Search Results

Creator:

National Zoo  Search this

Type:

YouTube Videos

Uploaded:

2019-06-26T16:11:27.000Z

YouTube Category:

Pets & Animals  Search this

Topic:

Zoology;Animals;Veterinary medicine;Animal health  Search this

See more by:

SmithsonianNZP

Data Source:

National Zoo

YouTube Channel:

SmithsonianNZP

EDAN-URL:

edanmdm:yt_IKBUUvl70jg

Collector:

Robert Forrester  Search this

Donor Name:

Kelly Hallmark  Search this

Site Name:

Horn Shelter Number 2  Search this

Object Type:

Spoke Shave

Place:

Bosque County, Texas, United States, North America

Collection Date:

1966-1988

Topic:

Archaeology  Search this

Accession Number:

2092737

USNM Number:

A623286-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/30d3d55c6-260e-4102-8600-81bcb094b239

EDAN-URL:

edanmdm:nmnhanthropology_16915096

Creator:

March, Benjamin, 1899-1934  Search this

Names:

Yanjing da xue  Search this

Ferguson, John Calvin, 1866-1945  Search this

March, Benjamin, 1899-1934  Search this

Priest, Alan Reed  Search this

Rowe, Dorothy, 1898-1969  Search this

St. Denis, Ruth, 1880-1968  Search this

Collection Creator:

March, Benjamin, 1899-1934  Search this

Extent:

182 Items (typed unbound pages with solid wood covers)

Container:

Box 1, Folder 9

Type:

Archival materials

Diaries

Place:

China

Beijing (China)

China -- Description and Travel

Date:

1925-1926

Scope and Contents note:

Binding removed, 9 ½" x 6". 182 pages. First entry, 30 June 1925. Last entry, 13 March 1926. Inscribed, "The Memoirs of MA". Wood cover. In the introduction, March wrote, "Chronicles of Benjamin" had, for three years, served as a journal, notebook, and record for himself of places he visited. Said that since he's now not alone that it is fitting to rename his notes, "Memoirs of MA." (Chinese name of his family). ["Chronicles of Benjamin" may be found in Series V, subseries B, photo albums.]

Scope and Contents:

A diary typed by the young Chinese art scholar Benjamin March from June 1925 to March 1926 describing his life in China. Events include March's marriage to the author Dorothy Rowe (1898-1969) in Nanjing, their honeymoon in Hangzhou and Suzhou, and their subsequent life in Beijing. March describes hikes through scenic areas in Hangzhou and Beijing; his acquaintance with scholars such as John Calvin Ferguson and Alan Priest; attending performances by Ruth St. Denis and Mei Lanfang, and his work at Yenching University.

The Memoirs of Ma

Biographical / Historical:

East Asian art historian, curator and lecturer, Benjamin Franklin March Jr., was born in Chicago on July 4, 1899 to Benjamin and Isabel March. He studied, lectured, and wrote in the United States and China and through his works gained respect as one of the foremost authorities on Chinese art during the 1920s and 1930s. March was East Asian art lecturer at the University of Michigan, and curator of Asian art at the Detroit Institute of Art. Although he lived only thirty-five years, Benjamin March was a respected and influential scholar of Asian art.

Local Numbers:

FSA A1995.10 2.3

Collection Restrictions:

Collection is open for research.

Collection Rights:

No restrictions on use.

Topic:

Art, Asian  Search this

Art, Asian -- Research  Search this

Art, Chinese  Search this

Chinese language -- Terms and phrases  Search this

Painting, Chinese  Search this

Genre/Form:

Diaries

Collection Citation:

Benjamin March Papers, FSA.A.1995.10. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of Judith March Davis, 1995

Identifier:

FSA.A1995.10, File FSA A1995.10 2.3

See more items in:

Benjamin March Papers

Benjamin March Papers / Series 2: Diaries

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc36bd63e4b-4db8-4872-ac06-0002023d7c84

EDAN-URL:

ead_component:sova-fsa-a1995-10-ref40

Donor Name:

George G. Fryer  Search this

Culture:

Not Given  Search this

Object Type:

Match

Place:

Not Given

Accession Date:

7 Aug 1888

Topic:

Ethnology  Search this

Accession Number:

021108

USNM Number:

E130308-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/3cd501252-6454-42c4-b10c-82bb468fd966

EDAN-URL:

edanmdm:nmnhanthropology_8336471

Artist:

Reginald Marsh, born Paris, France 1898-died Dorset, VT 1954  Search this

Publisher:

Whitney Museum of American Art  Search this

Medium:

etching on paper

Dimensions:

plate: 9 3/4 x 9 5/8 in. (24.8 x 24.5 cm)

