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Arthur Earl Patton photograph album relating to the Flathead Indian Reservation and surrounding areas

Collector:
Patton, Arthur Earl  Search this
Photographer:
C. C. Slack & Co.  Search this
Thiri's Aerial View Service  Search this
Bigelow, Lou Goodale  Search this
Names:
Morris, Charles E. (photographer)  Search this
Extent:
5 Printed postcards (color halftone, halftone, and collotype)
71 Prints (circa, silver gelatin (prints, mostly on postcard paper))
Culture:
Indians of North America -- Plateau  Search this
Northwest Coast  Search this
Type:
Collection descriptions
Archival materials
Printed postcards
Prints
Place:
Mandan (N.D.)
Montana
Flathead Indian Reservation (Mont.)
Date:
circa 1910-1912
Scope and Contents note:
Photographs made and collected by Arthur Earl Patton documenting life on and near the Flathead Indian Reservation. They include images of Salish people, cowboys, storefronts and buildings, carriages and wagons, automobiles, railroads, a river boat, and scenic views. Locations include Ravalli, Polson, and St. Ignatius in Montana, as well as Mandan, North Dakota. The collection includes some postcards by Thiri's Aerial View Service (T.A.V.S.), L. G. Bigelow, C.C. Slack & Co., and Charles E. Morris Co.
Biographical/Historical note:
Arthur Earl Patton lived on the southern edge of the Flathead Indian Reservation near Arlee, Montana. He moved there about 1911 and stayed five years, obtaining 160 acres of land in accordance with the Homestead Act of 1862.
Local Call Number(s):
NAA Photo Lot 91-25, USNM ACC 387053
Location of Other Archival Materials:
Flathead artifacts, including a buckskin shirt, buckskin gauntlets, a beaded leather belt, and a buckskin money belt, which were donated with the album can be found in the Department of Anthropology collections in accession 387053.
Additional Charles E. Morris photographs held in National Anthropological Archives Photo Lot 25 and Photo Lot 59.
An additional Thiri's Aerial view Service photograph held in the National Anthropological Archives in the BAE historical negatives.
Restrictions:
The collection is open for research.

Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Citation:
Photo Lot 91-25, Arthur Earl Patton photograph album relating to the Flathead Indian Reservation and surrounding areas, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.PhotoLot.91-25
Archival Repository:
National Anthropological Archives
EDAN-URL:
ead_collection:sova-naa-photolot-91-25

Thomas Alva Edison Photoprints

Creator:
Keystone View Company  Search this
Shinn, Walter Scott  Search this
Underwood & Underwood, Inc.  Search this
Fotograms (New York (N.Y.)  Search this
International Newsreel Corp (New York (N.Y.)  Search this
ETL Testing Laboratories, Inc.  Search this
Names:
Coolidge, Calvin, President, 1872-1933 -- Photographs  Search this
Eastman, George  Search this
Edison, Thomas A. (Thomas Alva), 1847-1931  Search this
Ford, Henry -- Photographs  Search this
Harding, Warren G. (Warren Gamaliel), 1865-1923  Search this
Hoover, Herbert, President, 1874-1964 -- Photographs  Search this
Lindbergh, Charles A. (Charles Augustus), 1902-1974  Search this
Extent:
0.67 Cubic feet (2 boxes)
Type:
Collection descriptions
Archival materials
Photographs
Date:
1890s-1933
Scope and Contents:
This collection is divided into two series: (a) Silver gelatin prints; and (b) xerographic copy prints made in the museum. The collection consists of approximately 340 photoprints (count to be verified) documenting the life of Thomas Alva Edison, especially the later period, beginning in his early fifties, continuing until his death in 1931 at age 84 (there are also later pictures, including his funeral, and awards and sculptures). The photographs are arranged chronologically and are clearly captioned with pasted labels containing dates, places, notations of circumstances and identification of persons. These photoprints show Edison, his family (including his wife and son Charles), friends, associates, and famous persons, including Charles Proteus Steinmetz, Henry Ford, Harvey Firestone, George Eastman, Charles Lindbergh, and Presidents Harding, Coolidge and Hoover, including scenes in New Jersey, Florida, Michigan, and other locations.

Some photographers' rubber stamps appear on the verso of prints. Photographers, studios, and agencies include Fotograms, Underwood & Underwood, Keystone View Co., International Newsreels Photos, and Walter Scott Shinn.

Many of the photographs are not original prints, but were made from copy negatives. Such copies, where fairly obvious, are identified in the Container List.Photographs are clearly captioned with dates, places, occasion and persons identified. More than 300 photoprints show Edison, his family, friends, associates, and famous persons, including Henry Ford, Harvey Firestone, George Eastman, Charles Lindbergh and Presidents Harding, Coolidge, and Hoover. Locations include New Jersey, Florida, Michigan. Photographers, studios, and agencies include Fotograms, Underwood & Underwood, Keystone View Co., International Newsreels Photos, and Walter Scott Shinn.
This collection is divided into two series: (a) Silver gelatin photoprints; and (b) xerographic reference copies made in the museum. The collection consists of approximately 340 photoprints (count to be verified) documenting the life of Thomas Alva Edison, especially the later period, beginning in his early fifties, continuing until his death in 1931 at age 84 (there are also later pictures, including his funeral, and awards and sculptures). The photographs are arranged chronologically and are clearly captioned with pasted labels containing dates, places, notations of circumstances and identification of persons. These photoprints show Edison, his family (including his wife and son Charles), friends, associates, and famous persons, including Charles Proteus Steinmetz, Henry Ford, Harvey Firestone, George Eastman, Charles Lindbergh, and Presidents Harding, Coolidge and Hoover, including scenes in New Jersey, Florida, Michigan, and other locations.

Some photographers' rubber stamps appear on the verso of prints. Photographers, studios, and agencies include Fotograms, Underwood & Underwood, Keystone View Co., International Newsreels Photos, and Walter Scott Shinn.

Many of the photographs are not original prints, but were made from copy negatives. Such copies, where fairly obvious, are identified in the Container List.
Arrangement:
Collection is arranged into two series.

Series 1: Silver Gealtin Prints

Series 2: Xerographic Copy Prints
Biographical / Historical:
Photographs cover Edison's later life, beginning in his early 50's and continuing until his death in 1931 at age 84. Edison with an electric car: the car is a 1914 Detroit Electric Brougham model 47, serial number 5426. It was shipped December 19, 1913 to East Orange New Jersey, with an Edison Battery but with no motor (very unusual) (according to Galen Handy, 2/09/07; see http://earlyelectric.com).

