulk of the collection consists of 2-1/4-inch by 2-1/4-inch color transparencies (Series 5). However, the manuscript materials (Series 1-4) provide a detailed complement to the transparencies. For example, from the mid-1950s until the late 1970s, Sultner kept a travel diary (Se-ries 1). Written on the backs of postcards, this stream-of-consciousness journal reflects not only his daily trips, but his impressions of the countries and thoughts on his photography. A juxtaposition of cards with images is especially useful in understanding what Sultner photographed as well as why and how he photographed it. Sultner's professional corre-spondence (Series 2) documents the various types of groups before which he performed and equipment manufacturers dealt with for cameras, projectors, and so on. Notes, drafts, and final lectures (Series 3) present the performance side of Sultner. This material, when viewed with tapes of concerts and slides, begins to recreate the photo-concert as Sultner presented it. Scrapbooks (Series 4), kept by Sultner from the 1940s to the 1980s, present Sultner's life and career in chronological fashion.

The transparency portion of the collection (Series 5), containing over 87,000 images, is especially rich because of its documentation of the countries of the world. People are seen at their daily tasks, such as washing clothes, marketing, shopping, and eating. Cities are documented as they changed over the years. Two areas in particular will be of spe-cial interest to European and Asian researchers. The first is Sultner's USIS Asian tour in 1959. He visited Japan, Java, India, Korea, the Phil-ippines, Laos, Cambodia and Vietnam. The serene, prewar cities and coun-tryside of Laos, Cambodia, and Vietnam evince nothing of the devastation to come in the 1960a and 70s.

The second area of interest is Sultner's passion for documenting archi-tecture. As a guest of the German government in 1954, Sultner documented the devastation of World War II and photographed both the reconstruction of bombed buildings and the construction of buildings reflecting "new" postwar architectural styles. In addition to photographing post-WW II styles, throughout his career Sultner documented Palladian, baroque and Rococo architecture. This interest manifested itself in several of his lectures.

A third subject area of interest to Sultner was gardens. Among his first lectures following his USIS tour was "Gardens of the World." Sultner de-veloped this theme into an ongoing commitment to ecology, culminating in a filmstrip, "The Time is Now" (Series 10), prepared for the Hudson River Conservation Society in the 1960s. Carl Carmer, a noted author, wrote the text for the filmstrip. Sultner's taped interviews, lectures, and program music (Series 9) complement the transparencies. During his USIS-sponsored Asian tour in 1959, Sultner recorded impressions of his trip on tape. Interviews with people living in the countries he visited, radio interviews, and his own personal reflections are included. Of particular interest are his "No Harm Asking" interviews in Manila (tape #2), his interview of two French hotel managers in Saigon discussing post-French control conditions (tape #9), and--perhaps the most unusual--his discussion with Erna Hanfstaengl about her personal relationship with Adolf Hitler (tape #107). Scripts for lectures (Series 3) round out the documentation of Sultner's profes-sional work.

Because of the arrangement of the transparencies, it is necessary to check several areas for the same subject. For example, Vietnam images are in the "World" section alphabetically under Vietnam (box 81). Sult-ner also lectured on Vietnam, so there are Vietnamese images in the "framed subjects" (Boxes 137-138). Another example, perhaps more compli-cated, but more common to Sultner, was his distinguishing between images of unidentified "People" and identified "Portraits." Transparency stud ies of human beings will be found under the subseries "People." "Subjects --Portraits," various countries in the subseries "World," and "Lectures." There are also individuals in the black-and-white photoprints (Series 6), and photonegatives (Series 8). The painter and print-maker Charles Shee-ler appears in a number of locations, as does tenor Roland Hayes. Another area of complexity with regard to people concerns the transparencies and negatives. Sultner interfiled his transparencies and negatives of iden-tified individuals. For appropriate storage, these two different formats have been arranged in separate series. Therefore, instead of container lists for the two series, there is a combined alphabetical index to both (pp. 166-206).

Of tangential interest are the photoprints (Series 6), etchings, wood-cuts, and other prints (Series 8) collected by Sultner. One particular subseries of interest contains photographs presented to Sultner by Asian photographers during his 1959 tour. Over 45 images were given to Sultner and represent the standards of camera-club photography in the 1950s. Thesecond subseries consists of over 25 prints by the Italian-American art-ist Luigi Lucioni (1900- ). For further information on this artist,see The Etchings of Luigi Lucioni, -A Catalogue Raisonne', by Stuart P.Embury (Washington, 1984). Lucioni also painted Sultner's portrait in1952 and the "People" section of the transparencies contains a number of images of Lucioni at work. Another significant category is the Japanese prints, including two by a major nineteenth-century artist, Ando Hiro-shige (1797-1858).

