Art gallery; San Francisco, Calif.; Est. 1966. Closed 1981. Specialized in international folk and textile arts.
Provenance:
Donated 2004 by Craig T. Anneberg, brother of gallery owner Margery Anneberg, as part of the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.
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.
Printed caption on recto reads: "Dye Pits, Zaria."
Local Numbers:
EEPA NR-04-18
General:
Title source: Postcard caption.
Numbering Peculiarities Note:
Verso labelled with former accession number format: A1995-23-2.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Printed text on verso reads: "Singer No. 66-1; On Drawing Room Cabinet No. 31.; Your choice of the following on this Cabinet: Singer No. 66-1, Oscillating Hook; Singer No. 15-30, Oscillating Shuttle; Ninger No. 115-1, Rotary Hook; Singer No. 127-3, Vibrating Shuttle; Ad No 1652."
Local Numbers:
EEPA NR-04-20
General:
Title source: Postcard caption.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Printed caption on verso reads: "Indigo dye pits at Kano."
Additional printed text on verso reads: "'Photograph by courtesy of Federal Ministry of Information; Produced and printed for C.M.S. (Nigeria) Bookshops by Storey Evans & Co. Ltd. Rawdon, Leeds, England."
Local Numbers:
EEPA NR-04-12
General:
Title source: Postcard caption.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Printed caption on verso reads: "Kano; Indigo dyeing."
Additional printed text on verso reads: "'Elisabeth Seriki Cards, P.O. Box 6246, Lagos." Stamp box reads: "Nr. 137."
Local Numbers:
EEPA NR-04-14
General:
Title source: Postcard caption.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Printed caption on recto reads: "Sewing Machines, Zaria."
Printed text on verso reads: "Copyright: The C.M.S. Bookshop, Lagos.; This is a Real Photograph. Printed in England."
Local Numbers:
EEPA NR-04-19
General:
Title source: Postcard caption.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Seated young woman sewing upon a colorful cloth. Objects in the room include vase with flowers upon a small table, hanging wall scroll, painted sliding screens, propped shamisen, bolts of cloth, and small cabinet.
Photographer unidentified.
Local Numbers:
R380 (Rosin Number).
FSA A1999.35 380
General:
Forms part of Rosin album number 2. Page 36.
Included in an album produced by the studio of Tamamura Kozaburo.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
1 Item (photographic print : on mount 16 x 24.3 cm, hand coloring, image 13.5 x 17.4 cm.)
Type:
Archival materials
Photographs
Photographic prints
Place:
Asia -- Japan
Date:
[1860 - ca. 1900]
Scope and Contents:
Three women are busy weaving while a man observes their progress. Indoor studio setting.
Photographer unidentified.
鈴木 真一
Biographical / Historical:
Suzuki Shin'ichi learned photography in Yokohama under the pioneering photographer Shimooka Renjo (1823 - 1914). In the early1870s, Suzuki produced a series of depictions of Japanese rural life which were reproduced in "The Far East." In 1889 Suzuki was commissioned with Maruki Riyō (1854-1923) to photograph the Meiji Emperor and Empress.
Local Numbers:
R071 (Rosin Number)
FSA A1999.35 071
General:
Title devised by Henry and Nancy Rosin.
102 is printed in both English and Japanese in lower left corner.