Type:

Graphic Arts-Print

Date:

1932, printed 1969

Topic:

Figure group\male  Search this

Architecture\commercial\barbershop  Search this

State of being\disabled\physical disability  Search this

Object\other\sign  Search this

Credit Line:

Smithsonian American Art Museum, Museum purchase

Object number:

1979.60.5

Restrictions & Rights:

Usage conditions apply

See more items in:

Smithsonian American Art Museum Collection

Department:

Graphic Arts

Data Source:

Smithsonian American Art Museum

GUID:

http://n2t.net/ark:/65665/vk7ec96a9fc-cad0-4ac1-a781-93c2999cc219

EDAN-URL:

edanmdm:saam_1979.60.5

Creator:

Whitney, Gertrude Vanderbilt, 1875-1942  Search this

Names:

American Ambulance Field Hospital (Juilly, France)  Search this

Greenwich House (New York, N.Y.)  Search this

Whitney Museum of American Art  Search this

Whitney Studio Club  Search this

Cushing, Howard Gardiner, 1869-1916  Search this

De Meyer, Adolf, Baron, 1868-1949  Search this

Miller, Flora Whitney  Search this

Strelecki, Jean de, count  Search this

Watson, Forbes, 1880-1960  Search this

Whitney, Harry Payne, 1872-1930  Search this

Extent:

36.1 Linear feet

Type:

Collection descriptions

Archival materials

Lithographs

Photographs

Interviews

Sketchbooks

Diaries

Scrapbooks

Blueprints

Sketches

Date:

1851-1975

bulk 1888-1942

Summary:

The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.

Scope and Content Note:

The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.

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

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

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

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

Arrangement:

The Gertrude Vanderbilt Whitney papers are arranged into twelve series:

Missing Title

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

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

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

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

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

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

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

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

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

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

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

Series 12: Blueprints, 1913-1945 (OV 55; 0.1 linear feet)

Biographical/Historical note:

New York art patron and sculptor, Gertrude Vanderbilt Whitney (1875-1942), was the eldest daughter of Cornelius Vanderbilt II and Alice Gwynne Vanderbilt, and founder of the Whitney Museum of American Art.

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

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

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

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

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

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

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

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

Whitney continued her work in sculpture, writing, art patronage, and philanthropy throughout the remaining years of her life. She died on April 18, 1942.

Related Archival Materials note:

Related material found in the Archives includes Research Material on Gertrude Vanderbilt Whitney compiled by Flora Miller Irving and the Whitney Museum of American Art artists' files and records, available on microfilm only (originals are located in the Whitney Museum of American Art). Also found in the Archives of American Art's Miscellaneous Exhibition Catalog Collection are a bundle of Whitney Studio Club and Mrs. H. P. Whitney's Studio catalogs and announcements.

Provenance:

The Gertrude Vanderbilt Whitney papers were donated in 1981 and 1991 by Whitney's granddaughter, Flora Miller Irving.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Sculptors -- New York (State) -- New York  Search this

Philanthropists -- New York (State) -- New York  Search this

Topic:

Art patrons -- New York (State) -- New York  Search this

Women artists  Search this

Women sculptors  Search this

World War, 1914-1918  Search this

Genre/Form:

Lithographs

Photographs

Interviews

Sketchbooks

Diaries

Scrapbooks

Blueprints

Sketches

Citation:

Whitney Museum of American Art, Gertrude Vanderbilt Whitney Papers, 1851-1975 (bulk 1888-1942). Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.whitgert

See more items in:

Gertrude Vanderbilt Whitney papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9db113d72-cc31-4974-85fe-3e99c53dd62e

EDAN-URL:

ead_collection:sova-aaa-whitgert

Performer:

Ward, Wade  Search this

Anderson, Virgil, 1902-1999  Search this

Collection Creator:

Rinzler, Ralph  Search this

Extent:

1 Sound cassette (analog.)

Culture:

Americans  Search this

Anglo-American  Search this

Type:

Archival materials

Sound cassettes

Place:

Appalachian Region, Southern -- Songs and music

United States

Kentucky

Virginia

Contents:

Conversation with Granny Porter ; Cluck old hen (1:27) -- Western country ; Katy Hill ; Reminiscences ; Old Jimmy Sutton (7:43) --Black Mountain rag (2:02) --Polly put the kettle on (0:55) --Ida Red (1:21) --John Lover is gone (2:25) -- Conversation with Wade Ward and Glen Smith ; AR[kansas] traveler ; Katy Hill (3:55) --Foxchase (1: 20) --Chlly winds (1:06) --Half-shaved (1:05) --Old Reuben (1:12) --June apple (0:55) --Mississippi sawyer (1:24) --Katy Hill ; Reminiscences ; Billy in the lowground (3:06) --Nancy Blevins (1:21) --Sourwood Mountain (1:52) --Chicken reel (1:44) --Ragtime Annie (2 :24) --Katy Hill's reminiscences ; Sally Goodin' (3:28) --Sally Ann (2:00) --Old Joe Clark ; Reminiscences ; Peace Bottom Creek (4:39) --Lone prairie (0:54).