Series 11 contains restricted letters to Sultner from friends. These materials will become available to the public in the year 2031. Twenty-three document boxes of clippings and magazine articles found in standard magazines and newspapers (e.g., Time, Life, Look, Modern Maturity, etc.) were destroyed. These materials represented general articles being published on a number of topics during Sultner's lifetime. A list of subject file headings Sultner used is with the manuscript mate-rials.

A second grouping of materials destroyed were nine filing cabinet drawers of travel material--maps, guide books, and other tourist pamphlets used by Sultner on his travels. This material, as with the first group of ma-terial, was of the common variety easily found. Any books or pamphlets found with the clippings were sorted out and sent to Smithsonian Institu-tion Libraries. Other library material that came in with the estate was sent immediately to the library and disposed of through their channels. Any office equipment, such as filing cabinets and supplies, etc., has been put to use in the National Museum of American History.

Arrangement:

Series 1: Personal Papers, 1923-1981

Series 2: Professional Papers, 1954-1980

Series 3: Lecture Materials, 1952-1980

Series 4: Biographical Materials, 1954-1980

Series 5: Transparencies, 1947-1980

Series 6: Photoprints, 1913-ca. 1980

Series 7: Photonegatives, 1929-1981

Series 8: Prints, Drawings, Mixed Media, ca. 1790-1979

Series 9: Audio Tapes, 1947-1980

Series 10: Miscellaneous, 1947-1980

Biographical / Historical:

Donald Harvey Sultner was bom in York, Pennsylvania, on April 13, 1914, the son of Lillian May Arnold Sultner and Harvey A. Sultner. In 1923 Sultner attended the Lewis Institute in Detroit, Michigan, to overcome a speech impediment. He entered the Wharton School of the University of Pennsylvania in 1932 and graduated in 1936. Sultner studied merchandising and sang in the glee club, then under the direction of composer Harl MacDonald. Sultner, a baritone, continued his interest in music and studied voice with Reinald Werrenrath and with Florence Benedict and Bruce Benjamin in New York City. In the late 1940s and early 1950s he appeared in concert with accompanists at schools, clubs, and resort hotels along the East Coast. It appears that photography was always an important part of Sultner's life. Using a small format (120) camera, he recorded his vacation travels around the United States and Canada, parties, and his family. While living in New York, Sultner continued photographing friends and family and began photographing the famous people he encountered on his concert tours. In the early 1950s he began taking 2-1/4-inch by 2-1/4-inch color transparencies (slides) of landscapes and architecture as he traveled giving concerts.

Sultner, who had taken the stage name of "Sultner-Welles," began what was to be his lifework as a professional "photo-lecturer" in 1952. He illustrated his talks on nature, art, architecture, and the environment with his color slides. In 1954 Sultner toured West Germany as a guest of the Bonn government, and in 1959 he lectured in Asia under the auspices of the U.S. State Department. He was dubbed the "camera ambassador." Constantly adding new material to his collection of slides, Sultner traveled extensively throughout the United States, speaking before garden clubs, cultural organi-zations, and schools. He also appeared aboard various ships of the Holland-America line during a number of cruises abroad.

Sultner had established his performance style by the early 1960s. He expanded his lectures to include a combination of art, words, and music. The expanded presentation resulted in the "photo-concert," a unique synthesis of light and sound that Sultner frequently per-formed with a symphony orchestra. The Baltimore Symphony Orchestra commissioned "Concertino for Camera and Orchestra" by Eric Knight with Sultner in mind. The world premiere was in Baltimore in March 1979. While he spoke on many art, garden, and architectural topics, Sultner specialized in subjects relating to the baroque and rococo periods and Palladian architecture.

Sultner died of cancer in York, Pennsylvania, on March 25, 1981, at the age of 67.

1914 -- April 13, born York, Pennsylvania.

1929 -- In Detroit at Lewis Institute to overcome a speech impediment.

1932 -- To University of Pennsylvania.

