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Artist Carlee Fernandez in "Staging the Self" - National Portrait Gallery

Creator:
National Portrait Gallery  Search this
Type:
YouTube Videos
Uploaded:
2014-12-18T15:29:27.000Z
YouTube Category:
Education  Search this
Topic:
Portraits  Search this
See more by:
NatlPortraitGallery
Data Source:
National Portrait Gallery
YouTube Channel:
NatlPortraitGallery
EDAN-URL:
edanmdm:yt_7tZah-bIxpk

Valor in Black and White: War Stories of Horace Poolaw

Creator:
National Museum of the American Indian  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2016-11-17T15:43:57.000Z
YouTube Category:
Education  Search this
Topic:
Native Americans;American Indians  Search this
See more by:
SmithsonianNMAI
Data Source:
National Museum of the American Indian
YouTube Channel:
SmithsonianNMAI
EDAN-URL:
edanmdm:yt_Npi_Nrw-B9o

Marli Shamir photographs

Collector:
National Museum of African Art (U.S.)  Search this
National Museum of African Art (U.S.)  Search this
Photographer:
Shamir, Marli  Search this
Extent:
229 gelatin silver prints (black and white, 8 x 10 in. or smaller)
89 Photographic prints ((1 v.), black and white, 23 x 18 cm. or smaller)
Container:
Volume 4
Culture:
Dogon (African people)  Search this
Type:
Collection descriptions
Archival materials
Gelatin silver prints
Photographic prints
Black-and-white photographs
Place:
Djenné (Mali)
Mali
Africa
Timbuktu (Mali)
San (Mali)
Gao (Mali)
Date:
1971
Summary:
Photographs taken by Marli Shamir in Mali, in 1971. The majority of the images show architecture in Djenne, Mali. Other images depict architecture of the Dogon in Timbuktu, Gao and San.

Photographs from this collection were featured by Labelle Prussin's thesis entitled, "The Architecture of Djenne; African Synthesis and Transformation," (Yale University, 1974) and in her book entitled, "Hatumere: Islamic Design in West Africa," (Berkeley: University of California Press, 1986). The images have also been displayed in an exhibition entitled, "Marli Shamir Photographs from the Sahel," held in the Israel Museum in Jerusalem, in 1976.
Arrangement note:
Images indexed by negative number.
Biographical / Historical:
Marli Shamir (1919-2016) was an Israeli photographer known for her extensive work in Mali, the Ivory Coast and Burkina Faso from 1966-1973. Born and raised in Berlin, Shamir started studying photography during her teenage years and took photography classes at the Contempora Lehrateliers für neue Werkkunst (1934-1937). In 1938, she was forced to immigrate to Israel where she initially lived in a kibbutz. From 1941-1943, she worked at the mineralogy department of the Weizmann Institute in Rehovot, and then opened her own studio in Jerusalem in 1945. In 1953, she married Meir Shamir, a former Israeli Diplomat-Ambassador, and from 1966-1973 she lived successively in Mali, Gabon and Cote d'Ivoire. She held a particular fascination with architecture, monuments, mosques, arts and habitants. During her stay in Mali, she met Pascal James Imperato with whom she wrote the article Bokolanfini Mud Cloth of the Bamana of Mali, (African Arts, 1970). In 1976, she produced the exhibition Sahel at the Israeli museum in Jerusalem, which focused on the rural and urban architecture and people of the Sahel. The exhibition toured in Europe later that year. From 1977-1981, she lived in Strasbourg, where she focused on documenting the new style of architecture in Mali. Her work on this project is stored at the Center of Documentation in Strasbourg. In 2005, a book devoted to her photographs from Mali was published by the Grandvaux French Edition House. The National Poet of Mali, Albakaye Ousmane Kounta, collaborated with Shamir on the book of poetry Djenney-Ferey –La terre habitee (published by Grandaux, 2007), which is illustrated with Shamir's photographs. Shamir passed away in 2016 at the age of 93.
Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Topic:
Earth Architecture  Search this
Genre/Form:
Photographic prints
Black-and-white photographs
Identifier:
EEPA.1995-025
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
EDAN-URL:
ead_collection:sova-eepa-1995-025

World Expositions

Series Creator:
Warshaw, Isadore, 1900-1969  Search this
Container:
Box 7
Type:
Archival materials
Date:
circa 1867-1915
Scope and Contents note:
Including seven Centennial Exhibition views, one of Machinery Hall, published by Burr & Manley Dry Goods, Groceries and Clothing (Manchester Depot, Vt.); four miscellaneous subjects by Centennial Photographic Co.; one from the Massachusetts Charitable Mechanic Association Thirteenth Exhibition (1878); twenty-five views of the World's Columbian Exposition; one Pan-American Exposition; one Panama-California Exposition; two A.Y.P. Exposition; one Paris exposition; one Exposition Universelle; and two unidentified. See also: Agriculture, Animals, Bicycles, Birds, Boats and Boating, Bridges, Electricity, Foreign, Groups, Interiors, Louisi- ana, Machinery, Military, Monuments and Sculpture, Native Americans, New York and New York City, Oregon, Parades, Photography, Railroads
Series Restrictions:
Sears, Roebuck & Co. catalogs restricted due to fragile condition. Researchers should consult microfilm in NMAH library for 1880-1983 editions, drawer 692.
Series 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.
Series Citation:
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Warshaw Collection of Business Americana, Series 2: Other Collection Divisions
Warshaw Collection of Business Americana, Series 2: Other Collection Divisions / 2.5: Photographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0060-s02-ref1770

World Expositions

Series Creator:
Warshaw, Isadore, 1900-1969  Search this
Extent:
41 Items
Type:
Archival materials
Date:
circa 1867-1915
Scope and Contents note:
including seven Centennial Exhibition views, one of Machinery Hall, published by Burr & Manley Dry Goods, Groceries and Clothing (Manchester Depot, Vt.); four miscellaneous subjects by Centennial Photographic Co.; one from the Massachusetts Charitable Mechanic Association Thirteenth Exhibition (1878); twenty-five views of the World's Columbian Exposition; one Pan-American Exposition; one Panama-California Exposition; two A.Y.P. Exposition; one Paris exposition; one Exposition Universelle; and two unidentified
See also:
Agriculture, Animals, Bicycles, Birds, Boats and Boating, Bridges, Electricity, Foreign, Groups, Interiors, Louisi-ana, Machinery, Military, Monuments and Sculpture, Native Americans, New York and New York City, Oregon, Parades, Photography, Railroads
Series Restrictions:
Sears, Roebuck & Co. catalogs restricted due to fragile condition. Researchers should consult microfilm in NMAH library for 1880-1983 editions, drawer 692.
Series 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.
Series Citation:
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Warshaw Collection of Business Americana, Series 2: Other Collection Divisions
Warshaw Collection of Business Americana, Series 2: Other Collection Divisions / 2.6: Stereographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0060-s02-ref2130

El Movimiento de Arte y Cultura Latino Americana (MACLA), Organization, San Jose, California (see also: Hernandez, Ester; Photography)

Collection Creator:
Ybarra-Frausto, Tomás, 1938-  Search this
Extent:
(2 folders)
Container:
Box 20, Folder 1-2
Type:
Archival materials
Date:
circa 1992-2004
Scope and Contents note:
(membership and organization information; flyers; brochure; city of San Jose memos, re. proposed sculpture by Robert Graham, 11/03/1992, 08/20/1993; clippings; exhibition announcements; auction catalog; catalogs; newsletter, Spring 1998 and Fall 2002)
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
See more items in:
Tomás Ybarra-Frausto research material
Tomás Ybarra-Frausto research material / Series 1: Subject Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-ybartoma-ref1177

Extraño: Contemporary Photographers of Mexico (see also: Photography)