Dr. Bernard Finn, Curator of Electricity, National Museum of American History organized a traveling exhibition based on these and other photographs (most supplied by the Edison National Historic Site), "Edison After the Electric Light: The Challenge of Success," in 1986; it was circulated by the Association of Science-Technology Centers. In 1994 a revised version of the exhibition was prepared (again curated by Dr. Finn) for display in the National Museum of American History basement photography gallery; it was retitled "Edison After Forty: The Challenge of Success." In 1996, copies of the exhibit were given to museums in Japan, India, Yugoslavia, and China for circulation in those countries. Another version of this compilation had been published as "Thomas Alva Edison After Forty: The Challenge of Success in USA Today, July 1994, pp. 84-92.
One of the most famous of all Americans in any walk of life, Thomas Alva Edison hardly needs an introduction. He was the quintessential "genius" who invented or perfected a variety of electrical and technological devices which are still fundamental features of everyday life, not only in the United States, but around the world. Many of his or his companies' "inventions," of course, built on the pioneering work of others. Another Archives Center collection, the Gordon Hendricks Collection, includes the efforts of one scholar to debunk or minimize Edison's personal role in the development of motion picture cameras and projectors.

Edison was born in Milan, Ohio, February 11, 1847, and died October 18, 1931 at 84 years of age. His Edison Electric Light Company was the predecessor of the General Electric Co. While operating this company, and later working at laboratories in Menlo Park and West Orange, New Jersey, he was credited with patents for over one thousand inventions. A bibliography follows.
Provenance:
Collection donated by ETL Testing Laboratories in 1985.
Restrictions:
Collection is open for research.
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.

Most images probably public domain due to expired copyrights.
Topic:
Inventors -- 1900-1950  Search this
Electricity -- 1900-1930  Search this
Automobiles -- 1910-1920  Search this
Inventions -- 1900-1930  Search this
Presidents -- United States  Search this
Genre/Form:
Photographs -- 1900-1950
Citation:
Edison Photographs, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0299
See more items in:
Thomas Alva Edison Photoprints
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0299
Online Media:

Photograph of five female performers and one male performer

Photograph by:
Unidentified  Search this
Subject of:
Laura Cathrell, 1914 - 1999  Search this
Birdie Warfield Edison, American  Search this
Unidentified Woman or Women  Search this
Unidentified Man or Men  Search this
Medium:
silver and photographic gelatin on photographic paper
Dimensions:
H x W (Image): 4 9/16 × 6 13/16 in. (11.6 × 17.3 cm)
H x W (Sheet): 5 1/16 × 6 15/16 in. (12.8 × 17.7 cm)
Type:
gelatin silver prints
Date:
1935-1950
Topic:
African American  Search this
Dance  Search this
Entertainers  Search this
Nightlife  Search this
Photography  Search this
Theatre  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2013.46.25.193
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Collection title:
The Laura Cathrell Show-Down Magazine Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5628c41e6-8138-465f-a2bd-c4de7a6897e8
EDAN-URL:
edanmdm:nmaahc_2013.46.25.193
Online Media:

Photograph of Bill "Bojangles" Robinson seated with a group at a table

Photograph by:
Unidentified  Search this
Subject of:
Bill "Bojangles" Robinson, American, 1878 - 1949  Search this
Birdie Warfield Edison, American  Search this
Unidentified Man or Men  Search this
Unidentified Woman or Women  Search this
Medium:
silver and photographic gelatin on photographic paper
Dimensions:
H x W (Image): 4 7/16 × 6 7/16 in. (11.3 × 16.4 cm)
H x W (Sheet): 4 15/16 × 6 15/16 in. (12.6 × 17.7 cm)
Type:
gelatin silver prints
portraits
Date:
1930-1950
Topic:
African American  Search this
Amusements  Search this
Nightlife  Search this
Photography  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2013.46.25.198
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Collection title:
The Laura Cathrell Show-Down Magazine Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5d8954344-8ae4-4fe2-9daa-cc752d3b56a4
EDAN-URL:
edanmdm:nmaahc_2013.46.25.198
Online Media:

Arthur Williams, Thomas A. Edison, John W. Lieb, Nicholas F. Brady and Thomas E. Murray in office of Mr. Murray [photoprint]

Donor:
ETL Testing Laboratories, Inc.  Search this
Names:
Edison, Thomas A. (Thomas Alva), 1847-1931  Search this
Collection Creator:
Keystone View Company  Search this
Shinn, Walter Scott  Search this
Underwood & Underwood, Inc.  Search this
Fotograms (New York (N.Y.)  Search this
International Newsreel Corp (New York (N.Y.)  Search this
ETL Testing Laboratories, Inc.  Search this
Extent:
1 Item (Silver gelatin on paper., 9.0" x 10.1")
Container:
Box 1, Folder 28 or 12
Type:
Archival materials
Photographs
Date:
1908
Local Numbers:
AC0299-0000001 (AC Scan)
Restrictions:
Unrestricted research use by appointment. Photographs must be handled with cotton gloves unless protected by sleeves.
Collection 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.

Most images probably public domain due to expired copyrights.
Topic:
Inventors  Search this
Genre/Form:
Photographs -- 1900-1950 -- Black-and-white photoprints -- Silver gelatin
Collection Citation:
Edison Photographs, Archives Center, National Museum of American History.
See more items in:
Thomas Alva Edison Photoprints
Thomas Alva Edison Photoprints / Series 1: Silver Gelatin Prints / 1.1: Item list with transcriptions of pasted captions / Men seated at table, one standing in back. Probably from copy neg. "1908 / Arthur Williams, ...Edison, John W. Lieb, / Nicholas F. Brady and Thomas E. Murray in office / or [sic] Mr. Murray". Pencil on verso: 65455
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0299-ref583