1935 -- Summer trip to Roanoke (VA), Picketts, Hershey (PA); fall trip to New England for fraternity (AXP) convention.

1936 -- Spring glee club trip; graduated from the Wharton School of the University of Pennsylvania; summer trips to Newport News (VA), northern trip to Canada, Picketts (PA).

1937 -- Fall trip to Williamsburg (VA), Duke University (NC); Sultner family begins building "Glen Hill" (Dover, PA).

1938 -- Summer at home, and Picketts (PA), Camp Pratt.

1939 -- Spring trip to Washington, D.C.; September trip to The Homestead (WV), Hot Springs (WV), Virginia; Lake Mohonk (NY).

1940 -- Summer trip to New Orleans, Blowing Rock (NC); winter trip to Skytop Club (NY); fall trip to Atlantic City (NJ), Philadelphia (PA), Annapolis (MD).

1941 -- Winter 1941-42 appearance in "Hit the Deck." Lake Mohonk (NY) with Ted Walstrum (Sept. 22-23); Skytop Club (NY) (February); summer trip to Canada, Lake Chazy (NY) (Aug. 17-23).

1942 -- Spring in Atlantic City (NJ); summer to Buck Hill Falls, Lakes Chazy and Mohonk.

1943 -- Summer trip to Mohonk (NY).

1944 -- Summer: To Toronto (Ontario), Muskoka Lake, Bigwin Island, Montreal (Quebec), Mohonk (NY).

1945 -- Summer: To Winnepesauke (ME), Woodstock (NY), Ogunquit (ME), Bridgeport (CT).

1946 -- To Mohonk (NY), Ogunquit (ME), Old Saybrook (CT), Nantucket (RI).

1947 -- Singing tour of Canada and New England; winter-spring tour to Georgia and Florida.

1948 -- To Florida and Nassau, Feb.-Mar., Vermont, July-Aug.; Nassau-Havana-Miami-Bermuda, October.

1949 -- Singing tour of North and South Carolina.

1950 -- Summer trip to South.

1951 -- To District of Columbia, Massachusetts, New Hampshire, [New Jersey?], New York, Vermont.

1952 -- January 9: first public photo-concert, Pennsylvania Academy of the Arts, Philadelphia; trips to Connecticut, Florida, Massachusetts, New Hampshire, New Jersey, New York, Rhode Island, South Carolina, Vermont.

1953 -- To Connecticut, Florida, Georgia, Massachusetts, New Hampshire, New Jersey, New York, Pennsylvania, South Carolina, Vermont.

1954 -- Guest of German government for a study tour in the fall. To District of Columbia, Florida, Georgia, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Pennsylvania, South Carolina, Virginia.

1955 -- To Holland; Connecticut, District of Columbia, Florida, Massachusetts, New Hampshire, New York, North Carolina, Pennsylvania, South Carolina, Vermont, Virginia.

1956 -- To California, District of Columbia, Florida, Georgia, Illinois, Indiana, Massachusetts, New Jersey, New York, North Carolina, Ohio, Pennsylvania, South Carolina, Tennessee, Virginia.

1957 -- Holland-America Cruise to Germany, Austria, Italy. To Connecticut, Illinois, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Ohio, Pennsylvania, Vermont, Virginia.

1958 -- Holland-America Cruises to Germany, Austria, Holland, Italy, Switzerland. To Connecticut, Florida, Georgia, Illinois, Massachusetts, Minnesota., Missouri, New Hampshire, New York, Pennsylvania, Rhode Island, South Carolina, Tennessee, Vermont, Wisconsin.

1959 -- United States Information Service (USIS)-sponsored tour of Asia: Burma, Cambodia, Hong Kong, India, Indonesia, Japan, Korea, Laos, Malaya, Philippines, Singapore, Taiwan, Thailand, Turkey, Vietnam. Also visited Austria, Czechoslovakia, Germany, Greece, Iran, Italy, Spain; Alaska, California, Massachusetts, New York, Pennsylvania.

1960 -- Holland-America Cruise to Austria, Belgium, Caribbean, France, Germany, Holland, Italy, Morocco. To Arizona, California, Florida, Indiana, Massachusetts, Minnesota, Nevada, New Hampshire, New Mexico, New York, Texas, Utah, Virginia, Washington, Wisconsin.