Local Numbers:

FP-1994-CT-0542

Restrictions:

Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.

Collection Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

String band  Search this

Banjo  Search this

Collection Citation:

Ralph Rinzler papers and audio recordings, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.RINZ, Item FP-1994-CT-0542

See more items in:

Ralph Rinzler papers and audio recordings

Ralph Rinzler papers and audio recordings / Series 9: Audio / Non-Commercial / Compact Audio Cassettes (CT)

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5b801f46c-44b3-4411-b593-a7f0a83c6bd6

EDAN-URL:

ead_component:sova-cfch-rinz-ref9027

Patentee:

Setchell, George C.  Search this

Physical Description:

wood (overall material)

Measurements:

overall: 6 cm x 14 cm x 19 cm; 2 3/8 in x 5 1/2 in x 7 1/2 in

Object Name:

manufacture, engraving blocks

Block, Engraver's

Object Type:

Patent Model

Date made:

ca 1878

Patent date:

1878-05-21

ID Number:

GA.89797.203856

Patent number:

203856

Accession number:

089797

Catalog number:

GA*89797.203856

See more items in:

Work and Industry: Graphic Arts

Patent Models, Graphic Arts

Work

Communications

Industry & Manufacturing

Patent Models

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746ab-d51c-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_998950

Creator:

Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this

Names:

Smithsonian Folklife Festival  Search this

Extent:

1 Cubic foot (approximate)

Culture:

Afro-Caribbean cults  Search this

Yoruba (African people)  Search this

Type:

Collection descriptions

Archival materials

Business records

Sound recordings

Slides (photographs)

Contracts

Notes

Digital images

Memorandums

Plans (drawings)

Audiotapes

Audiocassettes

Negatives

Photographic prints

Videotapes

Correspondence

Video recordings

Place:

Caribbean Area

Haiti

Jamaica

Virgin Islands

Costa Rica

Panama

Colombia

Gabon, -- Ngounié, -- Samba

Date:

October 8-13, 1980

Summary:

The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.

Scope and Contents note:

This collection documents the planning, production, and execution of the 1980 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.

Arrangement note:

Arranged in 7 series.

Missing Title

Series 1: Program Books, Festival Publications, and Ephemera

Series 2: American Talkers

Series 3: Caribbean Americans

Series 4: Community Activities and Food Preservation

Series 5: Finnish Americans

Series 6: Folk Housing and Energy Efficiency

Series 7: Southeast Asian Americans

Historical note:

The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.

The 1980 Festival of American Folklife was produced by the Smithsonian Office of Folklife Programs and cosponsored by the National Park Service.

For more information, see Smithsonian Folklife Festival records.

Introduction:

The 1980 Festival was the third to use "community" as its over-arching theme, and the last to be held in October. As with recent Festivals, it was held on a site on the National Mall later to be occupied by the National Museum of African American History and Culture, between 14th and 15th Streets and between Constitution Avenue and Madison Drive (see site plan). It was also the first to be organized by the newly-established Office of Folklife Programs (1980-1992), successor to the former Folklife Program of the Office of American and Folklife Studies (1977-1980). The indoor programming in several museums that had characterized the 1977-1979 Festivals was discontinued and all activities were held outdoors.

When families and community groups gather to celebrate or to mourn, Festival Director Ralph Rinzler observed in the program book, they depend on traditional flavors, sounds, dances, and prayers to reinforce their sense of belonging, their group strength and cultural identity. At the annual Folklife Festival, the Smithsonian acknowledged the power of these traditions, which recall the value that Americans continue to place on being members of groups - familial, occupational, ethnic, regional, and religious. Festival organizers considered this recognition a step in the process of cultural conservation, in the belief that cultural variety, on a national and on a global scale, makes life itself more rewarding. Community and identity thus served as the twin poles around which Festival programs were organized.