Ford-Bartlett East Greenland Expedition photograph collection

Creator:
Ford-Bartlett East Greenland Expedition 1930  Search this
Bartlett, Bob, 1875-1946  Search this
Extent:
7 Photographic prints
5 Copy negatives
Culture:
Tunumiit (East Greenland Eskimo) [Ammassalik] (Angmagsalik Eskimo)  Search this
Type:
Collection descriptions
Archival materials
Photographic prints
Copy negatives
Black-and-white negatives
Photographs
Place:
Greenland
Date:
1928-1930
Summary:
The photographs and negatives consists of views of the Ford-Bartlett expedition to East Greenland.
Scope and Contents:
The Ford-Bartlett East Greenland Expedition collection consists of photographic prints and negatives directly and indirectly related to the 1930 expedition. Included are two toned silver gelatin (DOP) studio portraits of Captain Robert (Bob) Bartlett, leader of the Museum of the American Indian, Heye Foundation-sponsored expedition like taken sometime in the 1920s. The photographs from the Ford-Bartlett expedition itself include images of Captain Bartlett trading with Tunumiit (Ammassalimiut Eskimo) men as well as several views of Tunumiit men in kayaks, both pulling up to and fishing near the expedition schooner. The photographer is unknown. The collection also contains a World Wide Photo Co. negative and print from it of Bartlett's schooner, the Effie M. Morrissey. The negatives are copy negatives made by the Museum of the American Indian, Heye foundation during a large photograph conservation project in the 1960s.
Prints: P09530-P09531, P09832-P09835, P11455. Negatives: N18774-N18775, N36485-N36487.
Arrangement note:
Prints are arranged in two folders; Ford-Bartlett expedition (Folder 1) and Portraits of Robert Bartlett (Folder 2). Negatives Arranged by catalg number.
Biographical/Historical note:
For more than 50 years and on more than 40 expeditions, Captain Robert "Bob" Bartlett sailed, explored, and mapped the Arctic. During the Great Depression, in order to finance his cruises, Bartlett frequently collaborated with scientific institutions, including with the Museum of the American Indian for the 1930 Bartlett East Greenland Expedition. Led by Bartlett and financed by Museum trustee James B. Ford (1844-1928) for the Museum, the expedition allowed anthropologist Junius Bird (1907-1982) to conduct archaeological excavations of Eskimo ruins on Shannon Island and Clavering Island. Co-authored by Bartlett and Bird, "The Bartlett East Greenland Expedition" appeared in the July 1931 issue of Geographical review.
Provenance:
Most of the photographs were part of the field collection received by the Museum of the American Indian, Heye Foundation in 1930. It is unlear when the two portraits of Bartlett arrived at the museum, it was likely around the same time.
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).
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 users to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not changed, 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.
Topic:
Ammassalimiut Eskimos -- Fishing -- Greenland -- Photographs  Search this
Genre/Form:
Photographic prints
Black-and-white negatives
Photographs
Photographs -- Silver gelatin prints
Citation:
Identification of specific item; Date (if known); Ford-Bartlett East Greenland Expedition photograph collection, Item Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Identifier:
NMAI.AC.001.005
See more items in:
Ford-Bartlett East Greenland Expedition photograph collection
Archival Repository:
National Museum of the American Indian
EDAN-URL:
ead_collection:sova-nmai-ac-001-005
Online Media:

Nina Howell Starr papers

Creator:
Starr, Nina Howell, 1903-2000  Search this
Names:
International Women's Art Festival  Search this
Museum of American Folk Art  Search this
Photographic Historical Society of New York  Search this
Professional Women's Photographers, Inc.  Search this
Sharon Arts Center  Search this
Southern Regional Council  Search this
Brandt, Helene, 1936-  Search this
Cohen, Stephenie  Search this
Coke, Van Deren, 1921-  Search this
Connor, Linda  Search this
Daitz, Evelyne Z.  Search this
DiSpirito, Henry, 1898-1995  Search this
Evans, Minnie, 1892-  Search this
Evans, Walker, 1903-1975  Search this
Ghent, Henri, 1926-  Search this
Kanaga, Consuelo, 1894-  Search this
Kernan, Margo, 1927-  Search this
Kruger, Louise, 1924-  Search this
Lippard, Lucy R.  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Mainardi, Patricia  Search this
Morgan, Barbara Brooks, 1900-1992  Search this
Putnam, Wallace, 1899-1989  Search this
Ringgold, Faith  Search this
Rose, Ruth Starr, 1887-1965  Search this
Savage, Naomi, 1927-2005  Search this
Sherwood, Maggie, 1922-1984  Search this
Siskind, Aaron  Search this
Strand, Paul, 1890-1976  Search this
Szarwarski, John  Search this
Uelsmann, Jerry, 1934-  Search this
Extent:
21.2 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Interviews
Drawings
Sketches
Transcripts
Sound recordings
Prints
Date:
circa 1933-1996
Summary:
The papers of photographer and art historian Nina Howell Starr measure 21.2 linear feet and date from circa 1933 to 1996. The papers contain research files about various art historical topics, museums and galleries, photography, and artists. There are extensive files documenting Starr's relationship as researcher, dealer, and friend of folk painter Minnie Evans. Additionally, the papers include biographical materials, writings, speeches, project files, printed material collected or authored by Starr, and hundreds of artistic and documentary photographs and negatives created by Starr depicting her travels, Minnie Evans' paintings, roadside folk art, and other topics.
Scope and Contents:
The papers of photographer and art historian Nina Howell Starr measure 21.2 linear feet and date from circa 1933 to 1996. The papers contain research files about various art historical topics, museums and galleries, photography, and artists. There are extensive files documenting Starr's relationship as researcher, dealer, and friend of folk painter Minnie Evans. Additionally, the papers include biographical materials, writings, speeches, project files, printed material collected or authored by Starr, and hundreds of artistic and documentary photographs and negatives created by Starr depicting her travels, Minnie Evans' paintings, roadside folk art, and other topics.

Biographical materials are scattered and include grant and publication applications, curriculum vitae, lists of artwork, and miscellany.

Starr's lectures, writings, and project files are arranged into one series. They include Starr's student writings, a notebook about Civil Rights, files documenting her work on a Florida public housing project, the Southern Regional Council, and the League of Women Voters. A few files of general writings and lectures mostly concern folk artist Minnie Evans and the exhibition Women Photograph Men, held at the International Women's Arts Festival in 1976.

Subject files on artists, art history topics, photographers and photography (including Starr's work), and on folk artist and friend Minne Evans comprise the bulk of the collection. The files are a mix of collated materials and primary sources created by Starr and others and many contain correspondence, notes, photographs, and a few sketches and orginal prints. Also included are materials related to professional and organizational groups in which Starr was involved, including the Professional Women's Photographers, Inc., the Photographic Historical Society of New York, and the Museum of American Folk Art; files on several of Starr's exhibitions; and files on artists that contain printed materials, correspondence, and photographs. The file on Ruth Starr Rose contains prints and drawings. There are also photographs taken by Stephanie Cohen. Particularly rich files are found for Stephanie Cohen; Van Deren Coke, Director of the George Eastman Company; Evelyn Daitz, Director of the Witkin Gallery; Henry DiSpirito; Walker Evans; the Fotofolio printing company; curator Henri Ghent; photographer Consuelo Kanaga and husband Wallace Putnam; Margot Starr Kernan; Lucy Lippard; Stanton Mac-Donald Wright; Sharon Arts Center; photographer Paul Strand; curator John Szarwarski; and photographer Jerry Uelsman.

