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Manufacturer:

Smithsonian Institution  Search this

Materials:

Fuselage: Steel Tubing

Wings and Tail: Wood with Percaline (light-weight cotton) Covering

Dimensions:

Wingspan: 14.8 m (48 ft 5 in)

Length: 16.0 m (52 ft 5 in)

Height: 3.5 m (11 ft 4 in)

Weight: 340 kg (750 lb), including pilot

Type:

CRAFT-Aircraft

Country of Origin:

United States of America

Date:

1903

Credit Line:

On deposit from the Smithsonian Institution to the United States National Museum

Inventory Number:

A19180001000

Restrictions & Rights:

Usage conditions apply

See more items in:

National Air and Space Museum Collection

Location:

Steven F. Udvar-Hazy Center in Chantilly, VA

Exhibit Station:

Pre-1920 Aviation

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv9ce27099d-d73c-4d7b-80b6-f64b60864414

EDAN-URL:

edanmdm:nasm_A19180001000

Manufacturer:

Northrop Aircraft Inc.  Search this

Dimensions:

Overall: 450 x 1500cm, 10637kg, 2000cm (14ft 9 3/16in. x 49ft 2 9/16in., 23450.3lb., 65ft 7 3/8in.)

Type:

CRAFT-Aircraft

Country of Origin:

United States of America

Date:

1943

Credit Line:

Transferred from the United States Air Force.

Inventory Number:

A19510044000

Restrictions & Rights:

CC0

See more items in:

National Air and Space Museum Collection

Location:

Steven F. Udvar-Hazy Center in Chantilly, VA

Exhibit Station:

World War II Aviation

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv97e5962c7-1cbc-40b2-b2e1-825a551c2df7

EDAN-URL:

edanmdm:nasm_A19510044000

Designer:

Elbert (Burt) L. Rutan  Search this

Manufacturer:

Rutan Aircraft Factory, Inc.  Search this

Materials:

Foam covered with fiberglass.

Dimensions:

Wingspan: 6.8 m (22 ft 2 1/2 in)

Length: 4.3 m (14 ft 2 in)

Height: 1.5 m (59 in)

Weights: Empty, 263 kg (585 lb)

Gross, 472.5 kg (1,050 lb)

Engine: Continental 0-200 four-cylinder, air-cooled, 100 horsepower

Type:

CRAFT-Aircraft

Country of Origin:

United States of America

Credit Line:

Gift of Burt Rutan.

Inventory Number:

A19860067000

Restrictions & Rights:

CC0

See more items in:

National Air and Space Museum Collection

Location:

Steven F. Udvar-Hazy Center in Chantilly, VA

Exhibit Station:

Sport Aviation

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv98f49e3d2-0c7f-4b50-829e-3439dc0d3b6f

EDAN-URL:

edanmdm:nasm_A19860067000

Materials:

Canvas and hemp rope

Dimensions:

3-D (Flat): 102.2 × 48.3 × 3.8cm (40 1/4 × 19 × 1 1/2 in.)

3-D: 96.5 x 45.7cm, 0.9kg (38 x 18 in., 2lb.)

Type:

EQUIPMENT-Mission Support

Date:

1931-1933

Credit Line:

Transferred from the USAF Museum

Inventory Number:

A20030068012

Restrictions & Rights:

Usage conditions apply

See more items in:

National Air and Space Museum Collection

Data Source:

National Air and Space Museum

GUID:

http://n2t.net/ark:/65665/nv9dfcd7b0c-2db0-48b0-9544-c985687a09e9

EDAN-URL:

edanmdm:nasm_A20030068012

Culture/People:

Ahtna (Ahtena)  Search this

Collector:

Israel C. Russell, Non-Indian, 1851-1906  Search this

Previous owner:

U.S. National Museum (United States National Museum/National Museum of Natural History)  Search this

Object Name:

Knife

Media/Materials:

Metal, hide

Techniques:

Wrapped

Dimensions:

26.5 x 6 x 2 cm

Object Type:

Tools and Equipment (General)

Native Term:

nildzaats'aghi

Place:

Copper River; Ahtna Native Corporation; Alaska; USA

Date created:

1875-1890

Catalog Number:

2/429

Barcode:

020429.000

See related items:

Ahtna (Ahtena)

Tools and Equipment (General)

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws6969214df-8b9e-404e-b25c-ec1d15388c49

