Photographs shot by William A. Newcombe during three collecting trips to British Columbia with George Gustav Heye, director of the Museum of the American Indian, Heye Foundation. Between 1934 and 1938 Newcombe and Heye collected and photographed among the collecting ethnographic materials from the Saanich, Esquimalt, Cowichan, Kwakwaka'wakw (Kwakiutl), Snuneymuxw (Nanaimo), and Nuxalk (Bellacoola) communities.
Scope and Contents:
This collection includes photographic prints, mostly silver gelatin prints shot between 1934 and 1938 by William Newcombe during his collecting trips in British Columbia with George Heye on behalf of the Museum of the American Indian, Heye Foundation. It is possible that George Heye shot some of the photographs himself. This collection has been arranged into three series based on trip date. Series 1 includes photographs shot among Coast Salish communities in August of 1934 on the East Saanich Reserve (Tsawout First Nation) and Esquimalt (Salish/Songhees) Reserve on Cormorant and Vancouver Islands, British Columbia. These photographs include images of canoes and house posts that are now part of the NMAI collection. (P11371 - P11386, P11412, N36649 - N36653)
Series 2 includes photographs shot in the summer of 1935 in the Cowichan Valley Regional District on Vancouver Island, British Columbia. Images include portraits of Louis and Jennie George (Cowichan) alongside George Gustav Heye. (P11516 - P11526, N36657 - N36659 ; N36666 - N36667. Series 3 includes photographs shot in the summer of 1938 at various locations on Vancouver Island, British Columbia. Communities photographed include Kwakwaka'wakw (Kwakiutl), Saanich, Snuneymuxw (Nanaimo), and Nuxalk (Bellacoola). George Heye can be seen in several images holding objects that are now part of the NMAI collection. Heye was also accompanied by Thomas Philip Oxenham Menzies, curator of the Vancouver City Museum, for part of the trip. There are also images of the James Dunsmuir Esate in Hatley Park. (P13423 - P13430, P13648 - P13656, N36880 - N36889.
The copy negatives were made from the prints at some point in the 1960s during a large photographic conservation project at the museum.
Arrangement:
Arranged into three series by trip date, Series 1: East Saanich Reserve (Tsawout First Nation) and Esquimalt (Salish/Songhees) Reserve, 1934; Series 2: Cowichan Valley Regional District, 1935; and Series 3: Vancouver Island, 1938.
Biographical / Historical:
William A. Newcombe (1884-1960) worked with George Gustav Heye, director of the Museum of the American Indian, Heye foundation over the course of several trips to British Columbia in the 1930s. William, son of Charles Frederick Newcombe, became an authority on the ethnology of British Columbia's native peoples. Newcombe and Heye went on at least three trips to British Columbia in 1934, 1935 and 1938, collecting ethnographic materials from the Saanich, Esquimalt, Cowichan, Kwakwaka'wakw (Kwakiutl), Snuneymuxw (Nanaimo), and Nuxalk (Bellacoola) communities.
Provenance:
These field photographs accompanied the ethnographic materials collected by William Newcombe and George Gustav Heye in 1934, 1935 and 1938.
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). Photographs with culturally sensitive subjects are restricted.
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.
Identification of specific item; Date (if known); William A. Newcombe and George Gustav Heye photographs from British Columbia, Item Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Photographs made and collected by Arthur Earl Patton documenting life on and near the Flathead Indian Reservation. They include images of Salish Indians on the Flathead Indian Reservation, 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 of the Flathead Indian Reservation and surrounding areas, National Anthropological Archives, Smithsonian Institution
Antoin Sevruguin operated a successful commercial photography studio in Tehran and was a court photographer to Nasr ed-Din Shah and succeeding Qajar rulers. Sevruguin's daughter and heir donated his glass negatives to the American Presbyterian Mission in Tehran. The Committee for Islamic Culture, which administered the Islamic Archives, purchased 695 negatives from the Presbyterian Mission in 1951. The collection also includes 164 silver gelatin prints, 98 acquired by Myron Bement Smith(MBS) in 1934 and 66 donated by Joseph Upton in 1953. The glass negatives are numbered but without apparent organization. MBS organized his photoprints into subject categories. Upton's photoprints are numbered according to a handwritten caption list. [Located Bay 7] For specific information on items in the collection search Sevruguin on the Smithsonian Collections Search Center web site http://collections.si.edu .
- 66 black-and-white gelatin silver photoprints, unmounted, were a gift from Joseph Upton, received by the committee for Islamic Culture, as reported in their official minutes of October 24, 1953. The 66 photoprints were initially purchased by Joseph Upton in 1928 from Antoin Sevruguin in Tehran.
- 695 glass negatives were included into the "Islamic Archives," which was administered jontly by the committee for Islamic Culture and the committee for Arabic and Islamic Studies of the American Council of Learned Societies. According to the official minutes, the committee for Islamic Culture reported purchasing the 696 glass plates during their fiscal years 1951-1952 from the American Presbyterian Mission in Tehran. Antoin Sevruguin's daughter gave these plates to the mission with instruction that they be sold for the benefit of the mission.