The collection also documents the friendship between painter Minnie Evans and Starr, and Starr's business dealings on Evans' behalf. There is correspondence about and with Evans, several sound recordings of interviews conducted by Starr and others with Evans, many with transcripts, financial documents, publications about Evans including exhibition catalogs, clippings, journal articles and monographs, two posters, a scrapbook, and one sketch by Evans.

Printed material includes published articles, exhibition catalogs and announcements, and clippings about Starr.

Photographic materials are extensive and include photographs and slides taken by Starr of friends, family, artwork by Minnie Evans, events, exhibition openings, world travels, and folk art, especially roadside. Prominent artists and art historians photographed include: photographers Maggie Sherwood, Naomi Savage, Barbara Morgan, Linda Connor, Aaron Siskind, Consuelo Kanaga, Faith Ringgold, and Walker Evans; sculptors Louise Kruger and Helene Brandt; feminist and art historian Pat Mainardi; and curators Henri Ghent and John Szarkowski. Starr's artistic photographic work is also represented, and includes two silver gelatin prints of Minnie Evans, and subject studies on hands, people, and nature, among others.
Arrangement:
The collection is arranged as 6 series.

Series 1: Biographical material, 1954-circa 1990 (8 folders; Box 1)

Series 2: Writings, Speeches and Projects, 1933-1995 (1.1 linear feet; Boxes 1-2)

Series 3: Subject Files, circa 1939-1996 (8.3 linear feet; Boxes 2-10)

Series 4: Minnie Evans, 1962-1996 (3.7 linear feet; Boxes 10-13, 23, OV 24)

Series 5: Printed Material, 1936-1995 (2.7 linear feet; Boxes 13-16, 23)

Series 6: Photographic Material, circa 1939-1993 (5.4 linear feet; Boxes 16-23, OV 24)
Biographical / Historical:
Nina Howell Starr (1903-2000) was a photographer, art dealer, and art historian who worked primarily in New York City. Born in Newark, New Jersey in 1903 as Cornelia Margaret Howell, Starr attended Wellesley College and graduated from Barnard in 1926. Also in 1926, she married Nathan Comfort Starr, an English professor, and, over the years the couple lived in Massachusetts, Maryland, Florida, and New York City.

In 1963, at the age of 60, Starr received the first M.F.A. in photography granted by the University of Florida. Starr exhibited widely in both solo and group exhibitions, including Magic Lantern (Photographer's Gallery, London, 1976), and the Strength of Women (Witken Gallery, 1991), and numerous shows featuring photographs of outsider art. Her "New Yorker" project became an exhibition in 2016. Her work is owned by several prominent museums, including the Metropolitan Museum of Art and the George Eastman House International Museum of Photography.

As art historian, self-proclaimed critic, and civil rights and feminist advocate, Starr lectured widely, wrote articles and letters to editors, and corresponded with many notable art world figures. She became especially interested in outsider and folk art. Starr met outsider artist Minnie Evans in 1962 and became Evans' lifelong friend, advocate, and representative dealer. She wrote about Evans and introduced Evans' works to galleries and other exhibition spaces in New York, including the Whitney Museum, where she guest-curated an exhibition of Evans' work in 1975.

Starr was an active member of professional organizations including the Photographic Historical Society of New York, Professional Women's Photographers, Inc., and the Museum of American Folk Art where she served on the Advisory Committee.

Nina Howell Starr died in 2000 in Connecticut at the age of 97.
Provenance:
The Nina Howell Starr papers were donated by Nina Howell Starr in 1996.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference 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:
Art historians -- New York (State) -- New York  Search this
Photographers -- New York (State) -- New York  Search this
Art dealers -- New York (State) -- New York  Search this
Topic:
Folk art  Search this
Civil rights  Search this
African American art  Search this
Folk art -- Photographs  Search this
Women photographers  Search this
Photography  Search this
African American artists  Search this
Genre/Form:
Scrapbooks
Photographs
Interviews
Drawings
Sketches
Transcripts
Sound recordings
Prints
Citation:
Nina Howell Starr papers, circa 1933-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.starnina
See more items in:
Nina Howell Starr papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-starnina
Online Media:

Hindenburg Airship in Flames, Partially on the Ground

Maker:
Becker, Murray L.  Search this
Physical Description:
paper (overall material)
Measurements:
overall: 10 in x 8 in; 25.4 cm x 20.32 cm
Object Name:
photograph
Place made:
United States: New Jersey, Lakehurst
Occurred:
United States: New Jersey, Lakehurst
Date made:
1937-05-06
Subject:
Disasters  Search this
Air Travel  Search this
Related event:
Hindenburg Disaster  Search this
ID Number:
1993.0206.01
Catalog number:
1993.0206.01
Accession number:
1993.0206
See more items in:
Work and Industry: Photographic History
Photo History Collection
Murray Becker Collection
Photography
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ac-0275-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1320100

$500 Check Paid by the Associated Press to Murray Becker

Maker:
Becker, Murray L.  Search this
Physical Description:
paper (overall material)
Measurements:
overall: 10 in x 8 in; 25.4 cm x 20.32 cm
Object Name:
photograph
Place made:
United States: New Jersey, Lakehurst
Date made:
1937-05-06
Subject:
Disasters  Search this
Air Travel  Search this
Related event:
Hindenburg Disaster  Search this
ID Number:
1993.0206.02
Accession number:
1993.0206
Catalog number:
1993.0206.02
See more items in:
Work and Industry: Photographic History
Photo History Collection
Murray Becker Collection
Photography
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ac-5135-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1320107

Arnold Crane portfolio of photographs, "Portraits of the Photographers,"

Creator:
Crane, Arnold H.  Search this
Names:
Alvarez Bravo, Manuel, 1902-  Search this
Blatas, Arbit  Search this
Brandt, Bill  Search this
Brassaï, 1899-  Search this
Callahan, Harry M.  Search this
Cunningham, Imogen, 1883-1976  Search this
Doisneau, Robert  Search this
Evans, Walker, 1903-1975  Search this
Kertész, André  Search this
Ray, Man, 1890-1976  Search this
Rothstein, Arthur, 1915-1985  Search this
Siskind, Aaron  Search this
Smith, W. Eugene, 1918-  Search this
Steichen, Edward, 1879-1973  Search this
Strand, Paul, 1890-1976  Search this
White, Minor  Search this
Extent:
50 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1968-1969
Scope and Contents:
Fifty silver gelatin print photographs which Arnold Crane took of other photographers. Among the subjects are Berenice Abbott, Bill Brandt, Gyula Halász Brassei, Harry Callahan, Imogen Cunningham, Manuel Alvarez Bravo, Robert Doisneau, Walker Evans, André Kertész, Man Ray, Arthur Rothstein, Aaron Siskind, W. Eugene Smith, Edward Steichen, Paul Strand, Minor White.
Biographical / Historical:
Photographer, and photograph collector; Chicago, Illinois.
Provenance:
Donated 1978 by Herbert Molner, a photograph collector.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm.
Occupation:
Photographers  Search this
Photographers -- Illinois -- Chicago  Search this
Identifier:
AAA.cranarnh
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-cranarnh