1961 -- To Canada, France, Germany, Switzerland; Alabama, California, Colorado, Connecticut, Florida, Georgia, Idaho, Illinois, Louisiana, Mississippi, Missouri, Montana, New Hampshire, New Jersey, New York, North Carolina, Ohio, Oregon, Pennsylvania, Rhode.Island, South Dakota, Tennessee, Utah, Vermont, Virginia, Washington, Wisconsin.

1962 -- Portfolio, "Autumn in Vermont," with introduction by Carl Carmer, published in Autumn issue of Vermont Life. Holland-America Cruise to Denmark, England, France, Germany, Holland, Italy, Sweden. To Connecticut, District of Columbia, Florida, Illinois, Iowa, Massachusetts, Michigan, New York, North Carolina, Pennsylvania, South Carolina, Vermont, Virginia.

1963 -- Holland-America Cruise to Caribbean, Canada, Sweden, Thailand. To Alabama, California, District of Columbia, Florida, Georgia, Illinois, Louisiana, Massachusetts, Minnesota Mississippi, Missouri, New Hampshire, New Jersey, N;w York, Ohio, Pennsylvania, Texas, Vermont, Virginia, Washington.

1964 -- Holland-America Cruise to Germany, Canada, England, Holland, Wales. To Delaware, District of Columbia, Indiana, Kentucky, Massachusetts, New Hampshire, New York, Ohio, Pennsylvania, Texas, Virginia.

1965 -- Holland-America Cruise to Austria, Czechoslovakia, France, Germany, Holland, Portugal, Wales. To Arkansas, Connecticut, District of Columbia, Indiana, Kentucky, New Hampshire, New York, Pennsylvania, Vermont, Virginia.

1966 -- Holland-America Cruise to Caribbean, Germany, France, Holland, Italy, Portugal, Switzerland. To New Jersey, North Carolina, Pennsylvania, South Carolina, Tennessee, Virginia.

1967 -- Holland-America Cruise to Caribbean, Austria, Denmark, England, Germany, Holland, Italy, Portugal, Sweden, Wales. To Massachusetts, New Jersey, New York, Rhode Island, Vermont, Virginia.

1968 -- To Germany; Massachusetts, New Hampshire, New Jersey, New York, Ohio, Pennsylvania, Vermont, Virginia.

1969 -- To England, France, Germany, Holland, Switzerland; Ohio, Pennsylvania, Virginia.

1970 -- Holland-America Cruise to Caribbean, Denmark, Iceland, Sweden. To Alabama, District of Columbia, Florida, Georgia, Massachusetts, New Hampshire, New York, Pennsylvania, South Carolina, Vermont, Virginia.

1971 -- Holland-America Cruise to Caribbean, Canada, Denmark, Italy, Portugal, Sweden. To Alabama, Georgia, Massachusetts, Nebraska, New Hampshire, New York, North Carolina, Pennsylvania.

1972 -- Holland-America Cruise to Asia, Pacific, Caribbean, Africa, Austria, Italy, Japan, Thailand, Turkey. To California, New Jersey, New York, Pennsylvania, Rhode Island, Virginia.

1973 -- Holland-America Cruise to Austria, Denmark, Germany, Holland, Iceland, Sweden. To California, Connecticut, District of Columbia, Massachusetts, New York, Ohio, Pennsylvania, Vermont.

1974 -- To Germany, Switzerland; California, Illinois, Massachusetts, New Jersey, New York, Ohio, Pennsylvania, Virginia.

1975 -- To Austria; California, Connecticut, District of Columbia, Massachusetts, New Jersey, New York, North Carolina, Pennsylvania, Virginia.

1976 -- To Canada; Connecticut, District of Columbia, Illinois, Iowa, Massachusetts, Missouri, Nebraska, New Mexico, New York, Ohio, Pennsylvania, Utah.

1977 -- To Canada, Germany; New York, Pennsylvania, Vermont, Virginia.

1978 -- To Scotland; Connecticut, Florida, Georgia, Kentucky, Massachusetts, New York, Pennsylvania, Rhode Island, South Carolina.

1979 -- To England; Florida.

1980 -- To Florida.

1981 -- March 25: Sultner dies of cancer, York, Pennsylania.