- 98 gelatin silver photoprints were collected by Myron Bement Smith after he viewed a portion of Sevruguin's negatives in 1934 ( these include recent finds in the Myron Bement Smith collection).
In addition of Antoin Sevruguin's 695 glass negatives and 164 silver gelatin prints in the Myron Bement Smith collection the Archives holds: 18 albumen prints in theJay Bisno Collection of Sevruguin Photographs (FSA A.15); 34 photographic prints in the Ernst Herzfeld Papers (FSA A.6); as well as a photograph album and individual albumen prints donated by Stephen Arpee (FSA A2011.03). Finally, the Freer Gallery of Art and Arthur M. Sackler Gallery Archives also own 3 separate gelatin silver prints.
Myron Bement Smith Collection: Antoin Sevruguin Photographs
Arrangement:
- 66 gelatin silver prints are arranged in sequential number following Joseph Upton's handwritten list of captions, and ultimately organized by Myron B. Smith into subject categories (royalty, people, executions, criminals, punishment, architecture).
- 695 glass negatives, numbered, without any apparent organization, are housed in document boxes and stored on shelves.
- 98 gelatin silver prints are organized by Myron B. Smith into subject categories (people, architecture, royalty, landscape).
Biographical / Historical:
Antoin Sevruguin managed and operated one of the most successful commercial photography studios in Tehran in the late 19th century. Born in the 1840s in Iran, Sevruguin's mother returned with her children to her hometown of Tbilisi after his father Vassil, a Russian diplomat in Iran, died in a horse riding accident. Trained as a painter, Sevruguin returned to Iran in the early 1870s accompanied by his two brothers, establishing a photography studio first in Tabriz and then Tehran. His studio's ties to Tbilisi, however, persisted through the years; many of the early portraits of Dervishes and women have been simultaneously attributed to Antoin Sevruguin and Dimitri Yermakov, the Georgian photographer who is often referred to as Sevruguin's mentor from Tbilisi. Many of Antoin Sevruguin's photographs were published as early as 1885 in travelogues, journals and books indicating that by that time he had a fully established practice in Tehran's Ala al-Dawla street, with ties to the court of Nasir al-Din Shah Qajar. Often unacknowledged as the producer of published images in his own time - the 1902 photographic survey of Persepolis being the most glaring of such authorial misrepresentations - he was nevertheless celebrated and acknowledged for his artistic vision and his keen eye for composition, achieving the Medal of Lion and Sun from Nasir al-Din Shah, the 1897 Medal of Honour in the Brussels International Exposition, and the 1900 Medal of Honour in Paris International Exposition. Reflecting a career that spans nearly half a century, Sevruguin's diverse body of work includes studio portraits of families, women and dervishes, survey photographs of archeological sites, objects, landscapes and architecture, and photographs of royalty, high officials and ceremonies of the Qajar court. The range of his output not only demonstrates his own pictorial concerns and artistic abilities but also the divergent interests of his clients. Despite numerous devastating incidents throughout his career - the loss of more than half of his negatives in a 1908 blast and fire, an unsuccessful attempt at diversifying into cinematography in the 1910s, and the confiscation of the remainder of his negatives in the mid-1920s to name a few - his studio remained operational even after his death in 1933. A number of negatives from the Sevruguin studio can be dated to the years after Antoin's death, indicating that the Sevruguin studio continued to be commercially viable. As one of the most prolific early commercial photographers in Iran, Antoin Sevruguin's artistic legacy has since proved far more enduring.
Local Numbers:
FSA A.04 2.12
General:
Titles and summary notes are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Waldstein, Charles, 1856-1927 (archaeologist) Search this
Extent:
1 Folder
Type:
Collection descriptions
Archival materials
Photographs
Cabinet photographs
Date:
ca. 1870-1900
Summary:
This collection contains twelve photoprints in the cabinet print format, although only nine are true albumen cabinet prints. The subjects depicted are European scientists. Except as otherwise noted in the listing, biographical information about the subjects was located in standard biographical references, such as Asimov's Biographical Encyclopedia of Science and Technology, Dictionary of Scientific Biography, Chambers' Dictionary of Scientists, and World Who's in Science.
Scope and Contents:
12 photoprints: portraits of various scientists and scholars, including Irish, French, English, and German men. All are on cabinet-size mounts, nine being silver albumen cabinet prints, while three are silver gelatin prints.
Arrangement:
One series, unarranged.
Provenance:
Purchased from the Harris Auction Galleries, Baltimore, Maryland, 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.
Enigmatic photograph, an unmounted silver gelatin print, borderless, 4 1/4" x 6. "Hocktide on photo: 3 men and two women [nurses?]. Stamp on verso: H.E. Zimmerman, 1601 Broadway, Kansas City, Missouri
Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.