Gertrude Vanderbilt Whitney papers

Creator:
Whitney, Gertrude Vanderbilt, 1875-1942  Search this
Names:
American Ambulance Field Hospital (Juilly, France)  Search this
Greenwich House (New York, N.Y.)  Search this
Whitney Museum of American Art  Search this
Whitney Studio Club  Search this
Cushing, Howard Gardiner, 1869-1916  Search this
De Meyer, Adolf, Baron, 1868-1949  Search this
Miller, Flora Whitney  Search this
Strelecki, Jean de, count  Search this
Watson, Forbes, 1880-1960  Search this
Whitney, Harry Payne, 1872-1930  Search this
Extent:
36.1 Linear feet
Type:
Collection descriptions
Archival materials
Lithographs
Photographs
Interviews
Sketchbooks
Diaries
Scrapbooks
Blueprints
Sketches
Date:
1851-1975
bulk 1888-1942
Summary:
The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.
Scope and Content Note:
The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.

Material relating to more personal aspects of Whitney's life include school papers, a paper doll book dating from her childhood, financial material, interviews, awards and honorary degrees, address and telephone books, committee files, and other items. Correspondence consists of incoming and outgoing letters concerning both personal and professional matters, including her patronage of the arts and sponsorship of artists, her sculpture commissions and exhibitions, and her war relief work and other philantrophic activities. Also found are family correspondence and correspondence received by the Flora Whitney Miller and the Whitney Museum of American Art after Whitney's death. Journals include personal ones that she kept periodically from the time she was a child to near the end of her life, in which she recorded her travels, her impressions of people, her experiences with friends, and her thoughts on art, among other topics; and social ones, in which she recorded dinners and dances attended, and people invited to different social gatherings, and in which she collected invitations received and accepted.

Scattered files can be found that relate to the Whitney Studio Club and the Whitney Museum of American Art, consisting of notebooks, catalogs, a financial report, and other material. Files relating to Whitney's own sculpture projects are more extensive and consist of correspondence, contracts, printed material, notes, financial material for proposed and completed commissions for fountains, memorials, and monuments. The Whitney Museum of American Art, rather than Whitney herself, seems to have kept these files. Files relating to Whitney's philanthropic activities span from the time just before to just after the First World War and consist of correspondence, minutes, reports, and printed material stemming from her contributions to charities and war relief organizations, her sponsorship of the war hospital in Juilly, France, and her support of the Greenwich House Social Settlement.

Whitney's writings include extensive drafts, and handwritten and typed manuscripts and copies of novels, plays, and stories, as well as some autobiographical and early writings, notes and writings on art, and clippings of published writings, documenting her principle means of creative expression towards the end of her life. Also found are some writings by others. Scrapbooks consist of clippings, photographs, letters and other material, compiled by Whitney, Flora Whitney Miller, and possibly others, documenting Whitney's public life, her sculpture commissions and exhibitions, exhibitions at the Whitney Studio, the war hospital in Juilly, France, the death of Harry Payne Whitney in 1930, and the sickness and death of Whitney in 1942.

Photographs include ones of the Whitney and Vanderbilt families, ones of Gertrude Vanderbilt Whitney (including portraits taken by Baron Adolf de Meyer and Count Jean de Strelecki), ones of various Vanderbilt and Whitney residences and of Whitney's studios, ones of Whitney's sculpture exhibitions as well as exhibitions at her studio, and ones of her sculptures, as well as some miscellaneous and unidentified ones. Artwork consists of sketchbooks and sketches by Whitney (including sketches for sculptures) and artwork by others (including a sketchbook of Howard Cushing's containing a sketch of her and albums of World War I lithographs) collected by Whitney. Also found amongst the collection are printed material (clippings, exhibition catalogs, programs, and publications) and blueprints (including drawings for Whitney's studio on MacDougal Alley and various of her sculptures).
Arrangement:
The Gertrude Vanderbilt Whitney papers are arranged into twelve series:

Series 1: Miscellaneous Personal Papers, 1888-1947, 1975 (Boxes 1-3, 33-34, OV 42; 2.5 linear feet)

Series 2: Correspondence, 1889-1949, 1959 (Boxes 3-9; 6 linear feet)

Series 3: Journals, circa 1886-1939 (Boxes 9-12, 33; 2.5 linear feet)

Series 4: Whitney Studio Club and Whitney Museum of American Art Files, 1921-1943 (Box 12; 0.2 linear feet)

Series 5: Sculpture Files, 1900-1960 (bulk 1909-1942) (Boxes 12-15; 3 linear feet)

Series 6: Philanthropy Files, 1902-1923 (bulk 1915-1920) (Boxes 15-17; 2 linear feet)

Series 7: Writings, 1889-1942, 1974 (Boxes 17-26; 10 linear feet)

Series 8: Scrapbooks, 1893-1942 (Boxes 26-27, 33, 35; 1.5 linear feet)

Series 9: Printed Material, 1859-1942 (Boxes 27-28, 36; 0.8 linear feet)

Series 10: Photographs, 1862-1942 (Boxes 28-32, 36-41, OV 43-51; 6.4 linear feet)

Series 11: Artwork, 1871-1930s (Boxes 32, 41, OV 52-54; 0.8 linear feet)

Series 12: Blueprints, 1913-1945 (OV 55; 0.1 linear feet)
Biographical/Historical note:
New York art patron and sculptor, Gertrude Vanderbilt Whitney (1875-1942), was the eldest daughter of Cornelius Vanderbilt II and Alice Gwynne Vanderbilt, and founder of the Whitney Museum of American Art.

Whitney was born January 9, 1875 in New York City, the. She was educated by private tutors and attended Brearley School in New York. From the time she was a young girl, she kept journals of her travels and impressions of the people she met, and engaged in creative pursuits such as sketching and writing stories. In 1896, she was married to Harry Payne Whitney. They had three children, Flora, Cornelius, and Barbara.