Collection Creator:
Ybarra-Frausto, Tomás, 1938-  Search this
Extent:
(exhibition announcement; catalog)
Container:
Box 10, Folder 49
Type:
Archival materials
Date:
1982
Collection Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Tomás Ybarra-Frausto research material, 1965-2004. Archives of American Art, Smithsonian Institution.
See more items in:
Tomás Ybarra-Frausto research material
Tomás Ybarra-Frausto research material / Series 1: Subject Files / Galería de la Raza/Studio 24, San Francisco, California (see also: Border Art Workshop; Carrasco, Barbara; Culture Clash; Kahlo, Frida; Mesa-Bains, Amalia; Montoya, José),
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-ybartoma-ref741

Division of Cultural History Lantern Slides and Stereographs

Creator:
Maertz, J.F., Department Store (Milwaukee, Wis.).  Search this
Stanley-Brown, Joseph, 1858-1941  Search this
Keystone View Company  Search this
Rau, William H.  Search this
Extent:
8 Cubic feet ((29 boxes))
Type:
Collection descriptions
Archival materials
Photographs
Stereographs
Lantern slides
Place:
Milwaukee (Wis.)
California
Date:
1887-1930
bulk 1900-1930
Summary:
Collection consists of lantern slides and stereographs produced by several companies: Keystone View Company, Better America Lecture Service, Incorporated, American Press Association, J. Stanley-Brown, William H. Rau, and J. F. Maertz Department Store. The lantern slides were primarily intended to be used for educational presentations about the United States, other countries, history, and society. Many of the slides and stereographs are accompanied by descriptive text and in some instances by small cards--one card for each slide--and in other instances directly on the back of a stereoview. The majority of images were taken from 1900 to 1930.
Scope and Contents:
The collection consists of lantern slides and stereographs primarily designed for use in audio-visual educational presentations about the United States, other countries, history, and society. Many of the slides and stereographs are accompanied by descriptive text. In some instances on small cards--one card for each slide-- and in other instances printed directly on the back of a stereoview. A few of the lantern slides, particularly the ones of the J. F. Maertz Department Store of Milwaukee, Wisconsin, are advertisements for consumer products. The majority were taken from 1890 through 1930. While the collection as a whole is in good general condition, some lantern slides, stereographs, and text cards are missing, and some of the lantern slides are cracked.

The collection will appeal to researchers examining the course of nineteenth-century social history broadly, especially how lantern slides were marketed to educators to teach geography, social studies, science, history and reading. The lantern slides as artifacts will be of interest to those who study material culture.

Series 1, Keystone View Company Lantern Slides and Stereographs, undated, is divided into seven subseries: Subseries 1, #1-#600, undated; Subseries 2, H-1 to H-300; Subseries 3, Biblical, undated; Subseries 4, Santa Barbara, California, undated; Subseries 5, Roads, undated; and Subseries 6, Miscellaneous, undated.

The series depicts scenes from around the United States and the rest of the world. Each image is intended to be characteristic of its location and in most cases is accompanied by a text card that describes the scene and gives the geographic coordinates (latitude and longitude) of the location. Many of the glass lantern slides have corresponding stereoviews and in these instances two box numbers are given.

Subseries 1, #1-#600, undated, is arranged in order by the numbers on the image. Views #1-261 are arranged in a rough geographic order beginning in Maine and proceeding down the Atlantic Coast, through the former Confederate states, into the Midwest and Plains states, the mountain West states and the West coast, and ending in the territories of Alaska and Hawaii and the Panama Canal. Views #262-346 begin in eastern Canada, proceed across Canada and move through Mexico and Central America into the Caribbean, thence the length of South America and the Antarctic. Views #347-554 begin in the British Isles and move through Northern and Southern Europe and into Central Europe and then Russia, the Middle East, South Asia, and the Far East. Views #556-592 begin in North Africa and cover the length of the continent and a few areas in the Pacific. The series concludes with views of several planets, President McKinley reviewing Civil War heroes (1899), and the work of a Mexican artist (1900).

Subseries 2, H-1 to H-300, undated, is arranged in order by the numbers on the image. H-1 to H-258 depict scenes and sites of American history beginning with several images of indigenous peoples and proceeding, roughly chronologically, through major events and locations to about 1925. Images H-259 to H-300 document a range of localities and activities across the country in the mid-1920s, including major buildings in Washington, D.C., industrial activities, and modern agricultural practices.

Subseries 3, Biblical, undated, shows religious art works and rural scenes.

Subseries 4, Santa Barbara, California, undated, contains two images. One is pastoral with a Franscican friar, the other a fountain.

Subseries 5, Roads, undated, includes three images of roads, one with a person on horseback, the other two depicting wagons.

Subseries 6, Miscellaneous, undated, contains lithoprint stereographs, each with a short description, depicting scenes such as landmarks in the United States; news events in the late nineteenth and early twentieth centuries; warfare; domestic scenes and scenes of foreign countries.

Series 2, Hillis Better America Lecture Service lantern slides, undated, is divided into 12 subseries: Subseries 1, Ability Lecture Slides, undated; Subseries 2, Bolshevism Lecture Slides, undated; Subseries 3, Builders Lecture Slides, undated; Subseries 4, Equality Lecture Slides, undated; Subseries 5, Fathers Lecture Slides, undated; Subseries 7, General Lecture Slides, undated; Subseries 8, Poverty Lecture Slides, undated; Subseries 9, Property Lecture Slides, undated; Subseries 10, Republic Lecture Slides, undated; Subseries 11, Socialism Lecture Slides, undated; and Subseries 12, Miscellaneous Lecture Slides, undated.

This series consists of lantern slides produced by Newell Dwight Hillis' Better America Lecture Service Incorporated. Newell Dwight Hillis (1858-1929), was a noted clergyman, lecturer and author. The Better American Lecture Service sought to make better Americans and to inspire greater loyalty to American institutions. Better America Lecture Service rented the lecture manuscript and slides to churches, societies, schools, and patriotic organizations. Slides were sent in a tin box and contained suggestions for publicity arrangements. (Nevada Educational Bulletin, December 1920).

Hillis published more than twenty volumes including collections of his sermons, inspirational works, and a novel. In addition, many of Hillis addresses were published and distributed as pamphlets. The slides were intended to be used for lectures on subjects such as socialism and equality. The slides generally consist of text, drawings, images of persons, paintings, and landscapes. A few slides in each set are missing, and there is no text accompanying any of the slides. The series is arranged into twelve subseries alphabetically by topic.

Series 3, American Press Association lantern slides, undated, is divided into ten subseries: Subseries 1, General Images, undated; Subseries 2, Coffins and soliders, undated; Subseries 3, Mexican War, undated; Subseries 4, Niagara Falls Conference, undated; Subseries 5, Pancho Villa and Major Gonzales, undated; Subseries 6, Parade, undated; Subseries 7, Refugees, undated; Subseries 8, Warships, undated; Subseries 9, West Virginia Mine Explosion, undated; and Subseries 10, Women March for Votes (Suffrage), undated.

The series consists of lantern slides from the American Press Association depicting news events from early twentieth century history (e.g., Mexican War; Ludlow Colorado strike; suffragettes; Gettysburg veterans; various ship disasters). Each slide has a caption with a brief description of the scene. Many slides are cracked; one is completely broken and is in a folded paper. There are also approximately fifty slides with scenes of events associated with the Mexican-American War, most with short captions identifying the scenes. Many of these slides are cracked.

Series 4, J. F. Maertz Department Stores advertisement lantern slides, early 1920s, is divided into thirteen subseries: Subseries 1, Bathrooms, undated; Subseries 2, Children's shoes and clothing, undated; Subseries 3, Dress goods, undated; Subseries 4, Dress patterns, undated; Subseries 5, Hosiery, undated; Subseries 6, House furnishings, undated; Subseries 7, House wares, undated; Subseries 8, Ladies' Home Journal, undated; Subseries 9, Shoes, undated; Subseries 10, Store advertising, undated; Subseries 11, Underwear, undated; Subseries 12, Women's clothing, undated; and Subseries 13, Miscellaneous, undated.