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.
Collection Citation:
Archives of American Art Miscellany, ca. 1933-1945, Archives Center, National Museum of American History.
Photo, unmounted warm-tone silver gelatin print, 4 1/2" x 6 1/2"; line of men wearing caps, some holding bags beside building [possibly a breadline?] Stamp on verso Photo by S. Greenblatt.
Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.
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.
Collection Citation:
Archives of American Art Miscellany, ca. 1933-1945, Archives Center, National Museum of American History.
Printed 2000; Inscription with location: signed, titled, dated in graphite on verso at top
Collection Restrictions:
Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
Citation:
Anacostia Community Museum, Smithsonian Institution, gift from the Trustees of the Corcoran Gallery of Art (Brad Richman)
Twenty glass plate negatives and reference copy prints of the images taken between the late 1880s and the early 1900s by Frances Benjamin Johnston and Thomas W. Smillie. The images depict the skyline of Washington D.C., views from the 1893 World's Fair: Columbian Exposition, blueprints for the Smithsonian Arts and Industries Building, and an unidentified orchestra.
Scope and Contents:
The collection consists of twenty glass plate negatives and associated reference copy prints depicting scenes from the 1893 World's Fair: Columbian Exposition in Chicago, Illinois as well as images of the Washington D.C. skyline dating from between 1888 and 1899. The glass plate negatives range in size from 17" x 20" to 20" x 24" while the silver gelatin, resin-coated paper prints are all 20" x 24". All the images are black and white.
Series 1, Glass Plate Negatives, 1893, 1906, circa 1888-1899, is arranged by a numbering system, possibly assigned by the Smithsonian Office of Printing and Photographic Services (OPPS). The numbers were etched or written on the negatives, for example 3107. The series begins with the numbered images from Washington DC (#3101-#3107), followed by images without identifying numbers. The numbered images from the 1893 Columbian Exposition (non-inclusive #11302-11359) come next, followed by the images without identifying numbers.
The images of Washington D.C., when arranged in the following sequence, form a panorama of the Washington D.C. city: #3103, #3107, #3104, #3101, #3106, #3105, #3102. The images were taken from the tower of the Smithsonian Castle facing north, beginning with a view of the United States Capitol Building in the east (#3102) and ending with a view of the incomplete Washington Monument in the west (#3103). An unnumbered image of the United States Capitol taken after 1899 from the tower of the Old Post Office and Clock Tower looking down Pennsylvania Avenue is included. Two unnumbered blueprints dated July 19, 1906 show the second and third floor layouts of the Smithsonian Arts and Industries Building.
The images of the 1893 World's Fair: Columbian Exposition show various buildings built for the event as well as a replica of the Battleship Illinois which was constructed to illustrate advances in naval technology. Exterior views of the Administration Building, Government Building, Palace of Fine Arts, Manufactures and Liberal Arts Building as well as an interior view of the World's Fair Post Office in the Government Building are found among the negatives. A number of the images appear to have been taken from atop some of the buildings looking down.
One unnumbered and unidentified picture of a musical orchestra sitting on stage is included at the end of the series.
Series 2, Copy prints, 1993, include duplicate or, in some instances triplicate, photographic copy prints of the images from the glass plate negatives. In the case of #11311 and #11359, no copy prints exist. The silver gelatin prints on resin-coated paper were created in the fall of 1993.
Arrangement:
The collection is arranged in two series.
Series 1: Glass Plate Negatives, 1893, 1906, circa 1888-1899
Series 2: Copy prints (reference copies), 1993
Biographical / Historical:
While the origin and provenance of some of the glass plate negatives is uncertain, it is likely that the images were created by Smithsonian photographer and curator Thomas W. Smillie and by Frances Benjamin Johnston, a prominent female photographer who was a protege of Smillie's.
Thomas W. Smillie was born in Edinburgh, Scotland in 1843 and emigrated to the United States when he was five years old. He attended Georgetown University, where he studied medicine and chemistry. Shortly thereafter he became a photographer for the Smithsonian and remained with the institution until his death in 1917. In 1896 he was named "custodian" of photography for the Institution, in essence becoming its first photography curator. He staged photographic exhibits and actively collected both images and equipment related to photography.
Frances Benjamin Johnston was an early pioneer for women in the field of photography and photojournalism. Born in 1864 in Grafton, West Virginia, Johnston studied art in Maryland and later at the Académie Julien in Paris. Her high-profile family connection with the Eastman family as well as her insatiable appetite for knowledge about photographic processes quickly propelled her to a formidable professional career. Her work appeared in publications such as The Ladies' Home Journal, Harper's Weekly, and Cosmopolitan, among others. As an apprentice to Thomas W. Smillie, Johnston was engaged to photograph the 1893 World's Fair: Columbian Exposition in Chicago. She made Washington D.C. her home and had the opportunity to photograph a large number of high profile individuals and government officials, including five United States presidents. Her photography often documented mundane and commonplace aspects of life rather than spectacular or prominent ones. Later in her career she focused her photography on colonial architecture, with images of houses, barns, and other buildings that intentionally showed everyday life in the United States South rather than high profile structures which had already been well-documented. She moved to New Orleans in 1940 and died in 1952.