In 1900, Whitney began to study sculpture under Hendrik Christian Anderson, and then under James Fraser. Later, she studied with Andrew O'Connor in Paris. From the time she started studying sculpture, her interest in art grew, as did her particular concern for American art and artists. In 1907, she organized an art exhibition at the Colony Club, which included several contemporary American paintings. She also opened a studio on MacDougal Alley, which became known as the Whitney Studio and was a place where shows and prize competitions were held. (She also had other studios in Westbury, Long Island and Paris, France.) Over the years, her patronage of art included buying work, commissioning it, sponsoring it, exhibiting it, and financially supporting artists in America and abroad. From 1911 on, she was aided in her work by Juliana Force, who started out as Whitney's secretary, was responsible for art exhibitions at the Whitney Studio, and became the first director of the Whitney Museum of American Art.

The first recognition Whitney received for her sculpture came in 1908 when a project on which she had collaborated (with Grosvenor Atterbury and Hugo Ballin) won a prize for best design from the Architectural League of New York. The following year she received a commission to do a fountain sculpture for the Pan-American Building in Washington, D. C. She went on to do numerous other commissioned works over the next several decades, including: a fountain for the New Arlington Hotel in Washington D.C. (the design of which was reproduced in various sizes and materials, one cast being submitted to the 1915 Panama-Pacific International Exposition where it won a bronze medal and a later cast being installed on the campus of McGill University, Montreal, Canada in 1930); the Titanic Memorial (designed in 1913 and erected in 1930); the Buffalo Bill Memorial (1924) in Cody, Wyoming; the Columbus Memorial (1929) in Port of Palos, Spain; the Peter Stuyvesant statue in Stuyvesant Square (1939); and The Spirit of Flight (1939) for the New York World's Fair. In 1916, she had her first one-man show at the Whitney Studio, another at the Newport Art Association, and a retrospective at the San Francisco Art Association Palace of Fine Arts. A traveling exhibition in the Midwest followed in 1918.

During the First World War, Whitney was involved with numerous war relief activities, most notably establishing and supporting a hospital in Juilly, France. She made several trips to France during the war, keeping a journal and eventually publishing a piece on the hospital in several newspapers. Her sculpture during this period was largely focused on war themes. In 1919, she exhibited some of these works at the Whitney Studio in a show called "Impressions of War." In the years after the war, she was also commissioned to do several war memorials, including the Washington Heights War Memorial (1922) and the St. Nazaire Memorial (1926) commemmorating the landing of the American Expeditionary Force in France in 1917.

In 1918, Whitney opened the Whitney Studio Club, which served as pioneering organization for American art, putting on exhibition programs and offering social space and recreational amenities to its members (one point numbering over four hundred artists living in New York). She planned an "Overseas Exhibition" of American art, which traveled to Paris and other European cities in 1920-1921, and had her own shows in Paris and London in 1921. In 1928, the Whitney Studio Club was transformed into an art gallery, known as the Whitney Studio Galleries and directed by Juliana Force, which eventually became the Whitney Museum of American Art in 1931.

Whitney pursued creative writing throughout her life, but beginning in the 1930s writing became her principle means of creative expression. Over the years, she produced numerous manuscripts for stories, novels, and play. One novel, Walking the Dusk, was published in 1932 under the pseudonym L. J. Webb. Beginning in 1940, Whitney took a "Professional Writing" course at Columbia University with Helen Hull, which resulted in the production of numerous short stories. In 1941, she collaborated with Ronald Bodley to adapt one of her stories as a play and attempted to get it produced, although unsuccessfully.

In 1934, Whitney was involved in a custody battle for her niece, Gloria Vanderbilt (daughter of her late brother, Reginald Vanderbilt and his wife, Gloria Morgan Vanderbilt). In an agreement reached by the court, custody was awarded to Whitney and visitation rights to Gloria's mother. Litigation continued in the ensuing years.

In 1935, Whitney established the World's Fair Five Organization, with Juliana Force and four architects, to work on preparing a plan for the site of the 1939 New York World's Fair at Flushing Meadow, although the fair's own Board of Design ended up coming up with its own plan.

Whitney continued her work in sculpture, writing, art patronage, and philanthropy throughout the remaining years of her life. She died on April 18, 1942.
Related Archival Materials note:
Related material found in the Archives includes Research Material on Gertrude Vanderbilt Whitney compiled by Flora Miller Irving and the Whitney Museum of American Art artists' files and records, available on microfilm only (originals are located in the Whitney Museum of American Art). Also found in the Archives of American Art's Miscellaneous Exhibition Catalog Collection are a bundle of Whitney Studio Club and Mrs. H. P. Whitney's Studio catalogs and announcements.
Provenance:
The Gertrude Vanderbilt Whitney papers were donated in 1981 and 1991 by Whitney's granddaughter, Flora Miller Irving.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference 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:
Philanthropists -- New York (State) -- New York  Search this
Topic:
Art patrons -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
World War, 1914-1918 -- Hospitals -- France  Search this
Women artists  Search this
Genre/Form:
Lithographs
Photographs
Interviews
Sketchbooks
Diaries
Scrapbooks
Blueprints
Sketches
Citation:
Whitney Museum of American Art, Gertrude Vanderbilt Whitney Papers, 1851-1975 (bulk 1888-1942). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.whitgert
See more items in:
Gertrude Vanderbilt Whitney papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-whitgert
Online Media:

Robert Aitken papers

Creator:
Aitken, Robert, 1878-1949  Search this
Names:
Roosevelt, Theodore, 1858-1919  Search this
Ward, De Witt  Search this
Wheeler, Benjamin  Search this
Extent:
0.5 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
circa 1900-1960
Summary:
The papers of California-born sculptor Robert Aitken measure 0.5 linear feet and date from circa 1900-1960. The collection primarily consists of photographs of Aitken in his studio and photographs of his sculpture including fountain figures, mausouleum doors, medallions, refliefs, and portrait busts. Also found is a photograph of Theodore Roosevelt at the dedication of the Navy Monument in Union Square, San Francisco, in 1902. The collection also includes one 1904 letter from Benjamin Wheeler to Robert Aitken thanking Aitken for a bust of George Washington, and scattered clippings and postcards reproducing works of art by Aitken.
Scope and Contents:
The papers of California-born sculptor Robert Aitken measure 0.5 linear feet and date from circa 1900-1960. The collection primarily consists of photographs of Aitken in his studio and photographs of his sculpture including fountain figures, mausoleum doors, medallions, reliefs, and portrait busts. Also found is a photograph of Theodore Roosevelt at the dedication of the Navy Monument in Union Square, San Francisco, in 1902. The collection also includes one 1904 letter from Benjamin Wheeler to Robert Aitken thanking Aitken for a bust of George Washington, and scattered clippings and postcards reproducing works of art by Aitken.