EDAN-URL:

edanmdm:NMAI_21632

Creator:

Ellington, Duke, 1899-1974  Search this

Names:

Duke Ellington Orchestra  Search this

Washingtonians, The.  Search this

Ellington, Mercer Kennedy, 1919-1996 (musician)  Search this

Strayhorn, Billy (William Thomas), 1915-1967  Search this

Collector:

National Museum of American History (U.S.). Division of Musical History  Search this

Extent:

400 Cubic feet

Type:

Collection descriptions

Archival materials

Phonograph records

Papers

Photographic prints

Posters

Sound recordings

Scrapbooks

Music

Clippings

Awards

Audiotapes

Place:

New York (N.Y.) -- 20th century

Harlem (New York, N.Y.) -- 20th century

Washington (D.C.) -- 20th century

Date:

1903 - 1989

Summary:

The collection documents Duke Ellington's career primarily through orchestrations (scores and parts), music manuscripts, lead sheets, transcriptions, and sheet music. It also includes concert posters, concert programs, television, radio, motion picture and musical theater scripts, business records, correspondence, awards, as well as audiotapes, audiodiscs, photographs, tour itineraries, newspaper clippings, magazines, caricatures, paintings, and scrapbooks.

Scope and Contents:

Dating approximately from the time Duke Ellington permanently moved to New York City in 1923 to the time the material was transferred to the Smithsonian Institution in 1988, the bulk of the material in the Duke Ellington Collection is dated from 1934-1974 and comprises sound recordings, original music manuscripts and published sheet music, hand-written notes, correspondence, business records, photographs, scrapbooks, news clippings, concert programs, posters, pamphlets, books and other ephemera. These materials document Ellington's contributions as composer, musician, orchestra leader, and an ambassador of American music and culture abroad. In addition, the materials paint a picture of the life of a big band maintained for fifty years and open a unique window through which to view an evolving American society.

The approximate four hundred cubic feet of archival materials have been processed and organized into sixteen series arranged by type of material. Several of the series have been divided into subseries allowing additional organization to describe the content of the material. For example, Series 6, Sound Recordings, is divided into four subseries: Radio and Television Interviews, Concert Performances, Studio Dates and Non-Ellington Recordings. Each series has its own scope and content note describing the material and arrangement (for example; Series 10, Magazines and Newspaper Articles, is organized into two groups, foreign and domestic, and arranged chronologically within each group). A container list provides folder titles and box numbers.

The bulk of the material is located in Series 1, Music Manuscripts, and consists of compositions and arrangements by Duke Ellington, Billy Strayhorn and other composers. Series 6, Sound Recordings also provides a record of the performance of many of these compositions. The materials in Series 2, Performances and Programs, Series 3, Business Records, Series 8, Scrapbooks, Series 9, Newspaper Clippings, Series 11, Publicity and Series 12, Posters provide documentation of specific performances by Duke Ellington and His Orchestra. Ellington was a spontaneous and prolific composer as evidenced by music, lyrical thoughts, and themes for extended works and plays captured on letterhead stationery in Series 3, Business Records, in the margin notes of individual books and pamphlets in Series 14, Religious Materials and Series 15, Books, and in the hand-written notes in Series 5, Personal Correspondence and Notes.

During its fifty-year lifespan, Duke Ellington and His Orchestra were billed under various names including The Washingtonians, The Harlem Footwarmers and The Jungle Band. The soloists were informally called "the band", and Series 3 includes salary statements, IOU's, receipts and ephemera relating to individual band members. Series 1, Music Manuscripts contains the soloists' parts and includes "band books" of several soloists (for example; Harry Carney and Johnny Hodges) and numerous music manuscripts of Billy Strayhorn. The changing role of Strayhorn from arranger hired in 1938 to Ellington's main collaborator and composer of many well-known titles for Duke Ellington and His Orchestra including "Take The A' Train" and "Satin Doll" can be traced in these music manuscripts. Series 7, Photographs and Series 2, Performances and Programs contain many images of the band members and Strayhorn. This Collection also documents the business history of Duke Ellington and His Orchestra. Series 3, Business Records contains correspondence on letterhead stationery and Series 11, Publicity contains promotional material from the various booking agencies, professional companies, and public relations firms that managed the Orchestra.