Related Materials:
Materials at the Smithsonian Institution
Smithsonian Institution Archives
Records, circa 1883-1984 (SIA RU000529)
Field Research Photographs, circa 1909-1924 (SIA Acc. 02-086)
Personnel Records, 1892-1952 (SIA Acc. 05-123)
Collected Registers, 1908-1912 and undated (SIA Acc. 06-138)
National Anthropological Archives
Glass Negatives of Indians (Collected by Bureau of American Ethnology)
Provenance:
Immediate source of acquisition unknown.
Restrictions:
The collection is open for research. Reference photograph copies should be used where possible. Gloves must be worn when handling unprotected photographs and negatives. Special care is required when handling the glass plate negatives both because of their large size and because some of the negatives are broken.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Washington Monument (Washington, D.C.) Search this
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.
151 Photographs (black and white silver gelatin prints)
Type:
Collection descriptions
Archival materials
Photographs
Photographic prints
Postcards
Place:
Korea
Pyongyang (Korea)
Date:
undated
Scope and Contents:
One hundred fifty one photographic prints and postcards, compiled by the family of Eil Mowry during their residence in Pyongyang between 1909 and 1940. Photographs were taken mostly by Eli Mowry and son David Mowry, although a number of the photographs apparently derive from commercial sources. Prints are primarily black and white silver gelatin prints, with a small number of commercial postcards. Subjects include personal photographs of family and friends, the foreign compound, church and school activities, views of Pyongyang, Korean scenes, life and customs. Many photographs are considerably damaged due to a house fire in the 1980s.
Photographs are numbered individually with no attempt to organize by subject.
Biographical / Historical:
Reverend Eli Mowry was a Presbyterian missionary and educator, originally from Ohio. In 1909 he moved to Pyongyang with his family, where they lived until 1941. Mowry eventually became head of Soongsil Academy, which was eventually to become Soongsil University. In 1919 Eli Mowry was arrested by Japanese authorities for harboring anti-Japanese student protesters. His incarceration and trial became an international incident. In 1950, Mowry was awarded the Decoration of Honor, Third Order, from the Republic of Korea. In 1968, he and his wife Lois received an additional special citation from the Korean government.
Local Numbers:
FSA A2010.04
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Twenty portraits, taken in the 1980s, of twenty-one men and women who were active in the civil rights and peace movements of the 1960s.
Scope and Contents:
The collection consists of twenty silver gelatin prints, as described on the container list attached. These are exhibition-quality prints, matted, signed by the artist, with subject identification. The prints are arranged in no particular order, but are numbered according to the list. Note that each
print therefore has an individual museum catalog number, e.g., 1991.0886.01-
unlike the majority of Archive Center collections--and these numbers should be referenced in exhibition and loan transactions.
Arrangement:
Collection is arranged into one series.
Biographical / Historical:
Barbara T. Beirne hold a Master of Fine Arts in Photography form Pratt Institute, Brooklyn New York, and a Bachelor of Fine Arts form Marymount College, Tarrytown, New York. She has been a free-lance photographer, working extensively for non-profit organizations, corporations and newspapers, has shown her work in many solo and group exhibitions, and has been photographer and/or author of a number of children's books (see bibliography,
She photographed the subjects of this portfolio for a book by J. and R. Morrison, From Camelot to Kent State.
Ms. Beirne has been a teacher and lecturer in numerous school and libraries in New York, New Jersey, and Pennsylvania, and at this writing is an adjunct professor of photography at County College of Morris, Randolph, New Jersey.
Historical:
In 1985, Joan Morrison and her son Robert K. Morrison conducted approximately one hundred oral history interviews with a wide variety of Americans about their experiences during the 1960s. They also collected photographs of the interviewees--pictures taken during the 1960s and other taken at the time of the interview. Portions of some of these interviews and the photographs are published in their 1987 book, mentioned above. Some of the new photographs, taken by Barbara T. Bierne, were exhibited at the Bridge Gallery, The New School, New York City, from Oct. 2 to Oct 31, 1998. The Morrison collection of audiotapes, transcripts, and other materials form this project was donated to the Archives Center as Collection no. 359. Later in 1991, Barbara Beirne donated twenty exhibition quality, matted photographs from this project (the Morrison Collection was received first, and the earlier number for the Beirne Collection is due to the recycling of an unused number). These prints apparently were made in 1989 and were included in the New School exhibition.
Bibliography
Author and photographer, A Pianist's Debut. Carlrhoda Books, 1990.