According to Henry Rosin, this print is part of Baron von Stillfried's third series, which include numbered as well as colored prints.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
The photograph depicts wives of Nyim Kot a-Mbweeky III at work on all-plush panel typical of contemporary work. They are brushing the raffia pile with the edge of the knife, which they also use to cut the pile stitches. "After the dyeing, the cloth is ready to be embroidered. Most Kuba embroidery combines on one cloth two types of decoration: stem-stitching and cut-pile or plush stitching. The equipment is simple: a needle and, for cut-pile or plush-work, a knife. The embroideress needs an enormous amount of steadiness and patience. Because of the time required, prosperous and royal men who have several wives or concubines gain an advantage in the production of decorated garments. Fine plush pieces are worked for months ad even years. the work is done intermittently, usually in the afternoons, after returning from working in the fields." [Adams Monni, 1978: Kuba Embroidered Cloth. African Arts, 12 (1), November 1978, pp.24-39]. This photograph was taken when Eliot Elisofon travelled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
EENG-I-36, 12.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "H 3 Kba. Kuba. Zaire, Mushenge. Embroidering raffia cloth. (L) "House of the King" design. 4/1970. EE. neg.no. I-36, 12." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
The photograph depicts Kuba women at work on all-plush panel typical of contemporary work. They are brushing the raffia pile with the edge of the knife, which they also use to cut the pile stitches. "After the dyeing, the cloth is ready to be embroidered. Most Kuba embroidery combines on one cloth two types of decoration: stem-stitching and cut-pile or plush stitching. The equipment is simple: a needle and, for cut-pile or plush-work, a knife. The embroideress needs an enormous amount of steadiness and patience. Because of the time required, prosperous and royal men who have several wives or concubines gain an advantage in the production of decorated garments. Fine plush pieces are worked for months ad even years. the work is done intermittently, usually in the afternoons, after returning from working in the fields." [Adams Monni, 1978: Kuba Embroidered Cloth. African Arts, 12 (1), November 1978, pp.24-39]. This photograph was taken when Eliot Elisofon was on assignment for Westinghouse Film and traveled to Africa from October 26, 1970 to end of March 1971.
Local Numbers:
EENG-VI-17, 23.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "H 3 Kba. Kuba. Zaire, Mushenge. Embroidering raffia cloth. 4/1970. EE. neg.no. VI-17, 23." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
The photograph depicts Kuba women at work on all-plush panel typical of contemporary work. They are brushing the raffia pile with the edge of the knife, which they also use to cut the pile stitches. "After the dyeing, the cloth is ready to be embroidered. Most Kuba embroidery combines on one cloth two types of decoration: stem-stitching and cut-pile or plush stitching. The equipment is simple: a needle and, for cut-pile or plush-work, a knife. The embroideress needs an enormous amount of steadiness and patience. Because of the time required, prosperous and royal men who have several wives or concubines gain an advantage in the production of decorated garments. Fine plush pieces are worked for months ad even years. the work is done intermittently, usually in the afternoons, after returning from working in the fields." [Adams Monni, 1978: Kuba Embroidered Cloth. African Arts, 12 (1), November 1978, pp.24-39]. This photograph was taken when Eliot Elisofon was on assignment for Westinghouse Film and traveled to Africa from October 26, 1970 to end of March 1971.
Local Numbers:
EENG-VI-17, 24.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "H 3 Kba. Kuba. Zaire, Mushenge. Embroidering raffia cloth. 4/1970. EE. neg.no. VI-17, 24." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
The photograph depicts Kuba woman at work on all-plush panel typical of contemporary work. She is brushing the raffia pile with the edge of the knife, which she also uses to cut the pile stitches. "After the dyeing, the cloth is ready to be embroidered. Most Kuba embroidery combines on one cloth two types of decoration: stem-stitching and cut-pile or plush stitching. The equipment is simple: a needle and, for cut-pile or plush-work, a knife. The embroideress needs an enormous amount of steadiness and patience. Because of the time required, prosperous and royal men who have several wives or concubines gain an advantage in the production of decorated garments. Fine plush pieces are worked for months ad even years. the work is done intermittently, usually in the afternoons, after returning from working in the fields." [Adams Monni, 1978: Kuba Embroidered Cloth. African Arts, 12 (1), November 1978, pp.24-39]. This photograph was taken when Eliot Elisofon was on assignment for Westinghouse Film and traveled to Africa from October 26, 1970 to end of March 1971.
Local Numbers:
EENG-VI-17, 26.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "H 3 Kba. Kuba. Zaire, Mushenge. Embroidering raffia cloth. 4/1970. EE. neg.no. VI-17, 26." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
The photograph depicts Kuba woman at work on all-plush panel typical of contemporary work. She is brushing the raffia pile with the edge of the knife, which she also uses to cut the pile stitches. "After the dyeing, the cloth is ready to be embroidered. Most Kuba embroidery combines on one cloth two types of decoration: stem-stitching and cut-pile or plush stitching. The equipment is simple: a needle and, for cut-pile or plush-work, a knife. The embroideress needs an enormous amount of steadiness and patience. Because of the time required, prosperous and royal men who have several wives or concubines gain an advantage in the production of decorated garments. Fine plush pieces are worked for months ad even years. the work is done intermittently, usually in the afternoons, after returning from working in the fields." [Adams Monni, 1978: Kuba Embroidered Cloth. African Arts, 12 (1), November 1978, pp.24-39]. This photograph was taken when Eliot Elisofon was on assignment for Westinghouse Film and traveled to Africa from October 26, 1970 to end of March 1971.