The materials in the Duke Ellington Collection provide insight into public and institutional attitudes towards African Americans in mid-twentieth-century America. The business records in Series 3 beginning in 1938 and published sheet music in Series 1 depict Duke Ellington's progression from an African-American musician who needed "legitimization" by a white publisher, Irving Mills, to a businessmen who established his own companies including Tempo Music and Duke Ellington, Incorporated to control his copyright and financial affairs. Programs from the segregated Cotton Club in Series 2, Performances And Programs and contracts with no-segregation clauses in Series 3: Business Records further illustrate racial policies and practices in this time period. The public shift in perception of Duke Ellington from a leader of an exotic "Jungle Band" in the 1930s to a recipient of the Congressional Medal Of Freedom in 1970 is evidenced in Series 2, Performances And Programs, Series 12, Posters, Series 7, Photographs and Series 13, Awards. Reviews and articles reflecting Ellington's evolving status are also documented in Series 8, Newspaper Clippings, Series 9, Scrapbooks, Series 10, Newspaper and Magazine Articles.

The materials in the Duke Ellington Collection reflect rapid technological changes in American society from 1923-1982. Sound recordings in Series 6 range from 78 phonograph records of three minutes duration manufactured for play on Victrolas in monaural sound to long-playing (LP) phonograph records produced for stereo record players. Television scripts in Series 4, programs in Series 2 and music manuscripts (for example, Drum Is A Woman) in Series 1 demonstrate how the development of television as a means of mass communication spread the Orchestra's sound to a wider audience. The availability of commercial air travel enabled the Ellington Orchestra to extend their international performances from Europe to other continents including tours to Asia, Africa, South America and Australia and archival material from these tours is included in every series.

Series 4, Scripts and Transcripts and Series 6, Audio Recordings contain scripts and radio performances promoting the sale of United States War bonds during World War II, and Series 7, Photographs includes many images of Duke Ellington and His Orchestra's performances for military personnel revealing the impact of historic events on Duke Ellington and His Orchestra. Series 2: Programs and Performances, Series 9, Newspaper clippings and Series 8, Scrapbooks document the 1963 Far East tour aborted as a result of President John F. Kennedy's assassination.

The Duke Ellington Collection contains works by numerous twentieth-century music, literature, and art luminaries. Series 1, Music Manuscripts contains original music manuscripts of William Grant Still, Eubie Blake, Mary Lou Williams, and others. Series 4, Scripts and Transcripts contains a play by Langston Hughes, and Series 12, Posters contains many original artworks.

Arrangement:

Series 1: Music Manuscripts, circa 1930-1981, undated

Series 2: Performances and Programs, 1933-1973, undated

Series 3: Business Records, 1938-1988

Series 4: Scripts and Transcripts, 1937-1970

Series 5: Personal Correspondence and Notes, 1941-1974, undated

Series 6: Sound Recordings, 1927-1974

Series 7: Photographs, 1924-1972, undated

Series 8: Scrapbooks, 1931-1973

Series 9: Newspaper Clippings, 1939-1973, undated

Series 10: Magazine Articles and Newspaper Clippings, 1940-1974

Series 11: Publicity, 1935-1988

Series 12: Posters and Oversize Graphics, 1933-1989, undated

Series 13: Awards, 1939-1982

Series 14: Religious Material, 1928-1974

Series 15: Books, 1903-1980

Series 16: Miscellaneous, 1940-1974

Biographical / Historical:

A native of Washington, DC, Edward Kennedy Ellington was born on April 29, 1899. Edward was raised in a middle-class home in the Northwest section of Washington described by his sister Ruth--younger by sixteen years--as a "house full of love." Ellington himself wrote that his father J.E. (James Edward) raised his family "as though he were a millionaire" but Edward was especially devoted to his mother, Daisy Kennedy Ellington. In 1969, thirty-four years after his mother's death, Ellington accepted the Presidential Medal of Freedom with these words, "There is nowhere else I would rather be tonight but in my mother's arms." Both his parents played the piano and Ellington began piano lessons at the age of seven, but like many boys he was easily distracted by baseball.