Author and photographer, Under the Lights. Carlrhoda Books, 1988.
Photographer, What Do You Mean I Have a Learning Disability? Walker
Publishers, 1991.
Photographer, Water is Wet. G.P. Putnam's Sons, 1985.
Photographs in: Joan and Robert K. Morrison. From Camelot to Kent State:
The Sixties Experience in the Worlds of Those Who Lived It. New York:
Times Books, 1987.
Provenance:
Collection donated by Barbara T. Beirne, September 6, 1991.
Restrictions:
Collection is open for research.
Rights:
Barbara Beirne retains copyright. A nonexclusive license was conveyed to the Archives Center through a Deed of Gift signed by the donor. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Vietnamese Conflict, 1961-1975 -- Protest Movements Search this
Culture and the Arts, Division of (NMAH, SI) Search this
Extent:
3 Cubic feet (7 boxes, 3 map folders)
Type:
Collection descriptions
Archival materials
Photographs
Date:
undated
Provenance:
Immediate source of acquisition unknown.
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.
Genre/Form:
Photographs -- Silver gelatin prints
Citation:
Archives Center, Division of Culture and the Arts Photographs, National Museum of American History
The Flora S. Kaplan collection includes manuscript materials, field notes, slides, negatives and photographs. The extensive slide collection was taken in several regions of Mexico from the mid-to-late 1960's through the early 1980's and documented local craft processes, particularly ceramics, their makers, their families and life styles.
Scope and Contents:
The Flora S. Kaplan collection consists primarily of photographic materials documenting the pottery and pottery techniques of Mexican potters, as well as their families and lifestyles. A small amount of manuscript materials, including field notebooks, accompanied the slides, prints, and negatives which were donated to the National Museum of the American Indian in 2008 and 2009. Although the bulk of the photographs were taken by Flora Kaplan herself, a limited number of images were shot by photographer Sidney Kaplan (no relation). The photographs were taken primarily in the following area: barrios of Puebla de los Angeles (capital of the state of Puebla) (Barrios de la Luz) and the surrounding towns in the Puebla Valley (Acatepec, Santa María Tonantzintla, Amozoc, Cholula, La Acocota, Tepeaca, Izucar de Matamoros, Tecali de Herrera, Acoman, Ocototlan). There are also photographs of potters in the Mexican states of Chiapas (Chamula, Chanal, Amatenango, San Cristobal de las Casas, Tuxtla Gutierrez, Chiapa de Corzo) ; Morelos, Michoacan (Janitzio, Alcoman, Capula, Tzintzuntzan, Morelia, Patzcuaro) ; Oaxaca (San Bartolome Coyotepec, Santa Maria Del Tule) ; Guerrero (Acapulco), Veracruz (Puerto de Veracruz, Minatitlán) ; Mexico (Teotihuacan) and the Distrito Federal (Mexico City).
Arrangement:
This collection is arranged in two series; Series 1: Papers, 1952, 1958, 1970-1986 and Series 2: Photographs, 1971-1978, 1988. The Photographs series is then divided into 3 subseries based on material type. Subseries 2A: Slides, 1972-1978, 1988, Subseries 2B: Negatives, 1972-1973, 1977, and Subseries 2C: Silver Gelatin Prints, 1971-1977.
Biographical / Historical:
Flora Edouwaye S. Kaplan, anthropologist, is a professor emerita, and former founding director (1978-99) of the Museum Studies Program, Faculty of Arts and Sciences, New York University. She taught Anthropology as a Fulbright professor, (1983-85), University of Benin, Nigeria; and previously taught at Lehman College, CUNY (1970-1976), before arriving at New York University in 1976. She publishes widely on Benin (Nigeria) and on Mexico, museum politics, art, photography, religion and gender. She holds degrees in anthropology from The Graduate Center, CUNY (Ph.D.), and Columbia University (M.A., archaeology). Dr. Kaplan is a former curator of The Brooklyn Museum, New York. She was a research associate at the Museum of the American Indian, (1977-87), and is an associate at the Center for Latin American and Caribbean Studies at NYU. She currently co-edits the books series 'Museum Meanings' (Routledge) and has been a Board member of the journal 'Museums & Society' (University of Leicester Press) since 2004.
Books transferred to the NMAI Library:
A Mexican Folk Pottery Tradition: Cognition and Style in Material Culture in the Valley of Puebla by Flora S. Kaplan
Una Tradition Alfarera by Flora S. Kaplan
The Changing Roles of Ceramics in Society: 26,000 B.P. to the Present Edited by W.D. Kingery
Provenance:
This collection was originally donated by Flora S. Kaplan in October of 2008. An additional archival donation was made in December of 2009.
Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Single photocopies may be made for research purposes. Permission to publish or broadbast materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Identification of specific item; Date (if known); Collection Title, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
This photograph depicts Duanfang and other men surrounding a bronze altar set that was later acquired by the Metropolitan Museum of Art. The photograph was acquired by art historian Laurence Sickman, who lent if for many years to the Metropolitan where it was displayed in the galleries with the bronze alter set.