The series consists of lantern slides showing advertisements used in J.F. Maertz Department Store catalogs for consumer goods. Slides are categorized by type of goods, including children's shoes and clothes, bathroom needs, dress patterns, men's wear, shoes, house furnishings, house wares, Ladies' Home Journal, and underwear.

Series 5, J. Stanley-Brown and E. H. Harriman lantern slides, undated, is divided into nineteen subseries: Subseries 1, Alaska-California scenes, undated; Subseries 2, Animal life, undated; Subseries 3, Artifacts, undated; Subseries 4, California/Franciscan life, undated; Subseries 5, California Indians, undated; Subseries 6, California mission exteriors, undated; Subseries 7, California mission interiors, undated; Subseries 8, Eskimos,undated; Subseries 9, Franciscans, undated; Subseries 10, Indians, undated; Subseries 11, Landscapes, undated; Subseries 12, Maps, undated; Subseries 13, Mission interiors, undated; Subseries 14, Seascapes, undated; Subseries 15, General images (#1-7;10), undated; Subseries 16, General images (#11-14; 16-17; 19-20), undated; Subseries 17, General images (#21-30), undated; Subseries 18, General images (#31-33; 36-40), undated; and Subseries 19, General images (#42; 45-50), undated.

The series contains lantern slides, each labeled with the names of distributors, "J. Stanley-Brown, 1318 Massachusetts Avenue, Washington, D.C. and E.H. Harriman, 1 East, 55th Street, New York." The slides, some with captions, depict maps; landscapes; seascapes; Eskimos; animal life; Franciscan dwellings; Indians of California; California missions and Franciscan life. There are slides depicting various scenes of California missions and scenes of indigenous Alaskans. Some slides are cracked.

Series 6, Miscellaneous Stereographs, 1894-1907, is divided into seventeen subseries: Subseries 1, American Series, 1887; Subseries 2, C.H. Graves Publisher, 1907; Subseries 3, Griffith and Griffith, 1894; Subseries 4, Pesko Binocular Company, 1907; Subseries 5, William H. Rau Publisher,undated; Subseries 6, Domestic scenes,undated; Subseries 7, Military, undated; Subseries 8, Miscellaneous, undated; Subseries 9, Places--Asia, undated; Subseries 10, Places--Cuba, undated; Subseries 11, Places--Egypt, undated; Subseries 12, Places--France, undated; Subseries 13, PLaces--Germany, undated; Subseries 14, Places--Italy, undated; Subseries 15, Places--Monte Carlo, undated; Subseries 16, Places-- Palestine, undated; and Subseries 17, Places--United States, undated.

The series consists of lantern slides and stereoviews from distributors that include the American Series; Griffith and Griffith; Pesko Binocular Company; William H. Rau Publisher; and the Universal Photo Art Company.

The stereographs related to domestic and military issues and geography are dated circa 1905, and copyrighted by H. C. White, and distrbuted by World Series.

The stereo views produced by William H. Rau, a publisher in Philadelphia, Pennsylvania, show parades and other ceremonies at Grand Army of the Republic (GAR) encampments and Elks conventions held in Philadelphia. The Grand Army of the Republic (GAR) was a fraternal organization composed of veterans of the Union Army who served in the American Civil War.
Arrangement:
The collection is divided into six series.

Series 1: Keystone View Company Lantern Slides and Stereographs, undated

Subseries 1, #1-#600, undated

Subseries 2, H-1 to H-300, undated

Subseries 3, Biblical, undated

Subseries 4, Santa Barbara, California, undated

Subseries 5, Roads, undated

Subseries 6, Miscellaneous, undated

Series 2: Hillis Better America Lecture Service Lantern Slides, undated

Subseries 1, Ability Lecture Slides, undated

Subseries 2, Bolshevism Lecture Slides, undated

Subseries 3, Builders Lecture Slides, undated

Subseries 4, Equality Lecture Slides, undated

Subseries 5, Ftahers Lecture Slides, undated

Subseries 7, General Lecture Slides, undated

Subseries 8, Poverty Lecture Slides, undated

Subseries 9, Property Lecture Slides, undated

Subseries 10, Republic Lecture Slides, undated

Subseries 11, Socialism Lecture Slides, undated

Subseries 12, Miscellaneous Lecture Slides, undated

Series 3: American Press Association Lantern Slides, undated

Subseries 1, General Images, undated

Subseries 2, Coffins and Soliders, undated

Subseries 3, Mexican War, undated

Subseries 4, Niagara Falls Conference, undated

Subseries 5, Pancho Villa and Major Gonzales, undated

Subseries 6, Parade, undated

Subseries 7, Refugees, undated

Subseries 8, Warships, undated

Subseries 9, West Virginia Mine Explosion, undated

Subseries 10, Women March for Votes (Suffrage), undated

Series 4: J. F. Maertz Department Store Advertisement Lantern Slides, early 1920s

Subseries 1, Bathrooms, undated

Subseries 2, Children's shoes and clothing, undated

Subseries 3, Dress goods, undated

Subseries 4, Dress patterns, undated

Subseries 5, Hosiery, undated

Subseries 6, House furnishings, undated

Subseries 7, House wares, undated

Subseries 8, Ladies' Home Journal, undated

Subseries 9, Shoes, undated

Subseries 10, Store advertising, undated

Subseries 11, Underwear, undated

Subseries 12, Women's clothing, undated

Subseries 13, Miscellaneous, undated

Series 5, J. Stanley-Brown and E.H. Harriman lantern slides, undated

Subseries 1, Alaska-California scenes, undated

Subseries 2, Animal life, undated

Subseries 3, Artifacts, undated

Subseries 4, California/Franciscan life, undated

Subseries 5, California Indians, undated

Subseries 6, California mission exteriors, undated

Subseries 7, California mission interiors, undated

Subseries 8, Eskimos, undated

Subseries 9, Franciscans, undated

Subseries 10, Indians, undated

Subseries 11, Landscapes, undated

Subseries 12, Maps, undated

Subseries 13, Mission interiors, undated

Subseries 14, Seascapes, undated

Subseries 15, General images (#1-7;10), undated

Subseries 16, General images (#11-14; 16-17; 19-20), undated

Subseries 17, General images (#21-30), undated

Subseries 18, General images (#31-33; 36-40), undated

Subseries 19, General images (#42; 45-50), undated

Series 6: Miscellaneous Stereographs, 1887-1907

Subseries 1, American Series, 1887

Subseries 2, C.H. Graves Publisher, 1907

Subseries 3, Griffith and Griffith, 1894

Subseries 4, Pesko Binocular Company, 1907

Subseries 5, William H. Rau Publisher, undated

Subseries 6, Domestic scenes, undated

Subseries 7, Military, undated

Subseries 8, Places-Asia, undated

Subseries 9, Places-Cuba, undated

Subseries 10, Places-Egypt, undated

Subseries 11, Places-France, undated

Subseries 12, Places-Germany, undated

Subseries 13, Places-Italy, undated

Subseries 14, Places-Monte Carlo, undated

Subseries 6.15, Palestine, undated

Subseries 6.16, Places-United States, undated

Subseries 6.17: Miscellaneous, undated

Series 7: Miscellaneous Lantern Slides, undated
Historical:
Lantern slides are hand-drawn, painted, or photographic images on glass, intended for viewing by projection; often made in sets. Photographic lantern slides were introduced in the United States by 1850 and popular through World War I; commonly 3.25 x 4 in. (9 x 10 cm.) with a black paper mask, a cover glass, and taped edges. Thesaurus of Graphic Materials

Stereographs consist of two nearly identical photographs or photomechanical prints, paired to produce the illusion of a single three-dimensional image, usually when viewed through a stereoscope. Typically, the images are on card mounts, but they take the form of daguerreotypes, glass negatives, or other processes. Stereographs were first made in the 1850s and are still made today. They were most popular between 1870 and 1920.

