Copies of lantern slides collected by Rollyn Osterweis Kirchbaum, at least two of which were made by the Beseler Lantern Slide Company. They include two portraits of Sitting Bull as well as views of canoe and basket making by Iroquois Indians in the Lower St. Lawrence River region. The photographs depicting Iroquois Indians were probably made by Alexander Henderson, circa 1865-1875. The British Columbia images were originally made by Alexander Henderson, and the Sitting Bull images were originally made by William Notman & Son.
Biographical/Historical note:
Alexander Henderson (1831-1913) and William Notman (1826-1891) were Scottish photographers and colleagues in Montreal, Canada. Notman was mostly a portrait photographer in his studio, William Notman & Son. In the mid-1860s, Henderson also opened a studio in Montreal, but appears to have specialized in outdoor photography. In 1860, the two men made a photographic expedition to Niagara Falls and helped found the Art Association of Montreal.
Local Call Number(s):
NAA Photo Lot R78-40
Reproduction Note:
Copy prints made by Rollyn Osterweis Kirchbaum.
Location of Other Archival Materials:
The Notman Photographic Archives at McCord Museum and the Archives of Ontario hold original prints and negatives of Alexander Henderson William Notman & Son, including originals of images in this collection.
The National Anthropological Archives holds Sitting Bull's pictographic autobiography (NAA MS 1929).
Additional photographs of Sitting Bull can be found in the National Anthropological Archives in MS 4544, MS 4559, Photo Lot 59, Photo Lot 87-2, and Photo Lot 90-1.
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
This copy collection has been obtained for reference purposes only. Contact the repository for terms of use and access.
Photo lot R78-40, Rollyn Osterweis Kirchbaum photograph collection of Sitting Bull and Iroquois Indians, National Anthropological Archives, Smithsonian Institution
An interview of Adolph Gottlieb conducted 1967 Oct. 25, in New York, by Dorothy Seckler, for the Archives of American Art.
Gottlieb speaks of his childhood in New York; his decision to pursue art and its connection to a generational rebellion against traditional middle class values; his interest in art by the age of fifteen; the cultural influence of pop culture and comic strips (Mutt and Jeff); his interrupted high school career at Stuyvesant; his eighteen month stay in Europe (1921) studying in museums and various art schools; his subsequent exposure to Matisse, Picasso, and Leger; his experiences with German Expressionism in Vienna, Munich, Dresden, and Berlin; his return to the states; his attraction to Italian and French Renaissance painting as well as Ingres Courbet, and Delacroix; his time spent attending Saturday classes at the Arts Student League under John Sloan; the influence of John Sloan's cubist side; his foresight of the transient nature of the Ashcan school; his belief in painting from the imagination and memory; Cezanne's influence insofar as the notion of how to approach the forms of nature in terms of their volume; his instinct to maintain the surface and to keep it flat; his use of muddy, gray, brown, subdued colors, applied in a rich juicy impasto style; his first exhibition with the Art Alliance; his relationship with Rothko and Avery and specifically the heavy influence of Avery on his subject matter after his marriage;his short time working for the WPA in 1936; his self-discovery in Arizona; his literary influences, Pound, Joyce, Proust, 19th century writers, and Russian writers; his return to New York City and his further abstraction and reduction of means; his use of a horizon as the result of a shift in forms; his budding interest in primitive art (particularly African Art); the formation of his pictographs and the influence of the Surrealists and the philosophy of Jung and the collective unconscious; his belief in surface techniques to achieve freshness, much like the automism; the elimination of compartmentalization in his work in the 50's; his interest in certain opposing images; art as a matter of subjective rather than objective; his more refined work, more colorful, and more subtle work of the mid 50's; his distaste for academic devises; his recent Burst paintings; and his impulse to work on a larger scale.
Biographical / Historical:
Adolph Gottlieb (1903-1974) was a painter from New York, N.Y.
General:
Transferred from original acetate tape reels.
Sound quality is poor.
The recording ends before the conclusion of the interview.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Peter Grippe (1912-2002) was a sculptor and printmaker from Newton, Massachusetts.
General:
Sound quality is poor.
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 51 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Knabenshue, A. Roy (Augustus Roy), 1876-1960 Search this
Container:
Box 2, Folder 2
Type:
Archival materials
Collection Restrictions:
No restrictions on access.
Collection Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
A. Roy Knabenshue Collection, Acc. NASM.XXXX.0136, National Air and Space Museum, Smithsonian Institution.