Biographical / Historical:
Duanfang was an officer in the Qing court who amassed an important art collection, which included jades, bronzes, paintings and sculpture. Duanfang worked in many different positions, including as a customs officer and a provincial governor. In the summer of 1905, Duanfang travelled to the West to research how governments in the United States and Europe functioned. In 1911, Duanfang travelled to Sichuan Province to oversee railroad construction. At the outbreak of the Xinhai Revolution, Duanfang was beheaded by his own imperial troops, who were sympathetic to local revolutionaries.
Local Numbers:
FSA A2004.03
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Photograph of Duanfang and Colleagues with bronze altar, Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C., Gift of Thomas Lawton.
Identifier:
FSA.A2004.03
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Three portraits of royal Nepalese women, the daughters of the Rana of Nepal and the Prime MInister (1931-1943) Juddah Samshar Janga Badahar Rana. The photos likely date from the 1910s-1920s. Each is a hand-tinted gelatin silver print mounted on paper.
Local Numbers:
FSA A2011.01
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Photographs
Citation:
Three Portraits of Royla Nepalese Women. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C.
Identifier:
FSA.A2011.01
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
Black leather bound album of 119 albumen prints and one silver gelatin print. Prints are likely produced by the studio of photographer Antoin Sevruguin in the 1870s and 80s in his early career in Iran. Includes handwritten captions in Persian. Many of the prints have an unusually purplish tone.
Arrangement:
images indexed by original order in the album
Biographical / Historical:
Antoin Sevruguin managed and operated one of the most successful commercial photography studios in Tehran in the late 19th century. Born in the 1840s in Iran, Sevruguin's mother returned with her children to her hometown of Tbilisi after his father Vassil, a Russian diplomat in Iran, died in a horse riding accident. Trained as a painter, Sevruguin returned to Iran in the early 1870s accompanied by his two brothers, establishing a photography studio first in Tabriz and then Tehran. His studio's ties to Tbilisi, however, persisted through the years; many of the early portraits of Dervishes and women have been simultaneously attributed to Antoin Sevruguin and Dimitri Yermakov, the Georgian photographer who is often referred to as Sevruguin's mentor from Tbilisi. Many of Antoin Sevruguin's photographs were published as early as 1885 in travelogues, journals and books indicating that by that time he had a fully established practice in Tehran's Ala al-Dawla street, with ties to the court of Nasir al-Din Shah Qajar. Often unacknowledged as the producer of published images in his own time - the 1902 photographic survey of Persepolis being the most glaring of such authorial misrepresentations - he was nevertheless celebrated and acknowledged for his artistic vision and his keen eye for composition, achieving the Medal of Lion and Sun from Nasir al-Din Shah, the 1897 Medal of Honour in the Brussels International Exposition, and the 1900 Medal of Honour in Paris International Exposition. Reflecting a career that spans nearly half a century, Sevruguin's diverse body of work includes studio portraits of families, women and dervishes, survey photographs of archeological sites, objects, landscapes and architecture, and photographs of royalty, high officials and ceremonies of the Qajar court. The range of his output not only demonstrates his own pictorial concerns and artistic abilities but also the divergent interests of his clients. Despite numerous devastating incidents throughout his career - the loss of more than half of his negatives in a 1908 blast and fire, an unsuccessful attempt at diversifying into cinematography in the 1910s, and the confiscation of the remainder of his negatives in the mid-1920s to name a few - his studio remained operational even after his death in 1933. A number of negatives from the Sevruguin studio can be dated to the years after Antoin's death, indicating that the Sevruguin studio continued to be commercially viable. As one of the most prolific early commercial photographers in Iran, Antoin Sevruguin's artistic legacy has since proved far more enduring.
Local Numbers:
FSA A2015.09
Provenance:
Purchase; 2015.
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
The papers of New York painter and art instructor, William Merritt Chase, measure 0.3 linear feet and date from circa 1890 to 1964. Papers include a resolution of the Art Club of Philadelphia on Chase's death, letters, writings by Chase consisting of typescripts of lectures and lecture notes, blank postcards primarily depicting reproductions of artwork, a scrapbook, and photographs of Chase, his family, homes, and studios, and photographs of works of art.
Scope and Contents:
The papers of New York painter and art instructor, William Merritt Chase, measure 0.3 linear feet and date from circa 1890 to 1964. Papers include a resolution of the Art Club of Philadelphia on Chase's death, letters, writings by Chase consisting of typescripts of lectures and lecture notes, blank postcards primarily depicting reproductions of artwork, a scrapbook, and photographs of Chase, his family, homes, and studios, and photographs of works of art.