The 1980 Festival (October 8-13) included a Caribbean Carnival with steel band and calypso competitions; Finnish Americans from northern Minnesota demonstrating a traditional "whip-sled" for children and such crafts as making Christmas tree ornaments from wood shavings; Southern carpenters building a traditional "dog trot" house; Southeast Asians demonstrating weaving, embroidery, stone carving, calligraphy; among others. The Festival asserted that rootedness is a tangible part of the fascination with history, our own or our country's or that of some distant place. This was seen as a part of life that everyone should value, and so the Festival not only celebrated customs and ways of doing things, but evoked the pride of being someone from somewhere. The 1980 Program Book provided information on each of the programs.

The 1980 Festival was again co-presented by the Smithsonian Institution and National Park Service, with support from the U.S. Department of Energy, U.S. Department of Agriculture, and Music Performance Trust Funds. It was organized by the Office of Folklife Programs.

Folklife Advisory Council

Wilcomb E. Washburn, Chairman, Roger Abrahams, Richard Ahlborn, Richard Dorson, William Fitzhugh, Lloyd Herman, Robert Laughlin, Scott Odell, Ralph Rinzler, Peter Seitel, Richard Sorenson, Thomas Vennum

Office of Folklife Programs

Ralph Rinzler, Director; Richard Derbyshire, Archivist; Susan Kalcik, Folklorist; Jeffrey LaRiche, Program Coordinator; Jack Santino, Folklorist; Peter Seitel, Senior Folklorist; Thomas Vennum, Ethnomusicologist; Steve Zeitlin, Folklorist

National Park Service

Russell E. Dickenson, Director; Manus J. Fish, Jr., Regional Director, National Capital Region

Fieldworkers and presenters:

Steve Addiss, John W. Berquist, Charley Camp, Amy Catlin, Dennis Coelho, Héctor Corporán, Amanda Dargan, Richard Flint, Marjorie Hunt, Geraldine Johnson, Fred Lieberman, Howard Marshall, Von Martin, Maxine Miska, Bill Moore, Elliott Parris, Leslie Prosterman, Arthur Rosenbaum, Jack Santino, Marta Schley, Katherine Williams, Margaret Yocom, Steven Zeitlin

Shared Stewardship of Collections:

The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.

Forms Part Of:

Smithsonian Folklife Festival records: 1980 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .

Smithsonian Folklife Festival records

Smithsonian Folklife Festival records: Papers

1967 Festival of American Folklife records - [Ongoing]

Related Archival Materials note:

Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.

Restrictions:

Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Food habits  Search this

Folklore  Search this

Folk art  Search this

arts and crafts  Search this

World music  Search this

Folk festivals  Search this

Folk music  Search this

Afro-Caribbeans  Search this

Santeria  Search this

Rumba (Dance)  Search this

Reggae music  Search this

Rastafarians  Search this

Carnivals  Search this

Genre/Form:

Business records

Sound recordings

Slides (photographs)

Contracts

Notes

Digital images

Memorandums

Plans (drawings)

Audiotapes

Audiocassettes

Negatives

Photographic prints

Videotapes

Correspondence

Video recordings

Citation:

Smithsonian Folklife Festival records: 1980 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.SFF.1980

See more items in:

Smithsonian Folklife Festival records: 1980 Festival of American Folklife

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk527808409-1b6d-47a7-b10a-cd935c49fd29

EDAN-URL:

ead_collection:sova-cfch-sff-1980

Creator:

Farrington, Gertrude  Search this

Extent:

0.1 Cubic feet (3 diaries)

Type:

Collection descriptions

Archival materials

Diaries

Date:

1977-1992

Content Description:

This collection contains three 5-year diaries kept by Ridgefield Garden Club member Gertrude Farrington from 1978 to 1992.

Topic:

Gardens -- Connecticut  Search this

Women gardeners  Search this

Genre/Form:

Diaries

Identifier:

AAG.GCA.FAR

See more items in:

Gertrude Farrington diaries

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb60349f478-4a27-4aba-b359-a89f2b1df628

EDAN-URL:

ead_collection:sova-aag-gca-far

Collection Creator:

Farrington, Gertrude  Search this

Type:

Archival materials

Date:

1983-1987

Identifier:

AAG.GCA.FAR, Item CT131

See more items in:

Gertrude Farrington diaries

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb63e3330b8-ceb8-411b-b16d-5ead9b7fe55d

EDAN-URL:

ead_component:sova-aag-gca-far-ref2

Sculptor:

Domagalski, Christopher  Search this

Medium:

Sculpture: concrete; Base: geodes and assorted stones

Type:

Sculptures-Outdoor Sculpture

Sculptures

Owner/Location:

Discalced Carmelite Fathers Carmelite Monastery and Shrines 1628 Ridge Road Carmelite Shrines Munster Indiana 46321

Date:

1975

Topic:

History--Europe--Holocaust  Search this

Religion--Saint--St. Maximilian  Search this

State of Being--Other--Imprisonment  Search this

Control number:

IAS IN000956

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_339422

Creator:

Swanton, John Reed, 1873-1958  Search this

Sylestine, Harden  Search this

Extent:

5,400 Items (cards )

4 Boxes

Culture:

Alibamu  Search this

Coushatta (Koasati)  Search this

Alabama Indians  Search this

Type:

Collection descriptions

Archival materials

Dictionaries

Date:

1906-1913

Scope and Contents:

Alabama-English, 2433 typed cards in 2 boxes; English-Alabama, approximately 3000 typed and autograph A. cards in 2 boxes. Includes terms written in pencil and marked "(K)," which may be terms in Koasati. Informants are Harden Sylestine and others.

Swanton's arrangement of the Alabama-English section is generally alphabetical, with many terms grouped together by stesm. The cards have been stamped with consecutive numbers 1-2433, and Swanton's order has been preserved. Cards that had been clipped together now have a second number, beginning with 1 for the first in a clipped group (e.g., if cards 25-27 were found clipped together, they would now be numbered 25-1, 26-2, 27-3).

The Alabama-English section (with sequentially numbered cards) contains utterances identifiable by a following number in parentheses. If the number does not begin with zero, apparently if refers to Swanton's page numbers in his rough field notes (M 4151 "second set"). Numbers beginning with zero seem to refer to the"first set," MS 4151-- Karen Lupardus, August 18, 1978.

Biographical / Historical:

The note by Swanton preceding Alabama-English section reads? "The material marked (H) was furnished by an Alabama Indian, Harden Sylestine, who translated in his own way. His translation is usually preserved lest a mistake be made in altering; the material is to be corrected later. This includes all of my Alabama material except 12 pages of text by native informants and a vocabulary which for the most part duplicates what has been given."

Local Numbers:

NAA MS 2435

Place:

Texas Polk County

Other Archival Materials:

Related Collection: Manuscript 4151

Related Collection: Manuscript 7360

Related Collection: Manuscript 7361

Topic:

Language and languages -- Documentation  Search this

Indians of North America -- Southern states  Search this

Genre/Form:

Dictionaries

Citation:

Manuscript 2435, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS2435

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3a7cf5734-ebaa-4e0c-82f2-e8a0b15d0fe6

EDAN-URL:

ead_collection:sova-naa-ms2435

Maker:

American Safety Razor Corporation  Search this

Physical Description:

bristle, natural (overall material)

rubber (overall material)

Measurements:

overall: 4 3/8 in x 2 in x 1 3/4 in; 11.1125 cm x 5.08 cm x 4.445 cm

Object Name:

shaving brush

personal hygiene product

Place made:

United States

Date made:

ca 1920s

ID Number:

2012.0046.05

Catalog number:

2012.0046.05

Accession number:

2012.0046

See more items in:

Medicine and Science: Medicine

Health & Medicine

Beauty and Hygiene Products: Hair Removal

Beauty and Hygiene Products: Marketed to Men

Beauty and Health

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746ad-96e2-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1421117

Maker:

Auto Strop Safety Razor Company  Search this

Physical Description:

metal (container material)

metal (product material)

Measurements:

overall: 3/4 in x 3 7/8 in x 1 3/4 in; 1.905 cm x 9.8425 cm x 4.445 cm

Object Name:

razor kit

personal hygiene product

Place made:

United States: Delaware, Dover

Date made:

1912

ID Number:

2012.0046.11

Catalog number:

2012.0046.11

Accession number:

2012.0046

See more items in:

Medicine and Science: Medicine

Health & Medicine

Beauty and Hygiene Products: Hair Removal

Beauty and Hygiene Products: Marketed to Men

Beauty and Health

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746ad-a2f3-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1421119

Collection Creator:

Koehler, Septima, 1848-1918  Search this

Extent:

35 Photographic prints

0.4 Linear feet

Type:

Archival materials

Photographic prints

Date:

1899-1905

Scope and Contents:

This series includes 35 photographic prints taken in and around St. Elizabeth's mission in Wakpala, South Dakota on the Standing Rock Reservation as well as correspondence and school papers. Photographs taken at the school include images of students in classrooms, drying dishes in the kitchens, and posed out front of the school. Identified students include: Alma Swiftcloud, Maude Boneclub, Josephine Hailhawk, Louise Lowdog, Minnie Deloria, Frank Howard, Philip U. Deloria, Abraham and George Shave elk. Staff and visitors photographed at the school include: Reverend Philip J. Deloria, Dr. Charles Eastman (Dakota), Reverend Herbert Welsh, Bishop William Hobart Hare, and Septima Koehler. There are also several photographs of Septima Koehler among Hunkpapa Lakota community members at their camp in Wakpala. Also included is a group portrait from the 1903 teacher institute held at Standing Rock organized by A.O. Wright, Supervisor of Indian Schools.