Some of the photographs are silver gelatin and gold toned silver gelatin prints, and some were taken by noted photographer De Witt Ward.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.

Series 1: Robert Aitken Papers, circa 1900-1960
Biographical / Historical:
Noted sculptor Robert Aitken (1878-1949) was born in San Francisco, California, and taught at the Mark Hopkins Institute of Art from 1901-1904. He studied in Paris in 1897 and from 1904-1907, and then settled in New York City where he spent most of his career teaching at the National Academy of Design.

He completed numerous sculpture commissions including portrait busts, medallions and coins, reliefs, and fountain figures. His works include the "Fountain of Earth" for San Francisco's Panama Pacific Exposition, the Navy Monument in San Francisco's Union Square, doors for the Greenhut and John W. Gates Mausoleums in New York, several military sculptures at West Point, and Guardian Figures at the National Archives building and the West Pediment of the United States Supreme Court building, both in Washington D. C.

Aitken was a member of the National Academy of Design, the National Arts Club, the National Institute of Arts and Letters, the National Sculpture Society and the New York Architectural League.
Provenance:
The collection was donated to the Archives of American Art by the Cooper-Hewitt Museum in November 1973.
Restrictions:
Use of original materials requires an appointment and is limited to the Archives' Washington, D. C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Monuments -- Washington (D.C.)  Search this
Monuments -- California -- San Francisco  Search this
Sculptors  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Photographs
Citation:
Robert Aitken papers, circa 1900-1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.aitkrobe
See more items in:
Robert Aitken papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-aitkrobe

Loo Family Photographs

Creator:
Loo, C. T. & Co.  Search this
Names:
Teilhard de Chardin, Pierre  Search this
Extent:
52 Photographs (black and white silver gelatin prints)
Type:
Collection descriptions
Archival materials
Photographs
Photographic prints
Place:
France
Paris (France)
Beijing (China)
France -- Ile-de-France -- Paris
Date:
undated
Scope and Contents:
Fifty two photographic prints relating to the Asian art dealer C.T. Loo. Photographs feature interior and exterior views of Loo's Paris gallery, showing important works of art, many of which were later acquired by museums and private collections of Europe and the US. Also included are formal portraits and informal snapshots of Loo, his family and associates in Paris and Beijing.
北京
Arrangement:
Photographs are numbered individually with no attempt to organize by subject.
Biographical / Historical:
The photographs document the gallery, C.T. Loo et Cie, known as the Pagoda (renovated 1926-1928, currently a designated historical site in Paris) of the leading internateal dealer of Chinese art C.T. Loo (1880-1957). Well known to art experts around the world, the gallery attracted the attention of the renowned art historian Osvald Siren, who wrote an article in 1928 on this gallery, focusing on the murals. Many of the objects shown in the gallery can be identified as important pieces in major American and European museums, including the Metropolitan Museum of Art, New York, Nelson-Atkins Gallery, Kansas City, and the Musee Guimet, Paris. Loo was instrumental in introducing some of the most important bronzes, jades, and stone sculptures to the Freer Gallery of Art between 1915 and 1951. This collection holds an added significance because it comes from Janine Loo Pierre-Emmanuel (1920-2013), daughter of C. T. Loo, and ex-wife of Jean-Pierre Dubosc, the prominent Sinologist, collector and dealer of Chinese art. Mme. Pierre-Emmanuel, a well-known dealer in the post-war era, was in contact with important scholars, collectors and dealers, such as Pierre Teillard de Chardin, Laurence Sickman, Grenville L. Winthrop, Arthur M. Sackler, Mr. and Mrs. John D. Rockefeller, 3rd, and J. T. Tai. In addition to Chinese art, the gallery interior views show pieces from South and Southeast Asia
Local Numbers:
FSA A2010.07
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art -- China  Search this
Genre/Form:
Photographic prints
Photographs -- 1900-1950 -- Black-and-white photoprints -- Silver gelatin
Citation:
Loo Family Photographs, FSA.A2010.07. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Gift of Janine Loo Pierre-Emmanuel, 2010.
Identifier:
FSA.A2010.07
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_collection:sova-fsa-a2010-07
Online Media:

Film still of a group of people gathered around a piano

Photograph by:
Unidentified  Search this
Subject of:
Birdie Warfield Edison, American  Search this
Unidentified Man or Men  Search this
Unidentified Woman or Women  Search this
Medium:
silver and photographic gelatin on photographic paper
Dimensions:
H x W (Image): 7 5/16 × 9 1/4 in. (18.6 × 23.5 cm)
H x W (Sheet): 8 1/8 × 10 in. (20.7 × 25.4 cm)
Type:
gelatin silver prints
portraits
Date:
1930-1950
Topic:
African American  Search this
Instrumentalists (Musicians)  Search this
Music  Search this
Photography  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2013.46.25.147
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Collection title:
The Laura Cathrell Show-Down Magazine Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd57c8e5cf2-6228-4836-85ae-8aa77295b7c2
EDAN-URL:
edanmdm:nmaahc_2013.46.25.147
Online Media:

Photograph of The Henry LeTang Dancers at Club 845

Photograph by:
Unidentified  Search this
Subject of:
Laura Cathrell, 1914 - 1999  Search this
Birdie Warfield Edison, American  Search this
Unidentified Woman or Women  Search this
Henry LeTang Dancers, American  Search this
Henry LeTang, American, 1915 - 2007  Search this
Club 845, American, founded 1945  Search this
Medium:
silver and photographic gelatin on photographic paper
Dimensions:
H x W (Image): 4 9/16 × 6 5/8 in. (11.6 × 16.8 cm)
H x W (Sheet): 4 15/16 × 6 15/16 in. (12.6 × 17.7 cm)
Type:
gelatin silver prints
portraits
Place captured:
New York City, New York, United States, North and Central America
Date:
1950-1951
Topic:
African American  Search this
Dance  Search this
Jazz (Music)  Search this
Nightlife  Search this
Photography  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2013.46.25.17
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Collection title:
The Laura Cathrell Show-Down Magazine Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd5567f66ff-79c7-43f7-931d-517723b0aeb5
EDAN-URL:
edanmdm:nmaahc_2013.46.25.17
Online Media:

Construction paper with two photographs of performing female dancers

Photograph by:
Unidentified  Search this
Subject of:
Unidentified Woman or Women  Search this
Laura Cathrell, 1914 - 1999  Search this
Birdie Warfield Edison, American  Search this
Club 845, American, founded 1945  Search this
Rose Room, American  Search this
Medium:
silver and photographic gelatin on photographic paper with adhesive and paper
Dimensions:
H x W (Overall): 11 × 7 1/4 in. (27.9 × 18.4 cm)
H x W (2013.46.25188a Image): 4 9/16 × 6 3/4 in. (11.6 × 17.2 cm)
H x W (2013.46.25188a Sheet): 4 15/16 × 6 15/16 in. (12.6 × 17.6 cm)
H x W (2013.46.25188b Image): 4 11/16 × 6 5/8 in. (11.9 × 16.8 cm)
H x W (2013.46.25188b Sheet): 5 1/16 × 7 1/16 in. (12.8 × 17.9 cm)
Type:
gelatin silver prints
portraits
Place captured:
Cliffwood, Monmouth County, New Jersey, United States, North and Central America
New York City, New York, United States, North and Central America
Date:
1950-1953
Topic:
African American  Search this
Dance  Search this
Entertainers  Search this
Jazz (Music)  Search this
Nightlife  Search this
Photography  Search this
Theatre  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2013.46.25.188ab
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Collection title:
The Laura Cathrell Show-Down Magazine Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd512954754-d848-4d62-b6a8-f63bb13fa7a5
EDAN-URL:
edanmdm:nmaahc_2013.46.25.188ab
Online Media:

Photograph of The Henry LeTang Dancers at Club 845

Photograph by:
Unidentified  Search this
Subject of:
Laura Cathrell, 1914 - 1999  Search this
Birdie Warfield Edison, American  Search this
Club 845, American, founded 1945  Search this
Henry LeTang Dancers, American  Search this
Henry LeTang, American, 1915 - 2007  Search this
Medium:
silver and photographic gelatin on photographic paper
Dimensions:
H x W (Image): 4 9/16 × 6 9/16 in. (11.6 × 16.6 cm)
H x W (Sheet): 4 15/16 × 6 15/16 in. (12.5 × 17.6 cm)
Type:
gelatin silver prints
portraits
Place captured:
New York City, New York, United States, North and Central America
Date:
1950-1951
Topic:
African American  Search this
Dance  Search this
Entertainers  Search this
Jazz (Music)  Search this
Nightlife  Search this
Photography  Search this
Theatre  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2013.46.25.194
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Collection title:
The Laura Cathrell Show-Down Magazine Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd516755466-a6c9-4923-ac5e-a40a4c8551f5
EDAN-URL:
edanmdm:nmaahc_2013.46.25.194
Online Media:

Photograph of Joe "Ziggy" Johnson, Daisy Boone, the Jeter and Pillars Band

Photograph by:
P. R. Papin Photo Company, American  Search this
Subject of:
Ziggy Johnson, American, died 1968  Search this
Daisy Boone, American  Search this
Chickie Collins, American, died 1942  Search this
Vivian Lucille McCullin, American  Search this
Unidentified Woman or Women  Search this
Jimmy Miller, American  Search this
Unidentified Man or Men  Search this
Jeter-Pillars Orchestra, American, founded 1933  Search this
Eight Plantation Dollies, American  Search this
Missouri Theatre, American, 1957  Search this
National Recovery Administration, American, 1933 - 1935  Search this
Medium:
silver and photographic gelatin on photographic paper
Dimensions:
H x W (Image): 7 5/16 × 9 1/4 in. (18.5 × 23.5 cm)
H x W (Sheet): 7 11/16 × 9 3/4 in. (19.6 × 24.7 cm)
Type:
gelatin silver prints
portraits
Place depicted:
Saint Louis, Missouri, United States, North and Central America
Place printed:
Saint Louis, Missouri, United States, North and Central America
Date:
February 1, 1935
Topic:
African American  Search this
Band (Music)  Search this
Dance  Search this
Entertainers  Search this
Jazz (Music)  Search this
Musical Theatre  Search this
Nightlife  Search this
Photography  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2013.46.25.26
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Collection title:
The Laura Cathrell Show-Down Magazine Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd56eed4987-faa5-4106-97ae-35fcd618f0ba
EDAN-URL:
edanmdm:nmaahc_2013.46.25.26
Online Media:

Film still of Una Mae Carlisle on the set of “I Like It ‘Cause I Love It”

Photograph by:
Unidentified  Search this
Subject of:
Una Mae Carlisle, American, 1915 - 1956  Search this
Birdie Warfield Edison, American  Search this
Medium:
silver and photographic gelatin on photographic paper
Dimensions:
H x W (Image): 7 1/2 × 9 5/16 in. (19.1 × 23.7 cm)
H x W (Sheet): 8 1/8 × 10 in. (20.6 × 25.4 cm)
Type:
gelatin silver prints
portraits
Date:
1944
Topic:
African American  Search this
Entertainers  Search this
Film  Search this
Instrumentalists (Musicians)  Search this
Music  Search this
Nightlife  Search this
Photography  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2013.46.25.53
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Collection title:
The Laura Cathrell Show-Down Magazine Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd594bf4e15-583d-45ca-be6a-c4d30375d617
EDAN-URL:
edanmdm:nmaahc_2013.46.25.53
Online Media:

Photograph of five performing showgirls

Photograph by:
Unidentified  Search this
Subject of:
Laura Cathrell, 1914 - 1999  Search this
Birdie Warfield Edison, American  Search this
Unidentified Woman or Women  Search this
Unidentified Man or Men  Search this
Café St-Michel, Canadian  Search this
Medium:
silver and photographic gelatin on photographic paper
Dimensions:
H x W (Image): 7 11/16 × 9 5/8 in. (19.5 × 24.5 cm)
H x W (Sheet): 8 1/16 × 10 in. (20.5 × 25.4 cm)
Type:
gelatin silver prints
portraits
Place captured:
Montreal, Quebec, Canada, North and Central America
Date:
early 20th-mid 20th century
Topic:
African American  Search this
Dance  Search this
Jazz (Music)  Search this
Nightlife  Search this
Photography  Search this
Theatre  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2013.46.25.61
Restrictions & Rights:
Unknown - Restrictions Possible
See more items in:
National Museum of African American History and Culture Collection
Collection title:
The Laura Cathrell Show-Down Magazine Collection
Classification:
Media Arts-Photography
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd523bfdd60-1e1d-48e2-a9ae-4fd0f8d3ac7b
EDAN-URL:
edanmdm:nmaahc_2013.46.25.61
Online Media:

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