Letters include a photocopy of a 1901 letter signed by 28 students of the Shinnecock Summer School thanking Chase for a painting; a 1903 postcard to Mr. Harold R. Shiffer from his aunt; a 1912 letter to Chase signed by 32 pupils of the Art Students League thanking him for his efforts on their behalf and acknowledging his "qualities of sympathy, interest, and an understanding of our individual needs;" a 1915 note from an unidentified writer; a 1920 letter to Chase's wife Alice, from Gertrude Abbey, wife of Edwin Austin Abbey, referencing a tile possibly created by Edwin Abbey that Mrs. Chase owns; a 1935 postcard to Chase's daughter Helen from an unidentified writer; and a 1964 letter to Helen Storm from Ala Story in which Story describes a Chase exhibition that he is organizing and apologizes for having given a sketchbook of drawings owned by Helen to the Morgan Library.
Writings include 4 sets of lecture notes (one labeled as being notes for a lecture at Shinnecock), which are a combination of annotated typescripts and handwritten pages, and a typescript of a 1906 "Talk on the Old Masters by Mr. Chase" for the New York School of Art. Also found is a notebook with handwritten notes on a talk Chase gave to students in Philadelphia, presumably at the Pennsylvania Academy of Fine Arts.
Writings by others consist of a six-page typescript entitled "Reminiscences of a Student," by F. Usher De Voll, describing his experiences of Chase as a teacher.
Postcards (blank) include 3 reproductions of works of art by Chase, 8 reproductions of works of art by other artists, and 2 scenic views.
A Chase family scrapbook consists of mounted prints, primarily cyanotypes, that document Chase's travels to Rome, Milan, Gibraltar and the Loire Valley, and visits to major monuments, and also includes images of Chase and his family at leisure during their travels, as well as five family portraits.
Photographs of the Chase family include one of Chase with his son, Dana, and one of Chase with his wife, Alice, both undated. Other family members and friends are generally unidentified but do include Virginia Gerson and possibly Alice Gerson. Also found are four portraits of Chase, four photographs of Chase in his studio, a copy print of students at the Shinnecock Art School in circa 1895, and a copy print of an 1880 Tile Club trip up the Hudson River. In addition to circa 1960 copy prints, photographs include a variety of vintage prints such as albumen cabinet cards, silver gelatin prints, and a tintype.
Arrangement:
Due to the small size of the collection, the papers are arranged as 1 series.
Series 1: William Merritt Chase Papers, circa 1890-1964 (0.3 linear feet.; Box 1, OV 2)
Biographical / Historical:
William Merritt Chase (1849-1916) was one of America's most prominent painters and art instructors in New York, New York and Shinnecock, Long Island, during the late 19th century. One of the first Impressionist landscape painters in the U. S, Chase was also a highly accomplished portrait and still life painter.
Born in Indiana, Chase lived in New York and St. Louis, Missouri, before traveling to Europe and studying at the Royal Academy in Munich. After returning to New York in 1878, he taught at the Art Students League until 1896. His studio in the Tenth Street Studio building became an important gathering place for artists, students and patrons. Chase was also a member of the Tile Club whose members shared an interest in the decorative arts and sought to have their designs translated into ceramic tiles, from 1877-1887.
Chase became one of the most important teachers of American artists around the turn of the century. He opened the Shinnecock Hills Summer Art School in 1891 and taught there until 1902, living in a house at Shinnecock designed by Stanford White. In 1896 he opened the Chase School of Art and also taught at the Brooklyn Art Association in 1887, and 1891-1896, and the Pennsylvania Academy of Fine Arts from 1896-1909.
Chase was a member of the National Academy of Design, and was president of the Society of American Artists from 1885 to 1895.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming. Reel N69-115 includes an additional family scrapbook, undated, containing photographs of Chase, his wife and children, a notice of sale of the Chase house in Shinnecock Hills, N.Y. designed by Stanford White, and photographs of the house. Found on reel N69-119 are circa two hundred photographs of Chase at work, his wife, his studios in Philadelphia and on 5th Avenue and 10th Street New York City, and numerous snapshots of characters in a tableau vivant that include his family, friends, Mary S. Moore Cross, and others. Reel N69-137 contains letters from Chase to his wife during his travels abroad, one note from John Singer Sargent requesting the use of Chase's studio for the famous party Sargent gave for Isabella Stewart Gardner in 1890, and a six-page typescript, "Reminiscences of a Student," by F. Usher De Voll, and photographs of Chase's studio. Loaned materials were returned to the lenders and are not described in the collection container inventory.
Provenance:
The papers were received in a series of accessions between 1969 and 2010. A portion was loaned for microfilming by Robert S. Chase and Chapellier Galleries in 1969. Roger Storm, the widower of Chase's daughter Helen, donated lectures and speeches, a 1912 letter, and photocopies of a dinner menu and photos of artwork in 1969. Art collector Fred D. Bentley gave photographic copy prints of Chase's summer home, studio and art school. D. Frederick Baker, the author of the Chase catalogue raisonné, gave two letters, two postcards, the Chase family scrapbook, vintage photographs, and blank postcards in 2010. Baker received the material from Chase's estate via Chase's grandson, Jackson Case Storm.