In addition to the photographs there are several folders of school papers written by Koehler's students from primer class up to fourth reader class between 1899 and 1901 All of the names of the students are recorded in the scope note of their folder. There is a letter from Septima to her sister Aurora from September 1902 which describes the start of the fall term as well as a letter from former student Jane Kills Enemy to principal Mary Francis. There are several essays and lesson plans written by Koehler as well as name and receipt books from Koehler's work with the "Babies' Branch", a missionary outfit that raised money specifically for children.

Biographical / Historical:

The construction of St. Elizabeth's Mission, the first Episcopal mission on the Standing Rock Reservation, began in 1885 near Wakpala, South Dakota under the watch of Bishop William Hobart Hare. Reverend Philip J. Deloria (Dakota), originally from the Yankton band of Dakota, moved to Standing Rock once he was ordained, to take over the running of the mission and ministered the congregation at St. Elizabeth's until 1925. An enlarged boarding school opened in the fall of 1890 with Mary E. Francis appointed as Principal. Septima Koehler was appointed to St. Elizabeth's sometime around 1899, transferring from St. Mary's on the Rosebud Reservation. Koehler taught at St. Elizabeth's through 1905, teaching Native American students of all ages and taking a special interest in student health. In the fall of 1902 around 60 students, boys and girls, mainly Lakota children from the Standing Rock reservation, were enrolled at the school. This included several of Philip Deloria's children.

Collection Restrictions:

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

Collection Rights:

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.

Collection Citation:

Identification of specific item; Date (if known); Septima Koehler Collection (NMAI.AC.319), Item Number; National Museum of the American Indian Archive Center, Smithsonian Institution.

Identifier:

NMAI.AC.319, Series 2

See more items in:

Septima V. Koehler collection

Archival Repository:

National Museum of the American Indian

GUID:

https://n2t.net/ark:/65665/sv4d49806a4-1f46-4b18-ad9e-f7c9ddc845f7

EDAN-URL:

ead_component:sova-nmai-ac-319-ref2

Collection Creator:

Koehler, Septima, 1848-1918  Search this

Extent:

1 Photographic print

Container:

Photo-folder 6

Culture:

Hunkpapa Lakota (Hunkpapa Sioux)  Search this

Type:

Archival materials

Photographs

Photographic prints

Date:

circa 1900

Scope and Contents:

Outdoor portrait of Hunkpapa Lakota boys Abraham and George Shave Elk, grandchildren of Lakota Chief Gall (Pizi), near St. Elizabeth's Mission School on the Standing Rock Reservation, South Dakota.

Collection Restrictions:

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

Collection Rights:

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.

Collection Citation:

Identification of specific item; Date (if known); Septima Koehler Collection (NMAI.AC.319), Item Number; National Museum of the American Indian Archive Center, Smithsonian Institution.

Identifier:

NMAI.AC.319, Item P19512

See more items in:

Septima V. Koehler collection

Septima V. Koehler collection / Series 2: St. Elizabeth's Mission School / 2.1: St. Elizabeth's Mission School: Photographs

Archival Repository:

National Museum of the American Indian

GUID:

https://n2t.net/ark:/65665/sv47997f7c2-4d7e-4e81-ac3c-87644f0a6bb5

EDAN-URL:

ead_component:sova-nmai-ac-319-ref32

Collection Creator:

Koehler, Septima, 1848-1918  Search this

Container:

Box 1, Folder 13

Culture:

Hunkpapa Lakota (Hunkpapa Sioux)  Search this

Type:

Archival materials

Date:

1899 November-1901 January

Scope and Contents:

Students include: Ruth Patesni, Any (Anny) Hawk, Philip Bignest, Eliza Standing Bear, Julia Brownwolf, Ida Walking softly, Alice Redhorse, Amy Lamont, Nellie Hawk, Mary Cadotte, George Shave Elk, Philip Ironcloud, Samuel Redbird, Luke Goodfire.

Collection Restrictions:

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

Collection Rights:

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.

Collection Citation:

Identification of specific item; Date (if known); Septima Koehler Collection (NMAI.AC.319), Item Number; National Museum of the American Indian Archive Center, Smithsonian Institution.