In 1851 stereo daguerreotypes were exhibited for the first time to the general public at the London International Exhibition (Crystal Palace). Shortly thereafter, American photographers began making stereographs. One of the first American photographic firms to produce stereographs was the team of William and Frederick Langenheim. The Library owns a set of their early stereoviews of American cities on the East Coast.

By 1860 both amateur photographers and publishing firms were making stereographs. The major stereo publishers sold their views by mail order, door-to-door salesmen, and in stores. Stereographs were sold individually and in boxed sets.

Stereographs are usually mounted. They were typically published with caption information printed under the image or on the back of the mount. The mount also provided information about the publisher, photographer, and sometimes the series or a list of views available from the photographer or publisher.

Stereographs were collected by many middle-class families in the late 19th century. People acquired stereographs of tourist sites they had visited, as well as exotic locales that they would only experience through the wonder of the stereoscope. Viewing stereographs was a common activity, much like watching television or going to the movies today. Stereoviews were also used as an education tool in classrooms. (Library of Congress, Prints and Photographs Online Catalog, Stereograph Format)

The Division of Cultural History at the National Museum of American History assembled a collection of miscellaneous lantern slides and stereographs beginning in 1943. Other collection contents were acquired over many years in unrecorded transactions.

Several distributors and publishers of stereographic images are represented in the collection. One of the most prominent was the Keystone View Company of Meadville, Pennsylvania. Founded by Benneville Lloyd Singley (d.1938), a former Underwood & Underwood salesman, Keystone became a major distributor of stereographic images. From 1892 through 1963 it produced and distributed both educational and comic/sentimental stereoviews and stereoscopes used to see the images in 3-D. By 1905 it was the world's largest stereographic company. In 1963 Department A (stereoviews sold to individual families) and the education departments were closed, but Keystone continued to manufacture eye-training stereographic products as a subsidiary of Mast Development Company. In 1972 Mast closed the Meadville manufacturing site.

All of Keystone's manufacturing was done in Meadville, but branch offices were in New York, St. Louis, San Francisco, Portland, Oregon, Chicago, Toronto, Canada and London, England. Salesmen and photographers were scattered around the world, and the company offered 20,000 different views.

Selling stereoviews and lantern slides to schools was a field pioneered by Underwood & Underwood, and for several years Underwood & Underwood and Keystone were competitors for the growing educational market. According to the 1953 Keystone Sales Manual the more aggressive sales methods and the more progressive editorial policies of the Keystone View Company soon made it the acknowledged leader in the industry, and Underwood & Underwood decided to give up the contest.

Between 1915 and 1921 Keystone View Company purchased the negatives of nearly all of its competitors. They also continued to have staff photographers travel the world, so that by 1935 Keystone had approximately two million stereoscopic negatives.

Keystone View Company produced stereographic sets up through the mid-twentieth century, and had a stereoscopic photographer on staff until at least 1955.

References

Thesaurus of Graphic Materials, (2007), http://www.loc.gov/rr/print/tgm1/ (accessed February 10, 2011).

Library of Congress, Prints and Photographs Online Catalog, Stereograph Format, http://www.loc.gov/pictures/collection/stereo/background.html (accessed February 14, 2011).
Related Materials:
Materials in the Archives Center, National Museum of American History

Underwood & Underwood Glass Stereograph Collection, 1895-1921, (AC0143)

Other Institutions with Materials

University of California, Riverside/California Museum of Photography

George Eastman House

Temple University

Brooklyn Historical Society
Provenance:
Donated to the Department of Anthropology, United States National Museum by Mrs. Joseph Stanley-Brown, through Mrs. Herbert Feis, in 1943.

The Division of Cultural History (now Division of Cultural and Community Life) at the National Museum of American History assembled a collection of miscellaneous lantern slides and stereographs beginning in 1943. Other collection contents were acquired over many years in unrecorded transactions. An unknown portion of the collection transferred to the Archives Center, date unknown.
Restrictions:
Collection open for research on site by appointment. Unprotected lantern slides and stereographs must be handled with gloves.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Reproduction permission from Archives Center: reproduction fees may apply.
Genre/Form:
Photographs -- Black-and-white photoprints -- Stereographs -- 1900-1950
Stereographs -- 1900-1910
Photographs -- Lantern slides -- 1900-1950
Lantern slides
Citation:
Division of Cultural History Lantern Slides and Stereographs, dates, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0945
See more items in:
Division of Cultural History Lantern Slides and Stereographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0945
Online Media:

George W. Sims Papers

Collector:
Community Life, Div. of (NMAH, SI)  Search this
National Anthropological Archives  Search this
Community Life, Div. of (NMAH, SI)  Search this
National Anthropological Archives  Search this
Author:
Sims, George W.  Search this
Extent:
5 Cubic feet (22 boxes)
Type:
Collection descriptions
Archival materials
Photographs
Manuscripts
Audiotapes
Scrapbooks
Slides (photographs)
Place:
Carmel (Calif.)
Panama Canal (Panama)
California
Date:
1896-1981.
Summary:
Collection documents Sims's activities as a traveler and his interest in historic restoration. It includes forty-one notebooks, 6,000 color slides, a smaller number of photographic prints, forty-one stereo view cards, and three boxes of personal papers and ephemera. While some images are personal, the majority form a documentary record of various subjects and places and provide biographical information on Sims.
Scope and Contents:
These papers document Sims's activities as a traveler and his interest in historic restoration. They consist of forty-one notebooks, Series 1-4; and three boxes, Series 5-9, of personal papers and ephemera. Series 5-7 are particularly valuable for biographical information. Series 10 includes 6,000 color slides, a smaller number of photographic prints, and forty-one stereo view cards. The total volume of the collection is approximately eleven linear feet.

The notebooks cover the years 1896, 1908-1913, 1918, and 1934-1976. The notebooks are written in a documentary styles that is enhanced by literary touches and perceptive details. The subjects include visits to several national parks, the Boronda adobe, and travel on most continents.

The 6,000 35mm slides that Sims took between 1944 and 1976 portray the use of the automobile in travel, national and international touring, and family travel. They are organized by either trip or location. They document his collecting, research, and restoration interests, and complement his written and artistic work. In technique, Sims's photographs are at least a cut above amateur photography. The slides remain in the order in which the Archives Center received them. In some cases they are organized, captioned, and numbered as a slide program. In other cases, while they are captioned they are not part of a specific slide program that Sims organized. Usually the identification in the Detailed Container List represents Sims' s own captions, which have been copied from the slide sleeves.

While some images are personal, the majority form a documentary record of various subjects and places. All the slides are dated and labeled or captioned, either on box inserts or on the slides themselves. The slides are generally organized by trip. Of particular interest is the documentation of Sims's restoration of the Boronda adobe. These slides are well captioned and show the step by step process.

The slides include many early Kodachromes from the 1940s in excellent condition. These represent the few examples of this type in the Museum. Although these slides are not extraordinarily rare, they are a very early example of the color process.

There are also black and white prints and a few color prints. Some of these document an automobile trip along the California coast in the 1930s. All the black-and-white prints portray the photographer for Sims's concern to document his travels adequately and in a meaningful way.

The three document boxes of supplemental material includes articles, correspondence (for example, a letter to Sims from the Henry Ford Museum thanking him for donating an oral history of a motoring trip he had taken), business cards, certificates of achievement, hotel ephemera, news clippings (Series 12), published travel accounts, printed travel brochures, and audio tapes (Series 11), in which Sims recounts many of his trips over the years. This material is valuable because it provides biographical information on Sims. It also may be useful for exhibits and research. Much of the material—the hotel ephemera and the printed travel brochures and accounts—is similar to ephemera in the Warshaw Collection.