In his early teens, Ellington sneaked into Washington clubs and performance halls where he was exposed to ragtime musicians, including James P. Johnson, and where he met people from all walks of life. He returned in earnest to his piano studies, and at age fourteen wrote his first composition, "Soda Fountain Rag" also known as "Poodle Dog Rag." Ellington was earning income from playing music at seventeen years of age, and around this time he earned the sobriquet "Duke" for his sartorial splendor and regal air. On July 2, 1918, he married a high school sweetheart, Edna Thompson; their only child, Mercer Kennedy Ellington, was born on March 11, 1919. Duke Ellington spent the first twenty-four years of his life in Washington's culturally thriving Negro community. In this vibrant atmosphere he was inspired to be a composer and learned to take pride in his African-American heritage.

Ellington moved to New York City in 1923 to join and eventually lead a small group of transplanted Washington musicians called "The Washingtonians," which included future Ellington band members, Sonny Greer, Otto Hardwicke and "Bubber" Miley. Between 1923 and 1927, the group played at the Club Kentucky on Broadway and the ensemble increased from a quintet to a ten-piece orchestra. With stride pianist Willie "The Lion" Smith as his unofficial guide, Ellington soon became part of New York's music scene; Smith proved to be a long-lasting influence on Duke's composing and arranging direction. At the Club Kentucky, Ellington came under the tutelage of another legendary stride pianist, "Fats" Waller. Waller, a protege of Johnson and Smith, played solos during the band's breaks and also tutored Ellington who began to show progress in his compositions. In November 1924, Duke made his publishing and recording debut with "Choo Choo (I Got To Hurry Home)" released on the Blu-Disc label. In 1925, he contributed two songs to Chocolate Kiddies, an all-black revue which introduced European audiences to black American styles and performers. By this time Ellington's family, Edna and Mercer, had joined him in New York City. The couple separated in the late 1920's, but they never divorced or reconciled.

Ellington's achievements as a composer and bandleader began to attract national attention while he worked at the Cotton Club in Harlem, New York City, from 1927 to 1932. The orchestra developed a distinctive sound that displayed the non-traditional voicings of Ellington's arrangements and featured the unique talents of the individual soloists. Ellington integrated his soloists' exotic-sounding trombone growls and wah-wahs, their high-squealed trumpets, their sultry saxophone blues licks and Harlem's street rhythms into his arrangements. In the promotional material of the Cotton Club, the band was often billed as "Duke Ellington and His Jungle Band." With the success of compositions like "Mood Indigo," and an increasing number of recordings and national radio broadcasts from the Cotton Club, the band's reputation soared.

The ten years from 1932 to 1942 are considered by some major critics to represent the "golden age" for the Ellington Orchestra, but it represents just one of their creative peaks. These years did bring an influx of extraordinary new talent to the band including Jimmy Blanton on double bass, Ben Webster on tenor saxophone, and Ray Nance on trumpet, violin and vocals. During this ten year span Ellington composed several of his best known short works, including "Concerto For Cootie," "Ko-Ko," "Cotton Tail," "In A Sentimental Mood," and Jump For Joy, his first full-length musical stage revue.

Most notably, 1938 marked the arrival of Billy Strayhorn. While a teenager in Pittsburgh, Pennsylvania, Strayhorn had already written "Lush Life," "Something To Live For" and a musical, Fantastic Rhythm. Ellington was initially impressed with Strayhorn's lyrics but realized long before Billy's composition "Take the A' Train" became the band's theme song in 1942 that Strayhorn's talents were not limited to penning clever lyrics. By 1942, "Swee' Pea" had become arranger, composer, second pianist, collaborator, and as Duke described him, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine." Many Ellington/Strayhorn songs have entered the jazz canon, and their extended works are still being discovered and studied today. Strayhorn remained with the Ellington Organization until his death on May 30, 1967.

Ellington had often hinted of a work in progress depicting the struggle of blacks in America. The original script, Boola, debuted in Carnegie Hall in November of 1943, retitled Black, Brown and Beige. The performance met with mixed reviews, and although Ellington often returned to Carnegie Hall the piece was never recorded in a studio, and after 1944 was never performed in entirety again by the Ellington Orchestra. Nonetheless, it is now considered a milestone in jazz composition.

After World War II the mood and musical tastes of the country shifted and hard times befell big bands, but Ellington kept his band together. The band was not always financially self-sufficient and during the lean times Ellington used his songwriting royalties to meet the soloists' salaries. One could assign to Ellington the altruistic motive of loyalty to his sidemen, but another motivation may have been his compositional style which was rooted in hearing his music in the formative stage come alive in rehearsal. "The band was his instrument," Billy Strayhorn said, and no Ellington composition was complete until he heard the orchestra play it. Then he could fine tune his compositions, omit and augment passages, or weave a soloist's contribution into the structure of the tune.