See more items in:

Septima V. Koehler collection

Septima V. Koehler collection / Series 2: St. Elizabeth's Mission School / 2.2: St. Elizabeth's Mission School: Documents

Archival Repository:

National Museum of the American Indian

GUID:

https://n2t.net/ark:/65665/sv490a7f615-f07d-4193-930c-292cdd913cd6

EDAN-URL:

ead_component:sova-nmai-ac-319-ref56

Provenance:

Little Garden Club of Rye  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Mason Garden (Rye, New York)

United States of America -- New York -- Westchester County -- Rye

Scope and Contents:

The folder includes a work sheet and features plan.

General:

Garden borders, paths, and trails line the outer edges of the property and create secluded areas while leaving wide expanses of lawn to give the visitor an impression of a space much larger than the property's two acres.The garden is entered from a small courtyard through a sculpted arch in an evergreen and boxwood hedge. the rear exposure of the hedge provides a backdrop for a copse of dogwood and maples; and an anchor for a perennial garden that winds its way into a shade garden and deposits you at the entry to a gravel path. The path travels through a woodland garden ending at a tranquil outcrop of rocks with a cascading spring into a pool filled with goldfish, water lilies, and other aquatic plants. The water garden contains a gnarled and twisted yew, which created a natural sculpture shading a sitting area with a teak bench. A cedar shaving path continues along the perimeter of the property through additional specimen border gardens. A small formal garden with boxwood-lined beds leads to grassy paths through arches created from surrounding hardwoods. Two large conical yews defines a formal seating area.

Related Materials:

Mason Garden related holdings consist of 1 folder (14 35 mm. slides)

Collection Restrictions:

Access to original archival materials 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.

Collection 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. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Gardens -- New York -- Rye  Search this

Water gardens  Search this

Formal gardens  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File NY864

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / New York

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6f4c90733-15b5-4840-bb28-cb71e3bacd45

EDAN-URL:

ead_component:sova-aag-gca-ref27077

Creator:

Walinska, Anna  Search this

Names:

Guild Art Gallery  Search this

Avery, Milton, 1885-1965  Search this

Beata, Welsing  Search this

Hacohen, Bracha  Search this

Littlefield, William Horace, 1902-1969  Search this

Nevelson, Louise, 1899-1988  Search this

Walinsky, Louis Joseph, 1908-2001  Search this

Extent:

2.1 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Interviews

Photographs

Scrapbooks

Sketchbooks

Sketches

Transcripts

Travel diaries

Place:

Europe -- description and travel

Israel -- Description and Travel

Date:

1927-2002

bulk 1935-1980

Summary:

The papers of New York-based painter, teacher and art director Anna Walinska measure 2.1 linear feet and date from 1927 to 2002, with the bulk of material from 1935 to 1980. The papers include biographical material, correspondence, writings, travel diaries, printed material, scrapbooks, artwork, sketchbooks, and photographs.

Scope and Contents:

The papers of New York-based painter, teacher and art director Anna Walinska measure 2.1 linear feet and date from 1927 to 2002, with the bulk of material from 1935 to 1980. The papers include biographical material, correspondence, writings, travel diaries, printed material, scrapbooks, artwork, sketchbooks, and photographs.

Biographical material consists of awards, certificates, curriculum vitae, biographical outlines, exhibition lists, passports and other material. There is a partial transcript from a radio interview of Anna Walinska. Also included are limited financial records.

Correspondence includes Anna Walinska's letters to her family from her 1954-1955 trip abroad to multiple countries in Asia, the Middle East, and Europe. There is personal and professional correspondence with friends, artists and art institutions. Notable correspondents include Milton Avery, Louise Nevelson, Beata Welsing, Bracha Hacohen, William Littlefield, and Walinska's brother Louis Walinsky.

Writings consist of Walinska's notes, notebooks, lectures, essays, and a handwritten prospectus for Guild Art Gallery. There is one folder of writings by others about Walinska at the end of the series. There are four travel diaries that describe Walinska's trip around the world from 1954-1955, during which she traveled to many countries, and later trips to locations such as Israel and Trinidad.

Printed Material include clippings about Anna Walinska, group and solo exhibition catalogs, announcements, event invitations, and course catalogs for the Master Institute of United Art in New York City, where Walinska taught painting and drawing classes.

There are three scrapbooks: one scrapbook is about Guild Art Gallery, the second scrapbook is about the Holocaust exhibition, the third oversized scrapbook documents Walinska's career and activities overall.

Artwork consists of two bound sketchbooks as well as drawings and sketches in a variety of mediums from pencil and ink to watercolors and oils.

Photographs are of Walinska, friends, family, artists, artwork, exhibition installations, and other subjects. One album includes photos of Anna Walinska and her travels, along with images of friends and colleagues. The second album includes photographs of Walinska's solo exhibition at Sunken Meadow Gallery (1959). There is also one folder of photocopies of photos of assorted artwork by Walinska.