Sims's photographs are similar in content to two other collections in the Archives Center. The Clyde W. Stauffer Family Photographic Album portrays family automobile trips across the United States between 1935 and 1940. The Donald Sultner Welles Collection of travel slides documents locations throughout the United States and around the world.
Arrangement:
The collection is divided into 12 series.

Series 1:Notebooks, 1896-1975

Series 2: Political Notes, 1964-1976

Series 3: Comments on Vietnam, 1954-1975

Series 4: Moon Landings, 1969-1976

Series 5: Scrapbooks, 1896-1981, undated

Series 6: Correspondence, 1920-1987

Series 7: Biography, 1911-1938

Series 8: Published Material, 1927-1966

Series 9: Artifacts, 1913-1937

Series 10: Photographs, circa 1936-1962

Series 11: Audio Materials

Series 12: Newsclippings, undated
Historical:
Boronda Adobe

In 1946 George W. Sims purchased the old Boronda adobe in the Carmel Valley of California, and over the next ten years he restored it.

The Boronda adobe was built above the Carmel River in 1832 by José Manuel Boronda on his 7,000 acre Rancho de Los Laureles land grant. José was the son of Don Manuel Boronda, the first schoolteacher in California. José was married to Juana Cota of Santa Barbara. The sixty-four foot long house has adobe walls twenty-seven inches thick and hand-hewn redwood beams. Senor and Senora Boronda lived there with their fifteen children. It was in this house that Senora Boronda reputedly made a new cheese much liked by her neighbors and today known as Monterey Jack cheese. She eventually produced enough to sell to the surrounding community.

The Boronda family sold the ranch and adobe to Nathan W. Spaulding in the late 1860s or early 1870s. He was a mayor of Oakland, California. The next owner was the Pacific Improvement Company in the early 1880s, the forerunner of Del Monte Properties Company. A small cheese factory was built to commercialize the product under the name "Monterey Jack." Nevertheless, the adobe eventually became abandoned as a house. Before Sims purchased it the adobe was used as a shelter for dairy cows.

Sims plastered the outside walls to protect the soft adobe bricks and whitewashed the interior walls. The original dirt floor was covered with a floor of two-inch clear, heart redwood, random planks. It slopes downhill as does the roof of the house. The entire house follows the topography of the site. Sims left several cables stretching across the crudely raftered ceiling to support the walls.

Sims reroofed the house with one hundred year old roof tiles from the old Vasquez adobe in Monterey, California. He also constructed a workshop on the cement foundation of the old cheese factory and milk barn, added a carport, and built a fence protected patio of the Mexican type, adjacent to a Spanish garden with gravel paths. The patio walls were made of adobe created from Carmel Valley soil.

The first floor of the adobe consists of a long living room, a kitchen, a bedroom, and a bath. An inside staircase was added and leads to the second floor living room, two bedrooms, and a bath. All of the rooms on the main floor are on a different level. The kitchen at one end of the house is thought to date to the 1790s when the land belonged to the Carmel Mission.
Biographical / Historical:
George W. Sims (1896-1986) was a tax lawyer, certified public accountant, world traveler, and collector of pre-Columbian objects. He spent his childhood in Fairfax County, Virginia. At age seventeen he began the study of law at the Washington College of Law (now American University), and worked at night as a telephone company traffic manager. He was employed as a clerk in the Panama Canal Zone by the Panama Railroad Company, Commissary Branch, from 1915-1916. Sims left Washington, DC, because he needed money for school and received a better salary in Latin America. "The pay was 25% higher there [Panama] than in the U.S.A., because the risks of Yellow Fever were great, and work and living conditions less satisfactory than at home." (Box 8, folder 6) This was the first of his many trips to other countries. He then returned to Washington and graduated from law school.

Between 1918-1919 he served as sergeant first class in the aviation section of the Signal Corps. He was stationed for a time at the Vichy (France) Hospital Center, a part of the United States Base Army Hospital, No. 115. After the war Sims did graduate work in accounting at Benjamin Franklin University in the District of Columbia, studying at night. During the day he worked in the Navy Department's communications section.

In 1919 Sims and a few friends traveled west on one of the early automobile trips across the United States. In July he visited Fresno, California. He returned that same year to Washington, DC, and "made plans for making the West (and Fresno) his permanent home." In January, 1924, Sims returned with his wife to fulfill those plans and thus began his long time love affair with the West and California." (Scrapbooks: Vol. 38, Box 8, folder 2)

After his first wife Katherine died in 1946, Sims spent much time on world cruises. His destinations included North, South, and Central America, Eastern and Western Europe, Africa, Asia, and the Pacific Islands. Between 1946 and 1956 he also purchased and restored the 1832 Boronda adobe in Carmel, California.

Sims married Emma Marenchin Sims on her birthday November 2, 1971 in Santa Barbara, California. Prior to her marriage Mrs. Sims (1914-? ) worked in the public health field after graduating from Western Reserve University in Cleveland. She remarked, "My world opened up when I married George." Sims died in 1986.
Provenance:
Collection donated by George W. Sims, January 10, 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.
Topic:
Travel photography  Search this
Adobe houses  Search this
Pre-Columbian objects  Search this
Vichy France  Search this
Audio tapes  Search this
Genre/Form:
Photographs -- 20th century
Manuscripts
Audiotapes
Scrapbooks -- 20th century
Slides (photographs) -- 1950-2000
Photographs -- Phototransparencies -- 20th century
Citation:
George W. Sims Papers, 1896-1981, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0127
See more items in:
George W. Sims Papers
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0127
Online Media:

Head of an Italian Girl

Maker:
Weston, Edward  Search this
Physical Description:
paper (overall material)
Measurements:
overall: 23.8 cm x 18.7 cm; 9 3/8 in x 7 3/8 in
Object Name:
Photograph, Platinotype
platinum print
Date made:
1921
ID Number:
PG.003617
Catalog number:
3617
Accession number:
69551
See more items in:
Work and Industry: Photographic History
Edward Weston
Photography
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ac-0708-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1322542
Online Media:

Jancar Gallery records

Creator:
Jancar Gallery  Search this
Names:
Jancar/Kuhlenschmidt Gallery  Search this
Alf, Martha, 1930-  Search this
Chicago, Judy, 1939-  Search this
Cumming, Robert, 1943-  Search this
Day, Linda  Search this
Duane, Hildegarde  Search this
Hebrun, Micol  Search this
Jancar, Tom, 1950  Search this
Jones, Mary, 1953-  Search this
Korman, Harriet  Search this
Kuhlenschmidt, Richard  Search this
Meyer, Melissa  Search this
Mogul, Susan  Search this
Newton, Richard, 1948  Search this
Segalove, Ilene, 1950-  Search this
Thibeault, Marie  Search this
Extent:
2.5 Linear feet
23.8 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Electronic records (digital records)
Photographs
Sound recordings
Video recordings
Date:
circa 1972-2015
bulk 2006-2015
Summary:
The records of Jancar Gallery, located in Los Angeles, California, measure 2.5 linear feet and 23.80 GB and date from circa 1972 to 2015, with the bulk of the papers dating from 2006 to 2014. The collection includes exhibition and artist files; administrative and financial records; printed and digital material; and records of the Jancar/Kuhlenschmidt Gallery.
Scope and Contents:
The records of Jancar Gallery, located in Los Angeles, California, measure 2.5 linear feet and 23.80 GB and date from circa 1972 to 2015, with the bulk of the papers dating from 2006 to 2014. The collection includes exhibition and artist files; administrative and financial records; printed and digital material; and records of the Jancar/Kuhlenschmidt Gallery.

Exhibition and artist files make up the bulk of the collection. They include artist resumes; artist statements; exhibition planning materials; slides and photographs of work; exhibition announcements and catalogs; price lists; consignment agreements; correspondence; clippings; and digital media such as digital photographs and videos. Also included are materials related to the "narratives of the perverse" exhibition (circa 2008) and materials related to the gallery's exhibition history.