In 1956, the American public rediscovered Duke and the band at the Newport Jazz Festival in Rhode Island. The searing performances of tenor saxophonist Paul Gonsalves on "Diminuendo and Crescendo In Blue," his premiere soloist, alto saxophonist Johnny Hodges on "Jeep's Blues", and the crowd's ecstatic reaction have become jazz legend. Later that year Duke landed on the cover of Time magazine. Although Ellington had previously written music for film and television (including the short film, Black and Tan Fantasy in 1929) it wasn't until 1959 that Otto Preminger asked him to score music for his mainstream film, Anatomy of a Murder, starring Jimmy Stewart. Paris Blues in 1961, featuring box-office stars Paul Newman and Sidney Poitier in roles as American jazz musicians in Paris, followed.

Ellington's first performance overseas was in England in 1933, but the 1960s brought extensive overseas tours including diplomatic tours sponsored by the State Department. Ellington and Strayhorn composed exquisite extended works reflecting the sights and sounds of their travels, including the Far East Suite, 1966. They wrote homages to their classical influences; in 1963, they adapted Tchaikovsky's Nutcracker Suite and celebrated Shakespeare's works with the suite Such Sweet Thunder in 1957. With Ella Fitzgerald, they continued the Norman Granz Songbook Series. Ellington also began to flex his considerable pianist skills and recorded albums with John Coltrane (1963), Coleman Hawkins (1963), Frank Sinatra, and Money Jungle (1963) with Charles Mingus and Max Roach. The First Sacred Concert debuted in San Francisco's Grace Cathedral in 1965. In his final years, Ellington's thoughts turned to spiritual themes and he added a Second (1968) and Third (1973) Concert of Sacred Music to his compositions.

In his lifetime, Duke received numerous awards and honors including the highest honor bestowed on an American civilian, the Congressional Medal Of Freedom. In 1965, Ellington was recommended for a Pulitzer Prize to honor his forty years of contribution to music but the recommendation was rejected by the board. Most likely he was disappointed, but his response at the age of sixty-six was, "Fate is being kind to me. Fate doesn't want me to be famous too young."

Ellington never rested on his laurels or stopped composing. Whenever he was asked to name his favorite compositions his characteristic reply was "the next five coming up," but to please his loyal fans Ellington always featured some of his standards in every performance. Even on his deathbed, he was composing the opera buffo called Queenie Pie.

Duke Ellington died on May 24, 1974 at seventy-five years of age. His funeral was held in New York's Cathedral of St. John The Divine; he was buried in Woodlawn Cemetery. His long-time companion Beatrice "Evie" Ellis was buried beside him after her death in 1976. He was survived by his only child, Mercer Kennedy Ellington, who not only took up the baton to lead the Duke Ellington Orchestra but assumed the task of caring for his father's papers and his legacy to the nation. Mercer Ellington died in Copenhagan, Denmark on February 8, 1996, at the age of seventy-six. Ruth Ellington Boatwright died in New York on March 6, 2004, at the age of eighty-eight. Both Mercer and Ruth were responsible for shepherding the documents and artifacts that celebrate Duke Ellington's genius and creative life to their current home in the Smithsonian Institution's National Museum of American History.

Related Materials:

Materials in the Archives Center

William H. Quealy Collection of Duke Ellington Recordings (AC0296)

Rutgers University Collection of Radio Interviews about Duke Ellington (AC0328)

Duke Ellington Oral History Project (AC0368)

Duke Ellington Collection of Ephemera and realated Audiovisual Materials (AC0386)

Annual International Conference of the Duke Ellington Study Group Proceedings (AC0385)

Robert Udkoff Collection of Duke Ellington Ephemera (AC0388)

Frank Driggs Collection of Duke Ellington Photographic Prints (AC0389)

New York Chapter of the Duke Ellington Society Collection (AC390)

Earl Okin Collection of Duke Ellington Ephemera (AC0391)

William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music (AC0406)

Ruth Ellington Collection of Duke Ellington Materials (AC0415)

Music manuscripts in the Ruth Ellington Collection complement the music manuscripts found in the Duke Ellington Collection.