Restrictions:
Use of original papers requires an appointment.
Rights:
The William Merritt Chase papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study and scholarship. The collection is subject to all copyright laws.
Occupation:
Art teachers -- New York (State) -- New York Search this
Pepper, George H. (George Hubbard), 1873-1924 Search this
Extent:
13 Photographic prints (silver gelatin)
120 Glass plate negatives
125 Copy negatives (acetate)
Culture:
Mississippian Tradition (archaeological culture) Search this
Type:
Collection descriptions
Archival materials
Photographic prints
Glass plate negatives
Copy negatives
Slides (photographs)
Photographs
Black-and-white negatives
Place:
Nacoochee Valley (Ga.)
Date:
1915
Summary:
The photographs in this collection document the excavation of the Nacoochee Mound, located along the banks of the upper Chattahoochee River in the mountains of northeast Georgia, in the summer of 1915. The excavation was a joint project between the Museum of the American Indian, Heye Foundation and the Bureau of American Ethnology.
Scope and Contents:
The Nacoochee Mound excavation photographs consists of glass plate negatives, photographic prints and copy negatives related to the joint effort of the Museum of the American Indian, Heye Foundation and the Smithsonian Institution Bureau of American Ethnology to excavate the mound in the summer of 1915. The photographic materials primarily depict the mound photographed from various directions before and during excavation, but also objects and antiquities exhumed from the mound and members of the field team posed singly and as a group on the mound site, including George G. Heye and his wife Thea Heye. Any photographs that include images of burials or human remains have been restricted. Other MAI staff photographed include Frederick Webb Hodge, Charles Turbyfill and Edwin Coffin. George Gustav Heye is listed as the photographer but it is much more likely that George Hubbard Pepper or another one of the MAI staff shot the photographs.
Glass negatives include N00478-N00597. The copy negatives (acetate) have the same N #'s as the glass plate negatives and also include N34266, N36690-N36693, which are copies of the photographic prints. These copy negatives were made by the Museum of the American Indian sometime in the 1960s as part of a large photograph conservation project. Silver gelatin prints include P11593-P11605.
Arrangement note:
Arranged by catalog number.
Biographical/Historical note:
Between May and October of 1915, the Museum of the American Indian, Heye Foundation and the Smithsonian Institution Bureau of American Ethnology collaborated to excavate the Nacoochee Mound, located in the Nacooche Valley along the upper Chattahoochee River in northeast Georgia. One of the earliest scientific excavations of its kind in the state of Georgia, the Nacoochee Mound excavation was headed by Frederick Webb Hodge and George Hubbard Pepper and found evidence of at least two mound stages with a total of seventy-five human burials, some of them intrusive from a later time. George Heye, Hodge, and Pepper's co-authored paper, "The Nacoochee Mound in Georgia," appeared in vol. 4, no. 3 of Contributions from the Museum of the American Indian, Heye Foundation.
Although there is also evidence for previous occupation, archaeological evidence at the Nacoochee Mound site and the nearby Eastwood site suggests that these two mound sites probably served as local, primarily administrative, centers during the Middle Lamar Period (approximately late fifteenth to early sixteenth centuries). (particularly Eastwood) The village around Nacoochee Mound has not been excavated but is possibly the site of Nacoochee or Chota, two Cherokee villages documented by Colonel George Chicken's 1715 expedition. These two towns continued to appear on maps until the mid-eighteenth century but were abandoned shortly thereafter.
Separated Materials:
See George Pepper's field notes from the Nacoochee Mound, 1915 in the Museum of the American Indian, Heye Foundation records (NMAI.AC.001) in Box 191, Folder 4-8. All archaeological materials from this excavation can be found in NMAI's archaeology collections.
Provenance:
The negatives are field photographs created by the Museum of the American Indian, Heye Foundation in 1915. It is still not clear when or how the photographic prints came to the Museum of the American Indian, though they were cataloged sometime around 1935.
Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu). Some photographs are restricted due to cultural sensitivity.
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not modified in any way, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian. For more information please see the Smithsonian's Terms of Use and NMAI Archive Center's Digital Image request website.
Topic:
Excavations (Archaeology) -- Georgia -- Nacoochee Valley (Ga.) Search this
Mounds -- Georgia -- Nacoochee Valley (Ga.) Search this
Antiquities -- Georgia -- Nacoochee Valley (Ga.) Search this
Indians of North America -- Georgia -- Nacoochee Valley (Ga.) -- Antiqiuties Search this
Genre/Form:
Slides (photographs)
Photographic prints
Photographs
Black-and-white negatives
Citation:
Identification of specific item; Date (if known); Nacoochee Mound excavation photographs, Item Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