Artists documented within the exhibition and artist files include Martha Alf, Judy Chicago, Robert Cumming, Linda Day, Hildegarde Duane, Micol Hebron, Mary Jones, Harriet Korman, Melissa Meyer, Susan Mogul, Richard Newton, Ilene Segalove, and Marie Thibeault, among others.

Administrative and financial records include mailing list materials, invoices and agreements, and digital records.

The printed materials include exhibition announcements, exhibition catalogs, exhibition posters, clippings, and ephemera.

Also found in this collection is a selection of Tom Jancar's records related to the Jancar/Kuhlenschmidt Gallery, which Tom Jancar operated in Los Angeles with Richard Kuhlenschmidt from 1980 to 1982. These records are primarily administrative/financial records and printed material, and also include a file on artist David Askevold; some records are in digital format.
Arrangement:
The collection is arranged as four series.

Series 1: Exhibition and Artist Files, circa 1972-2015, bulk 2006-2015 (Box 1; 1 linear foot, ER01-ER46; 21.34 GB)

Series 2: Administrative and Financial Records, circa 1980s, 2006-2014 (Box 2; 0.3 linear feet, ER47-ER48; 0.128 GB)

Series 3: Printed and Digital Material, 2005-2014 (Box 2; 0.4 linear feet, OV 4, OV 5; ER49-ER52; 0.239 GB)

Series 4: Records of the Jancar/Kuhlenschmidt Gallery, circa 1977-1982 (Boxes 2-3; 0.6 linear feet, OV 6; ER53-ER56; 2.09 GB)
Biographical / Historical:
The Jancar Gallery (established 2006-closed 2016) was a Los Angeles, California art gallery operated by Tom Jancar. The gallery opened in a building on Wilshire Boulevard before relocating to its Chinatown location on Chung King Road in the summer of 2008. Jancar Gallery did not specialize in any particular kind of art, exhibitions included collage, painting, photography, sculpture, multimedia installation, etc., but it showed predominantly women artists for much of the time it was open. In a short 2014 interview with Christine Palma (possibly at the Photo LA art expo), Tom Jancar gives the statistic as 70-80% female artists showing at the gallery.

Tom Jancar has a BA in art history and an MFA in studio art from the University of California, Irvine. In 1980, he and Richard Kuhlenschmidt opened the Jancar/Kuhlenschmidt Gallery. That gallery closed in 1982. In 2006, he opened Jancar Gallery, which he operated until it closed in 2016.
Related Materials:
The Archives of American Art also holds the Richard Kuhlenschmidt Gallery records, 1980-1992. This collection includes materials related to the Jancar/Kuhlenschmidt Gallery.
Provenance:
The Jancar Gallery records were donated to the Archives of American Art by Tom Jancar.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of born-digital records with no duplicate access copies requires advance notice.
Topic:
Women artists  Search this
Function:
Art galleries, Commercial -- California
Genre/Form:
Electronic records (digital records)
Photographs
Sound recordings
Video recordings
Citation:
Jancar Gallery records, circa 1972-2015, bulk 2006-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.jancgall
See more items in:
Jancar Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-jancgall
Online Media:

Patricia Jordan papers

Creator:
Jordan, Patricia M., 1937-1989  Search this
Names:
Anger, Kenneth  Search this
Beattie, Paul, 1924-1988  Search this
Berman, Wallace, 1926-1976  Search this
Brakhage, Stan  Search this
Cornell, Joseph  Search this
Duncan, Robert Edward, 1919-  Search this
Herms, George, 1935-  Search this
Jess, 1923-  Search this
Jordan, Larry, 1934-  Search this
Snyder, Gary, 1930-  Search this
Extent:
2.4 Linear feet
Type:
Collection descriptions
Archival materials
Illustrated letters
Mail art
Photographs
Date:
1870
1949-1984
Summary:
The papers of San Francisco based Beat photographer Patricia Jordan measure 2.3 linear feet and date from 1870, 1949-1984. The papers include correspondence, much of it illustrated and with Beat artists and poets, writings, exhibition files, printed materials, photographs, and artwork.
Scope and Contents:
The papers of San Francisco based Beat photographer Patricia Jordan measure 2.3 linear feet and date from 1870, 1949-1984. The papers include correspondence, much of it illustrated and with Beat artists and poets, writings, exhibition files, printed materials, photographs, and artwork.

About one-half of the collection consists of correspondence; many items of which could be considered works of art or mail art. There are letters, illustrated letters, photographs, collages, postcards, greeting and holiday cards, and exhibition invitations. Letters are addressed to Patricia Jordan, her husband Larry, and/or daughter Lorna and are from family and friends, including many Beat artists and poets such as Kenneth Anger, Steve Arnold, Paul Beattie, Wallace Berman, Stan Brakhage, Jess Collins, Joseph Cornell (with whom Larry Jordan studied in 1965), Robert Duncan, George Herms, and Gary Snyder. Family letters are from Patricia's parents, sisters, daughter, and husband Larry.

The papers contain a large number of photographs and are primarily portraits taken by Patricia Jordan of friends and family including her husband Larry, daughter Lorna, Geroge Herms, and Wallace Berman. Many of the subjects are not identified. Some photographs are candid snapshots, while others are prints and test prints of images featured in the 1975 exhibition, "A Kind of Beatness," at Focus Gallery in San Francisco.

The remainder of the collection is comprised of scattered writings, exhibition files, printed material, and artwork.
Arrangement:
The collection is arranged as 6 series

Series 1: Correspondence, circa 1950-1977 (1.1 linear feet; Box 1, OV 4)

Series 2: Writings, circa 1959-1970s (0.1 linear foot; Box 2)

Series 3: Exhibition Files, 1962-1978 (0.1 linear foot; Box 2)

Series 4: Printed Material, circa 1920-1984 (0.2 linear feet; Box 2)

Series 5: Photographs, circa 1870-1970s (0.7 linear feet; Box 2-3)

Series 6: Artwork, 1949-circa 1970s (0.2 linear feet; Box 2-3)
Biographical / Historical:
Patricia Jordan (1937-1988) was a photographer and integral part of the Beat circle in San Francisco during the late 1950s and 1960s. Through her photography, she captured intimate portraits of the artists and poets in San Francisco at that time. Patricia Jordan, née Topalian, married Larry Jordan, assemblagist and avant-garde filmmaker, in the late 1950s. They lived in San Francisco, Larkspur, and finally settled in San Anselmo, California. Patricia and Larry Jordan had one daughter, Lorna, born in 1960.
Provenance:
Patricia Jordan donated her papers to the Archives of American Art in 1988.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. 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.
Topic:
Photographers -- California -- San Francisco  Search this
Women artists  Search this
Beat generation  Search this
Genre/Form:
Illustrated letters
Mail art
Photographs
Citation:
Patricia Jordan papers, 1870, 1949-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.jordpatr
See more items in:
Patricia Jordan papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-jordpatr
Online Media:

Mark Green papers

Creator:
Green, Mark L., 1932-2004  Search this
Names:
Nanny Goat Hill Gallery (San Francisco, Calif.)  Search this
Albright, Thomas  Search this
Berman, Shirley  Search this
Berman, Wallace, 1926-1976  Search this
Coppola, Francis Ford, 1939-  Search this
DeFeo, Jay, 1929-1989  Search this
Eisenlord, William J., 1926-1997  Search this
Ferlinghetti, Lawrence  Search this
Frankenstein, Alfred V. (Alfred Victor), 1906-1981  Search this
Ginsberg, Allen, 1926-  Search this
Hull, Leonard  Search this
Johnson, Robert E. (Robert Emory), 1932-  Search this
Kauffman, Bob  Search this
Kerouac, Jack, 1922-1969  Search this
Kessler, Chester  Search this
Mitchell, J. Oliver  Search this
Rauschenberg, Robert, 1925-2008 -- Photographs  Search this
Rennie, Helen J., 1906-1989  Search this
Rigney, Francis J. (Francis Joseph), 1923-  Search this
Stauber, Jerome  Search this
Taylor, Edward Silverstone  Search this
Whalen, Philip  Search this
Extent:
1.1 Linear feet
Type:
Collection descriptions
Archival materials
Writings
Photographs
Date:
1954-1991
bulk 1954-1978
Summary:
The papers of San Francisco Beat era photographer, journalist, and poet Mark Green consist of correspondence, biographical information, photographs, Nanny Goat Hill Gallery exhibition announcements, printed materials, and exhibition files for "Rolling Renaissance" (1968) and "A Kind of Beatness: Photographs of a North Beach Era, 1950-1965" (1975) exhibitions that Green helped to organize. Photographs by Mark Green are of notable figures and places in the Beat movement, including Allen Ginsberg, Robert Rauschenberg, and Clyfford Still, as well as photographs by others of Lawrence Ferlinghetti, Mark Green, and Jack Kerouac among others.
Scope and Content Note:
The papers of San Francisco Beat photographer, journalist, and poet Mark Green consist of biographical information, correspondence, exhibition files, printed materials, scattered writings, and photographs. Photographs by Mark Green are of notable figures and places in the Beat movement, including Allen Ginsberg, Robert Rauschenberg, and Clyfford Still, as well as photographs by others of Lawrence Ferlinghetti, Mark Green, and Jack Kerouac among others.

One folder of correspondence includes letters from Jay DeFeo, Wallace and Shirley Berman, and Robert Emory Johnson. Exhibition files are found for two Beat exhibitions that Mark Green assisted in organizing: "Rolling Renaissance", 1968 and "A Kind of Beatness: Photographs of a North Beach Era, 1950-1965", 1975. Exhibition files contain correspondence, photographs of work exhibited and installation views, clippings, announcements and catalogs. Photographs are of Thomas Albright, Francis Ford Coppola, Allen Ginsberg, Leonard Hull, Robert Emory Johnson, Bob Kauffman, J. Oliver Mitchell, Francis Rigney, Jerome Stauber, and Edward Silverstone Taylor. Correspondents include include Thomas Albright, Wallace Berman, Bill Eisenlord, Alfred Frankensten, Allen Ginsberg, Helen Johnson of the Focus Gallery, Robert Emory Johnson, Chester Kessler, and Philip Whalen.

Mark Green's writings include a history of the Nanny Goat Hill Gallery, a statement about his photography, and various notes.

Printed materials consist of clippings, exhibition announcements for the San Francisco area and Nanny Goat Hill Gallery, and comic books.

The series of photographs is particularly rich due to Green's thoughtful and informative reflections written on the back of many of the photographs. The majority of the photographs identify the photographer, sitter, date, and place. Many times, Green included his own recollections of the particular sitter or photographer as well. In addition to photographs of Mark Green, there are photographs taken by Green and others of important Beat Movement figures. There are also photographs of beatnick "hot-spots" including the Co-Existence Bagel Shop, The Cellar, and The Place.
Arrangement:
The collection is arranged into 6 series:

Series 1: Biographical Information, 1967-1970s (Box 1; 1 folder)

Series 2: Correspondence, 1959-1976 (Box 1, 3; 1 folder)

Series 3: Exhibition Files, 1954-1975 (Box 1, 3; 13 folders)

Series 4: Writings and Notes, 1974-1978 (Box 1; 3 folders)

Series 5: Printed Material, 1959-1978 (Box 1-3; 8 folders)

Series 6: Photographs, 1950s-1970s (Box 2-3; 0.3 linear feet)
Biographical Note:
Mark Green (1932-) moved to San Francisco and became active in the "Beat Movement" as a photographer, writer, and arts advocate. He helped organize two major group exhibitions of beat-era arts and also founded the Nanny Goat Hill Gallery in San Francisco.

Green was born in Cleveland Heights, Ohio in 1932, and attended the University of Miami, Florida from 1950-1952. After taking classes in journalism and philosophy, Green began a career in media and worked as a copy-boy, reporter, and correspondent at various newspapers throughout the United States until 1956.

In 1957, Green moved to San Francisco and worked as a bartender at the Co-Existence Bagel Shop, a local spot for Beat gatherings. It was during this time that Green became involved with the Beat Movement and the San Francisco Renaissance. Green became friends with "Beatnick" figures including Edward Silverstone Taylor and Patricia Marx who encouraged him to take up photography. Green's poems were published in Beatitude and The Real Bohemia.

A more prolific photographer than poet, Mark Green exhibited his photographs at Seven Arts Gallery, the Critic's Choice San Francisco Art Festival (1964), the Focus Gallery, and the "San Francisco Renaissance" at the Gotham Book Mart and Gallery (1975). He was active in organizing group exhibitions including the "Rolling Renaissance" (1968) and "A Kind of Beatness: Photographs of a North Beach Era, 1950-1965" (1975). Additionally, Green founded the Nanny Goat Hill Gallery (1972-1974) to give little-known artists an outlet to exhibit their works.
Related Material:
The Archives of American Art holds an oral history interview with Robert Emory Johnson by Paul Karlstrom on March 14, 1975 that details the history of the Rolling Renaissance exhibition organized in part by Mark Green.
Provenance:
Mark Green donated his papers in 1974, 1976, 1979, and 1991.
Restrictions:
Use of original papers requires an appointment.
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:
Poets -- California -- San Francisco  Search this
Beat generation  Search this
Bohemianism -- California -- San Francisco  Search this
Photography -- Exhibitions -- California -- San Francisco  Search this
Photographers -- California -- San Francisco  Search this
Journalists -- California -- San Francisco  Search this
Photography -- California -- San Francisco  Search this
Genre/Form:
Writings
Photographs
Citation:
Mark Green papers, 1954-1991, bulk 1954-1978. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.greemark
See more items in:
Mark Green papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-greemark
Online Media:

Los Angeles Institute of Contemporary Art records, 1973-1988

Creator:
Los Angeles Institute of Contemporary Art  Search this
Los Angeles Institute of Contemporary Art  Search this
Subject:
Smith, Robert Lewis  Search this
Spence, Judy  Search this
Marks, Ben  Search this
Plagens, Peter  Search this
Type:
Sound recordings
Photographs
Slides (photographs)
Topic:
Sculptors  Search this
Art, Modern -- 20th century  Search this
Photographers  Search this
Art, Modern -- 20th century -- California, Southern -- Exhibitions  Search this
Art centers -- California -- Los Angeles  Search this
Theme:
Latino and Latin American  Search this
Communities, Organizations, Museums  Search this
Photography  Search this
Record number:
(DSI-AAA_CollID)5495
(DSI-AAA_SIRISBib)211797
AAA_collcode_losangin
Theme:
Latino and Latin American
Communities, Organizations, Museums
Photography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211797
Online Media:

Corliss Knapp Engle slide collection

Creator:
Engle, Corliss Knapp  Search this
Extent:
1.5 Cubic feet
Type:
Collection descriptions
Archival materials
Ephemera
Brochures
Notes
Pamphlets
Slides (photographs)
Programs
Maps
Date:
1969-2001
Summary:
The Corliss Knapp Engle slide collection contains 35mm slides of gardens, garden features, flower shows, and flora photographed by Corliss Engle, a self-taught photographer and horticulturalist. Much of the collection is comprised of photographic documentation of numerous private and public gardens that she visited throughout the United States. Of particular note are images of Engle's own garden in Brookline, Massachusetts, spanning three decades; they provide excellent insight into the development and evolution of a garden over time. Portions of the collection highlight Engle's involvement with the Garden Club of America and the GCA's Garden History and Design Committee. The collection also includes various notes, lecture scripts, brochures, programs and articles on garden and plant-related themes generated or compiled by Corliss Knapp Engle.
Biographical / Historical:
Corliss Knapp Engle (1936-2009), born in Flushing, New York, was a passionate horticulturalist who was closely involved with numerous groups and initiatives relating to horticulture and gardens. As a resident of Brookline, Massachusetts, she was actively involved in the Chestnut Hill Garden Club and the Tree Planting Committee of the Town of Brookline. Corliss Engle was also involved, in varying capacities, in the Massachusetts Horticultural Society, the Arnold Arboretum of Harvard University, and the Garden Club of America (GCA). She was a trustee for both the Massachusetts Horticultural Society and the New England Wild Flower Society. Engle was a recipient of a GCA Achievement Award and four GCA Beattie Medals. The Begonia Society honored her by naming a begonia in her name. As a self-taught photographer she was instrumental in developing a photography program for the Garden Club of America and was particularly involved with the GCA's Garden History and Design Committee which is instrumental in the documentation of gardens for the Garden Club of America Collection at the Archives of American Gardens. Engle's writings and photographs were published in local and national publications including the Garden Club Federation of Massachusetts' publication, "Mayflower," and the "White House History" journal.
General:
Collection has been processed.
Related Materials:
Slide images of various plants photographed by Corliss Engle are located at The Massachusetts Horticultural Society.

Images of the Arnold Arboretum photographed by Corliss Engle including those featured in a 2006 exhibition, The Arnold Arboretum Captured in Time: 1982-1987, are located at the Horticulture LIbrary at the Arnold Arboretum in Jamaica Plain, Massachusetts.
Separated Materials:
Slide images of various Garden Club of America meetings and events photographed by Corliss Engle are located at the Garden Club of America in New York, New York.
Provenance:
A representative of the Chestnut Hill (Mass.) Garden Club donated the collection on the club's behalf to the Archives of American Gardens in May 2013.
Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- United States  Search this
Gardens -- Rhode Island  Search this
Gardens -- Connecticut  Search this
Gardens -- Maryland  Search this
Gardens -- California  Search this
Gardens -- New York  Search this
Gardens -- Pennsylvania  Search this
Gardens -- Massachusetts  Search this
Gardens -- New Jersey  Search this
Genre/Form:
Ephemera
Brochures
Notes
Pamphlets
Slides (photographs)
Programs
Maps
Citation:
Smithsonian Institution, Archives of American Gardens, [Collection title]
Identifier:
AAG.CKE
See more items in:
Corliss Knapp Engle slide collection
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_collection:sova-aag-cke
Online Media:

Roche collection

Photographer:
Roche, John P.  Search this
Roche, Mary Alice  Search this
Extent:
0.5 Cubic feet
28 Transparencies (col. , 4 x 5 in.)
62 Photographic prints (b&w , 8 x 10 in.)
1 Photographic print (col. , 2.5 x 3.5 inches)
3 Transparencies (col. , 120mm)
Type:
Collection descriptions
Archival materials
Transparencies
Photographic prints
Slides (photographs)
Date:
circa 1954-1970
Summary:
The Roche Collection documents some of the work of John and Mary Alice Roche, garden photographers who photographed numerous gardens throughout the United States. Several of the Roches' images appeared in popular gardening magazines and books on flower arranging from the 1950s and 1960s.
Scope and Contents note:
The Roche Collection includes twenty-five private gardens dating from the 1950s and 1960s photographed by John and Mary Alice Roche in California, Maine, Missouri, New York, and New Jersey. The Roches typically indicated the garden owner name, location, plant varieties and special features on the backs of many of the color transparency mounts and black and white photographs. Some images are labeled as to which publication they appeared in. All images are stamped on the back with original licensing information.
Biographical/Historical note:
John and Mary Alice Roche opened a studio for horticultural photography in Caldwell, New Jersey, in 1945. Together they photographed gardens and flower arrangements for numerous publications including House Beautiful, House and Garden, Horticulture, Popular Gardening, Flower Grower, Farm Journal, American Home, Family Circle, McCall's, and the Brooklyn Botanic Garden Bulletin as well as for several books. Images by the Roches in newspapers and magazines were credited to 'Roche.'

Both Roches graduated from the Clarence H. White School of Photography in New York City; John Roche later went on to teach there. He was an associate of the Photographic Society of America and a member of the Royal Photographic Society. His work was exhibited in a number of one man shows.

Mary Alice Roche wrote about gardens for a number of magazines and newspapers. She and her husband also lectured on nature photography.

The Roches co-wrote a book, Photographing Your Flowers; a Practical Guide for Indoor and Outdoor Use.

According to the Sensory Awareness Foundation, Mary Alice Roche and Charlotte Selver established the Sensory Awareness Foundation in 1971. Roche was its managing secretary and bulletin editor for many years. She was also a director of The Lifwynn Foundation.
Related Materials:
The Center for Creative Photography at the University of Arizona, Tucson, includes photographs taken and/or developed by John P. Roche in its Photograph Collection.
Provenance:
Mary Alice Roche donated the collection of images to the Archives of American Gardens in 2003.
Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- Missouri  Search this
Gardens -- Maine  Search this
Gardens -- California  Search this
Gardens -- United States  Search this
Gardens -- New Jersey  Search this
Gardens -- New York (State)  Search this
Genre/Form:
Photographic prints
Transparencies
Slides (photographs)
Identifier:
AAG.ROC
See more items in:
Roche collection
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_collection:sova-aag-roc
Online Media:

Meet Eric Fischl

Creator:
Smithsonian American Art Museum  Search this
Type:
YouTube Videos
Uploaded:
2015-01-05T15:46:10.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
See more by:
americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_I7jTsTC5HnE

Le Roy Robbins interview

Creator:
Robbins, LeRoy, 1904-1987  Search this
De Saisset Museum  Search this
Robbins, LeRoy, 1904-1987  Search this
Type:
Videorecording
Date:
1975
Topic:
Photographers  Search this
Photography  Search this
Record number:
(DSI-AAA)19502
See more items in:
Videorecordings relating to New Deal art in California, 1975-1976
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_19502

Jan Stussy papers, 1950-1985

Creator:
Stussy, Jan, 1921-1990  Search this
Stussy, Jan, 1921-1990  Search this
Subject:
Macdonald-Wright, Stanton  Search this
Type:
Sound recordings
Video recordings
Topic:
Painting, Modern -- 20th century -- California -- Los Angeles  Search this
Art -- Study and teaching -- California -- Los Angeles  Search this
Theme:
Art Movements and Schools  Search this
Record number:
(DSI-AAA_CollID)7338
(DSI-AAA_SIRISBib)209491
AAA_collcode_stusjan
Theme:
Art Movements and Schools
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209491

John F. Turner research material on Howard Finster, circa 1928-2015, bulk 1978-1990

Creator:
Turner, John F.  Search this
Turner, John F.  Search this
Subject:
Finster, Pauline  Search this
Camp, Jeffrey Thomas  Search this
Lancaster, Clay  Search this
Dickinson, Eleanor  Search this
Kind, Phyllis  Search this
Esman, Rosa  Search this
Ginsberg, Allen  Search this
Arient, James  Search this
Hartigan, Lynda Roscoe  Search this
Arient, Beth  Search this
Hemphill, Herbert Waide  Search this
Finster, Howard  Search this
Finster, Beverly  Search this
Jabbour, Alan  Search this
Kirwin, Liza  Search this
Nutt, Jim  Search this
Nasisse, Andy S.  Search this
Volkersz, Willem  Search this
Type:
Interviews
Sound recordings
Photographs
Transcriptions
Video recordings
Topic:
Authors -- California  Search this
Folk art  Search this
Self-taught artists  Search this
Record number:
(DSI-AAA_CollID)17381
(DSI-AAA_SIRISBib)216522
AAA_collcode_turnjohn
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216522
Online Media:

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