Introduction:

The Donald H. Sultner-Welles Collection, ca. 1790-1981, came to the National Museum of American History in 1982 from the estate of Mr. Sultner. The collection was created by Sultner over his adult life and represents one of the most extensive collections of color transparencies created by one individual and held in a public repository. Sultner's emphasis was on world culture. He took the majority of his photographs in the eastern United States, western Europe, and Asia. Gardens, architecture, and people are the three major subject areas represented in the collection. Of additional interest are Sultner's taped impressions of his 1959 United States Information Service (USIS)-sponsored Asian tour. The collection occupies 309 boxes and covers more than 83 cubic feet.

The Donald H. Sultner-Welles Collection is open to researchers in the Archives Center, third floor east, of the National Museum of American History, between 12th and 14th Streets, on Constitution Avenue, N.W., Washington, D.C. 20560. The Archives Center is open Monday through Friday from 10:00 a.m. to 5:00 p.m. Written and telephone (202/357-3270) inquiries are welcome and researchers are encouraged to contact the Archives Center before their arrival. The FAX number is 202/786-2453.

This is the eleventh in a series of occasional guides to collections in the Archives Center. Finding aids to other collections are available. The Guide to Manuscript Collections in the National Museum of History and Technology (1978) and an updated compilation contain brief descriptions of all archival holdings in the Museum. All current Archives Center holdings are available for search on the Smithsonian Institution Bibliographic Information System (SIBIS), an online database.

Restrictions:

Collection is open for research but a portion of the collection is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

A small number of letters and photographs are restricted until the year 2031. Identification list in box.

Rights:

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

Topic:

Portraits -- 20th century  Search this

Lecturers  Search this

Photographers  Search this

Gardens -- Photographs -- 1300-1980  Search this

Architecture -- Photographs -- 1300-1980  Search this

Travel photography -- 1950-2000  Search this

Genre/Form:

Passports

Photographs -- Black-and-white negatives -- Acetate film

Travelogs

Receipts -- 20th century

Ephemera

Files

Filmstrips

Lecture notes

Personal papers -- 20th century

Silver-dye bleach process

Contracts

Notebooks

Prints

Press releases

Ships' passenger lists

Project files

Magnetic tapes

Posters

Postcards

Vertical files

Dye destruction process

Travel diaries

Letters (correspondence) -- 20th century.

Professional papers

Bank statements

Correspondence -- 1930-1950

Photographs -- Phototransparencies -- 20th century

Audiotapes -- 1940-1980

Series 12. -- Cibachrome (TM)

Photographs -- 20th century

Clippings

Card files

Concert programs

Dye destruction photoprints

Biography files

Awards

Business records

Birthday cards

Identifier:

NMAH.AC.0145

See more items in:

Donald H. Sultner-Welles Collection

Archival Repository:

Archives Center, National Museum of American History

EDAN-URL:

ead_collection:sova-nmah-ac-0145

Creator:

Enriquez, Gaspar, 1942-  Search this

Names:

Antone, Bernadin  Search this

Jimenez, Luis, 1940-2006  Search this

Juárez, Miguel, 1958-  Search this

Marin, Cheech  Search this

Silva, Elda  Search this

Extent:

1.5 Linear feet

0.001 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Photographs

Sketches

Date:

1973-2017

Summary:

The papers of Chicano painter, portrait artist, and educator Gaspar Enriquez measure 1.5 linear feet and 0.001 GB and date from 1973 to 2017. The papers are comprised of biographical materials, correspondence, writings, commission and project files, exhibition files, and printed and digital materials that document Enriquez's career in El Paso, Texas.

Scope and Contents:

The papers of Chicano painter, portrait artist, and educator Gaspar Enriquez measure 1.5 linear feet and 0.001 GB and date from 1973 to 2017. The papers are comprised of biographical materials, correspondence, writings, commission and project files, exhibition files, and printed and digital materials that document Enriquez's career in El Paso, Texas.

Biographical materials include several awards and certificates, photographs, and sketches. Correspondence includes general personal and professional correspondence, notes to Enriquez, and letters with Bernadine Antone, Miguel Juarez, Elda Silva. Writings consist of artist statements, one notebook, a student paper about Luis Jimenez, and statements on teaching. Commission and project files contain digital photographs and other records for mural, book, and room design projects.

Files for exhibitions include documentation on Chicano Art: Resistance and Affirmation (1990-1993), or CARA, a traveling exhibition and Chicano Visions: American Painters on the Verge (2004), an exhibition of Chicano artwork collected by Cheech Marin. Printed materials contains art reproductions, clippings, exhibition announcements and catalogs, flyers, invitations, magazines, newsletters, and press releases.