Arrangement:

The collection is arranged as 8 series.

Series 1: Biographical Material, 1927-2002 (Box 1; 11 folders)

Series 2: Correspondence, 1949-1995 (Box 1; 0.4 linear feet)

Series 3: Writings, circa 1935-circa 1983 (Box 1; 8 folders)

Series 4: Travel Diaries, 1954-1973 (Box 1; 0.2 linear feet)

Series 5: Printed Material, 1942-2002 (Boxes 1-2; 0.4 linear feet)

Series 6: Scrapbooks, circa 1929-1980 (Boxes 2, 4; 0.5 linear feet)

Series 7: Artwork, circa 1929-1963 (Box 3; 5 folders)

Series 8: Photographs, circa 1932-1980 (Box 3; 0.3 linear feet)

Biographical / Historical:

Anna Walinska (1906-1997) was a New York artist, teacher and gallery director who traveled widely and is most well known for her paintings related to the subject of the Holocaust.

Anna Walinska was born in London, England in 1906 to labor organization leader Ossip Walinsky and poet Rosa Newman Walinska. She had two siblings, Emily and Louis. The family immigrated to New York City in 1914, and Anna Walinska began studying at the Art Students League in 1918. In 1926, she travelled to Paris and studied art at the Academie de Grande Chaumier with Andre L'Hote. France was her primary residence until 1930.

In 1935, Walinska and artist Margaret Lefranc co-founded the Guild Art Gallery at West 57th Street in New York and gave Arshile Gorky his first solo exhibition in the city. The gallery closed its doors in 1937. In 1939, Walinska was the Assistant Creative Director of the Contemporary Art Pavilion at the New York World's Fair. During this time, Walinska also pursued her own art and exhibited work in numerous group shows.

From 1954 to 1955, Walinska traveled around the world, visiting the capitals and major cities of many countries in Asia, the Middle East and Europe. Places she went included Japan, Burma (now known as Myanmar), Pakistan, Greece, Italy, France and Spain. During her four month stay in Burma, she painted a portrait of Prime Minister U Nu and she later became a highly respected portrait artist who painted numerous illustrious subjects such as First Lady Eleanor Roosevelt, artists Louise Nevelson and Mark Rothko, and many others.

In 1957, Walinska became the artist-in-residence at the Riverside Museum where she also taught and exhibited with other artists. That same year, she had her first retrospective at the Jewish Museum in New York City.

Walinska exhibited widely and often. Holocaust: Paintings and Drawings, 1953-1978, which opened at the Museum of Religious Art at the Cathedral of St. John the Divine in New York City, is probably the most well-known of her exhibitions and it traveled across the country to several other sites such as the War Memorial Building in Baltimore and Mercy College of Detroit. Works from this exhibition were acquired by multiple museums to become part of their permanent collections.

Walinkska died on December 19, 1997 at the age of 91 in New York City. In 1999, there was a retrospective of her work titled Echoes of the Holocaust: Paintings, Drawings, and Collage, 1940-1989 held at Clark University's Center for Holocaust Studies. The Onisaburo Gallery at New York's Interfaith Center also held a solo exhibition titled Portraits of Faith (2000). Her art is part of the collections at the Denver Art Museum, National Portrait Gallery, National Museum of Women in the Arts, the Rose Art Museum, and other museums.

Related Materials:

The Archives of American Art also has the Guild Art Gallery records, which consists of material related to the gallery that was co-founded by Anna Walinska.

Provenance:

The papers were donated by Anna Walinska in two installations in 1976 and 1981. Rosina Rubin, Anna Walinska's niece, made a third donation of material in 2017.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., research center.

Occupation:

Gallery directors -- New York (State) -- New York  Search this

Educators -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Topic:

Drawing--Study and teaching  Search this

Holocaust, Jewish (1939-1945), in art  Search this

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

Asia--Description and travel  Search this

Middle East--Description and travel  Search this

Trinidad and Tobago--Description and travel  Search this

Women painters  Search this

Women artists  Search this

Women educators  Search this

Genre/Form:

Drawings

Interviews

Photographs

Scrapbooks

Sketchbooks

Sketches

Transcripts

Travel diaries

Citation:

Anna Walinska papers, 1927-2002, bulk 1935-1980. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by Rosina Rubin.

Identifier:

AAA.walianna

See more items in:

Anna Walinska papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9995d1f6a-668f-4e1e-8abe-bb24edfb016b

EDAN-URL:

ead_collection:sova-aaa-walianna