Local Numbers:
EENG-VI-17, 27.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "H 3 Kba. Kuba. Zaire, Mushenge. Embroidering raffia cloth. 4/1970. EE. neg.no. VI-17, 27." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
"After the dyeing, the cloth is ready to be embroidered. Most Kuba embroidery combines on one cloth two types of decoration: stem-stitching and cut-pile or plush stitching. The equipment is simple: a needle and, for cut-pile or plush-work, a knife. The embroideress needs an enormous amount of steadiness and patience. Because of the time required, prosperous and royal men who have several wives or concubines gain an advantage in the production of decorated garments. Fine plush pieces are worked for months ad even years. the work is done intermittently, usually in the afternoons, after returning from working in the fields." [Adams Monni, 1978: Kuba Embroidered Cloth. African Arts, 12 (1), November 1978, pp.24-39]. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
EENG-I-36, 17.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "I 3 Kba. Kuba. Zaire, Mushenge. Raffia cloth, cut-pile embroidery. "house of the King" design, Djume Nyimi. 4/1970. EE. neg.no. I-36, 17." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
The photograph depicts old woman doing traditional hairstyle on Mbombio, Chief Mogendo's principal wife. "The funnel-shaped coiffure which ended in an outward halo, originally symbolic of high social status, was considered exceptionally attractive, and took a lot of time to create. Of the ornaments that embellished the hairstyles of the Mangbetu, and related ethnic groups, combs were reserved for women." [Sieber R., Herreman F., 2000: Hair in African Art and Culture, Prestel]. During his trip to Congo (now Democratic Republic of Congo), Elisofon visited the Mangbetu people living in Medje village, southwest of Isiro. This photograph was taken when Eliot Elisofon was on assignment for National Geographic and traveled to Africa from March 17, 1970 to July 17,1970.
Local Numbers:
EENG-I-2, 20A.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "D 3 Mng. Mangbetu. Zaire, Medje (sw or Isiro). Old woman doing traditional hairstyle on Mbombio, the chief's principal wife. 3/1970. EE. neg.no. I-2, 20A." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
The photograph depicts old woman doing traditional hairstyle on Mbombio, Chief Mogendo's principal wife. "The funnel-shaped coiffure which ended in an outward halo, originally symbolic of high social status, was considered exceptionally attractive, and took a lot of time to create. Of the ornaments that embellished the hairstyles of the Mangbetu, and related ethnic groups, combs were reserved for women." [Sieber R., Herreman F., 2000: Hair in African Art and Culture, Prestel]. During his trip to Congo (now Democratic Republic of Congo), Elisofon visited the Mangbetu people living in Medje village, southwest of Isiro. This photograph was taken when Eliot Elisofon was on assignment for National Geographic and traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
EENG-I-2, 21A.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "D 3 Mng. Mangbetu. Zaire, Medje (sw or Isiro). Old woman doing traditional hairstyle on Mbombio, the chief's principal wife. 3/1970. EE. neg.no. I-2, 21A." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
"In the Bamana world, objects such the antelope headdress always come in pairs -one male and one female- symbolizing the union of mythical half-animal, half-human beings that taught their ancestors to farm, and the productive union of men and women throughout time." [Wooten S., 2004: Where is my Mate? The Importance of Complementarity: A Bamana Headdress (Ciwara). See the Music, Hear the Dance, Prestel]. During his trip to Mali, Elisofon visited the village of Bougouni, in the Bamana region. This photograph was taken when Eliot Elisofon traveled to Africa from March 17, 1970 to July 17, 1970.
Local Numbers:
EENG-III-3, 32.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "E 1 Bmb. Bambara. Mali, Bougouni. Man holding antelope headdress used in acrobatic dance. 7/1970. EE. neg.no. III-3, 32." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