Arrangement:

The collection is arranged as six series.

Series 1: Biographical Materials, 1976-2014 (Box 1; 3 folders)

Series 2: Correspondence, circa 1985-2017 (Box 1; 0.3 linear feet)

Series 3: Writings, 1983-circa 2000 (Box 1; 4 folders)

Series 4: Commission and Project Files, 1994-2003 (Box 1; 0.2 linear feet, ER01; 0.001 GB)

Series 5: Exhibition Files, 1990-2007 (Box 1, OV 3; 0.2 linear feet)

Series 6: Printed Materials, 1973-2017 (Boxes 1-2, OV 3; 0.6 linear feet)

Biographical / Historical:

Gaspar Enriquez (1942- ) is a Chicano painter, portrait artist, and educator in San Elizario in El Paso County, Texas.

Enriquez was born in the historic El Segundo Barrio in El Paso. He received a bachelor's degree from the University of El Paso in 1970 and a master's degree in metals from New Mexico State University in 1985. In addition to his art career, he taught art at Bowie High School in El Paso for 34 years.

Enriquez is known for his portraits of individuals who reflect the Chicano community in which he was raised. Enriquez has stated that "one is born Mexican American, but one chooses to be a chicano." His work allows those unfamiliar with the Chicano community to connect through his portraiture.

Enriquez participated in two seminal, multifaceted exhibitions of Chicano art. Chicano Art: Resistance and Affirmation/CARA (1990-1993) and Chicano Visions: American Painters on the Verge (2001-2007), an exhibition showcasing the art collection of Cheech Marin, traveled to museums across the United States exposing Chicano art and the Chicano Movement to the traditional art world.

Enriquez has won the 2016 Segundo Barrio Person of the Year Award, the University of Texas at El Paso's Distinguished Alumni Award, and the Mid-Americarts Alliance Fellowship in 1994.

Provenance:

The papers were donated by Gaspar Enriquez in 2017.

Restrictions:

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

Occupation:

Art teachers -- Texas  Search this

Painters -- Texas  Search this

Portrait painters--Texas  Search this

Topic:

Latino and Latin American artists  Search this

Mexican American art  Search this

Chicano artists  Search this

Genre/Form:

Photographs

Sketches

Citation:

Gaspar Enriquez papers, 1973-2017. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.enrigasp

See more items in:

Gaspar Enriquez papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-enrigasp

Photographer:

Knee, Ernest, 1907-1982  Search this

Names:

Bakos, Teresa, 1884-1974  Search this

Bakós, Józef, 1891-1977  Search this

Bouche, Len  Search this

Shuster, Will  Search this

Sloan, Dolly  Search this

Sloan, John, 1871-1951  Search this

Extent:

15 Items (photographic prints, b&w, 21 x 26 cm. or smaller)

Type:

Collection descriptions

Archival materials

Date:

1939

Scope and Contents:

Photographs of the Sloans in and about their ranch in Santa Fe. Two photographs show Sloan painting in his studio, and two show him making a bookshelf. Other people pictured include: Jozef Bakos, Teresa Bakos, and Will Shuster. Copyprints of original negatives made by Len Bouche.

Biographical / Historical:

John Sloan (1871-1951) was a painter, printmaker, illustrator, and teacher from New York, N.Y. and Santa Fe, N.M. He was a member of the artists' group known as "the eight."

Ernest Knee (1907-1982) was a Canadian photographer who worked primarily in New Mexico.

Provenance:

Donated 1972 by Sylvia Loomis. Microfilmed 1973 with Photographs of Artists Collection I and scanned in 2003.

Topic:

Artists' homes  Search this

Artists in groups  Search this

Identifier:

AAA.kneeerne

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-kneeerne

Creator:

Webster, Tamara, 1917-2011  Search this

Subject:

Hammersley, Frederick  Search this

Topic:

Women art dealers  Search this

Women artists  Search this

Record number:

(DSI-AAA_CollID)16236

(DSI-AAA_SIRISBib)370422

AAA_collcode_webstama

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_370422

Creator:

Smithsonian Channel  Search this

Type:

YouTube Videos

Uploaded:

2012-12-03T00:00:26.000Z

YouTube Category:

Entertainment  Search this

See more by:

smithsonianchannel

Data Source:

Smithsonian Channel

YouTube Channel:

smithsonianchannel

EDAN-URL:

edanmdm:yt_2P_rCxbEcVI

Creator:

Smithsonian American Art Museum  Search this

Type:

Interviews

YouTube Videos

Uploaded:

2012-12-03T20:39:07.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_1BtEJqvhosw

Creator:

Von Hassler, Carl, 1887-1969  Search this

Topic:

Painting, Modern -- 20th century -- New Mexico -- Albuquerque  Search this

Record number:

(DSI-AAA_CollID)8541

(DSI-AAA_SIRISBib)210719

AAA_collcode_vonhass

Theme:

American Art and Artists in a Global Context

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210719

Creator:

Wells, Cady, 1904-1954  Search this

Subject:

O'Keeffe, Georgia  Search this

Adams, Ansel  Search this

Type:

Sketchbooks

Diaries

Scrapbooks

Topic:

Painters -- New Mexico -- Santa Fe  Search this

Record number:

(DSI-AAA_CollID)8608

(DSI-AAA_SIRISBib)210788

AAA_collcode_wellcady

Theme:

Diaries

Lives of American Artists

Sketches & Sketchbooks

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210788

Creator:

Yunkers, Adja, 1900-1983  Search this

Subject:

Bjornstjerna, Mikael  Search this

Olsen, Cheryl  Search this

Grossman, Morton  Search this

Haley, Donna  Search this

Wood, Denis  Search this

Smith Andersen Gallery  Search this

Alice Simsar Gallery  Search this

Impressions Gallery of Photography  Search this

Topic:

Abstract expressionism  Search this

Painting, Abstract -- New York (State) -- New York  Search this

Prints, Abstract -- New York (State) -- New York  Search this

Artists' illustrated books  Search this

Prints -- 20th century  Search this

Record number:

(DSI-AAA_CollID)13445

(DSI-AAA_SIRISBib)211470

AAA_collcode_yunkadja

Theme:

Diaries

American Art and Artists in a Global Context

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211470

Creator:

Willis, Paul Brooks, 1903-1981  Search this

Topic:

Painting, Modern -- 20th century -- New Mexico -- Santa Fe  Search this

Record number:

(DSI-AAA_CollID)10579

(DSI-AAA_SIRISBib)214055

AAA_collcode_willpaul

Theme:

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_214055

Creator:

Young-Hunter, John, 1874-1955  Search this

Topic:

Artists as authors -- New Mexico -- Taos  Search this

Painting, Modern -- 20th century -- New Mexico -- Taos  Search this

Record number:

(DSI-AAA_CollID)10596

(DSI-AAA_SIRISBib)214072

AAA_collcode_younjohn

Theme:

American Art and Artists in a Global Context

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_214072

Creator:

Tuttle, Richard, 1941-  Search this

Subject:

Berssenbrugge, Mei-mei  Search this

Betty Parsons Gallery  Search this

Type:

Drawings

Video recordings

Record number:

(DSI-AAA_CollID)17429

(DSI-AAA_SIRISBib)385210

AAA_collcode_tuttrich

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_385210

Interviewee:

Barr, Victoria, 1937-  Search this

Interviewer:

Cummings, Paul, 1933-1997  Search this

Type:

Sound recordings

Interviews

Topic:

Art, American  Search this

Women artists  Search this

Record number:

(DSI-AAA_CollID)12929

(DSI-AAA_SIRISBib)212530

AAA_collcode_barr77

Theme:

Women

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212530

Interviewee:

Dasburg, Andrew Michael, 1887-1979  Search this

Interviewer:

Cummings, Paul, 1933-1997  Search this

Type:

Sound recordings

Interviews

Topic:

Art, American  Search this

Painters -- New Mexico -- Taos -- Interviews  Search this

Record number:

(DSI-AAA_CollID)13243

(DSI-AAA_SIRISBib)212606

AAA_collcode_dasbur74

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212606

Interviewee:

Du Jardin, Gussie, 1918-2006  Search this

Interviewer:

Udall, Sharyn Rohlfsen  Search this

Type:

Sound recordings

Interviews

Topic:

Art, American  Search this

Painters -- New Mexico -- Roswell -- Interviews  Search this

Record number:

(DSI-AAA_CollID)12148

(DSI-AAA_SIRISBib)212631

AAA_collcode_dujard83

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212631