Carter Harman Collection of Interviews with Duke Ellington (AC0422)

Betty McGettigan Collection of Duke Ellington Memorabilia (AC0494)

Dr. Theodore Shell Collection of Duke Ellington Ephemera (AC0502)

Edward and Gaye Ellington Collection of Duke Ellington Materials (AC0704)

Andrew Homzy Collection of Duke Ellington Stock Music Arrangements (AC0740)

John Gensel Collection of Duke Ellington Materials (AC0763)

Al Celley Collection of Duke Ellington Materials (AC1240)

Materials at Other Organizations

Institute of Jazz Studies

Separated Materials:

Artifacts related to this collection are in the Division of Culture and the Arts (now Division of Cultural and Community Life) and include trophies, plaques, and medals. See accessions: 1989.0369; 1991.0808; 1993.0032; and 1999.0148.

"

Provenance:

The collection was purchased through an appropriation of Congress in 1988.

Restrictions:

Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

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.

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Occupation:

Composers -- 20th century  Search this

Topic:

Big bands  Search this

Pianists  Search this

Bandsmen -- 20th century  Search this

Jazz -- 20th century -- United States  Search this

Musicians -- 20th century  Search this

Music -- Performance  Search this

African American entertainers -- 20th century  Search this

African Americans -- History  Search this

Popular music -- 20th century -- United States  Search this

Music -- 20th century -- United States  Search this

African American musicians  Search this

Genre/Form:

Phonograph records

Papers

Photographic prints

Posters

Sound recordings

Scrapbooks -- 20th century

Music -- Manuscripts

Clippings

Awards

Audiotapes

Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

Processing and encoding partially funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0301

See more items in:

Duke Ellington Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep850a376a1-6b6d-48bc-9076-cffef76fea2c

EDAN-URL:

ead_collection:sova-nmah-ac-0301

Creator:

Smithsonian Asian Pacific American Program  Search this

Type:

Lectures

YouTube Videos

Uploaded:

2021-04-21T01:49:13.000Z

YouTube Category:

Entertainment  Search this

Topic:

Asian Americans  Search this

See more by:

apacenter

Data Source:

Smithsonian Asian Pacific American Program

YouTube Channel:

apacenter

EDAN-URL:

edanmdm:yt_wIy3rfHe6Cg

Creator:

Freer Gallery of Art and Arthur M. Sackler Gallery  Search this

Type:

Lectures

YouTube Videos

Uploaded:

2022-09-08T11:12:38.000Z

YouTube Category:

Education  Search this

Topic:

Art, Asian  Search this

See more by:

FreerSackler

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

YouTube Channel:

FreerSackler

EDAN-URL:

edanmdm:yt_Cjs5yjaGYSQ

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

YouTube Videos

Uploaded:

2011-04-24T03:27:04.000Z

YouTube Category:

Education  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_QunwiAnpei0

Creator:

Rinzler, Ralph  Search this

Names:

Festival of American Folklife  Search this

Folkways Records  Search this

Greenbriar Boys  Search this

Jugtown Pottery (Firm)  Search this

Newport Folk Festival  Search this

Smithsonian Folklife Festival  Search this

UNESCO  Search this

Carter, Jimmy, 1924-  Search this

Hawes, Bess Lomax, 1921-2009  Search this

Lomax, Alan, 1915-2002  Search this

Monroe, Bill, 1911-1996  Search this

Rinzler, Kate, 1937-2010  Search this

Sayles, Charlie  Search this

Seeger, Anthony  Search this

Seeger, Mike, 1933-2009  Search this

Seeger, Pete, 1919-2014  Search this

Seeger, Toshi  Search this

Watson, Doc  Search this

Extent:

106.32 Cubic feet (87.5 cubic feet of papers, 18.82 cubic feet of audio)

Type:

Collection descriptions

Archival materials

Photographs

Field recordings

Correspondence

Phonograph records

Notes

Business records

Audiocassettes

Photographic prints

Black-and-white negatives

Audiotapes

Date:

1890-2011

bulk 1950-1994

Summary:

This collection, with bulk dates from 1950-1994, documents the life of Ralph Rinzler and his professional activities as Director of Field Programs for the Newport Folk Festival, Director of the Smithsonian Folklife Festival (formerly the Festival of American Folklife) and the Office of Folklife Programs (now the Center for Folklife and Cultural Heritage), and the Smithsonian Institution's Assistant Secretary for Public Service. Includes personal papers, business records, correspondence, notes, photographs, audiotapes and field recordings.

Scope and Contents:

The Ralph Rinzler Papers and Audio Recordings encompasses a wide range of materials from Rinzler's prolific personal and professional life. Predominantly consisting of clippings, collected texts, correspondence, meeting notes, photographs, and production materials, this collection charts Rinzler's role in the mid-twentieth century emergence of community-based and institutional efforts to preserve, sustain, and amplify cultural heritage. As an assemblage of materials from all aspects of his life, the Ralph Rinzler Papers also reflect the many integral relationships he developed throughout the years with his colleagues, contemporaries, family, and friends.

Arrangement note:

The collection is currently arranged in 9 archival series as follows:

1. Biographical

2. Collected Texts

3. Correspondence

4. Events

5. Fieldwork

6. Meetings and Organizations

7. Notable Figures

8. Publishing and Production

9. Audio

The papers and photographs contained in the first 8 series are processed at an intermediate level, which means that all material was rehoused in archival folders, with folder-level arrangements and descriptions. Individual items within folders may not be fully arranged or described, due to the collection's level of complexity when it was deposited in the Archives.

When possible, folders were arranged alphabetically within series and subseries.

Biographical/Historical note:

Ralph Rinzler (1934-1994) was born in Passaic, New Jersey, and was interested in music at an early age. He was given a collection of ethnographic recordings from the Archive of Folk Song of the Library of Congress by his uncle, Harvard University ballad scholar George Lyman Kittredge, and they soon became his favorites. He became actively involved in the Folk Revival while attending Swarthmore College, organizing an annual festival on campus. He received his B.A. in 1956, and did graduate work at Middlebury College and the Sorbonne in French literature and language. Upon his return to the United States, he played mandolin for four years with the Greenbriar Boys, at times touring with singer Joan Baez. During the 1960s, he also studied, recorded, and worked with performers of traditional music, such as Doc Watson and Bill Monroe, both of whom gained international recognition in part through his efforts. In 1964, Rinzler accepted the position of Director of Field Programs at the Newport Folk Foundation, which involved the planning and programming of the Newport Folk Festival.

Rinzler came to the Smithsonian in 1967 as co-founder of the Festival of American Folklife (now the Smithsonian Folklife Festival) with James Morris in what was then the Smithsonian's Division of Performing Arts. After the 1976 Bicentennial Festival, Rinzler became the founding director of the Office of Folklife Programs (now the Center for Folklife and Cultural Heritage) to establish a center for research, publication, and presentation of programs in American culture and tradition. As Director, he initiated Smithsonian Folklife Studies, a publication series, and did research for the Celebration exhibit, which opened at the Renwick Gallery in 1982. Rinzler was appointed Assistant Secretary for Public Service in 1983 and Assistant Secretary Emeritus in 1990. Ralph Rinzler died on July 2, 1994.

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.

Provenance:

The materials in this collection were deposited into the archives of the Center for Folklife and Cultural Heritage over a number of years by Ralph Rinzler, Kate Rinzler, and Jeff Place in honor of the aforementioned. From the 1980s until Ralph Rinzler's passing in 1994, the Center received the majority of the audio tapes and photographs in this collection directly from Rinzler. With Rinzler's death in 1994, Jeff Place reviewed and deposited the majority of Rinzler's papers at the Center.

Until her passing in 2011, Kate Rinzler donated materials to this collection, with more continuing to arrive via her estate (as of May 2021). Many of these items were rehoused in the Kate Rinzler Papers.

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:

Folk festivals  Search this

Folk music -- Southern States  Search this

Folk music -- United States  Search this

Genre/Form:

Photographs

Field recordings

Correspondence

Phonograph records

Notes

Business records

Audiocassettes

Photographic prints

Black-and-white negatives

Audiotapes

Citation:

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

Identifier:

CFCH.RINZ

See more items in:

Ralph Rinzler papers and audio recordings

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk51af02b1d-29bd-42f2-a8e7-d35c9bab6da0

EDAN-URL:

ead_collection:sova-cfch-rinz

Creator:

National Air and Space Museum  Search this

Type:

YouTube Videos

Uploaded:

2021-10-22T13:25:05.000Z

YouTube Category:

Science & Technology  Search this

Topic:

Aeronautics;Flight;Space Sciences  Search this

See more by:

airandspace

Data Source:

National Air and Space Museum

YouTube Channel:

airandspace

EDAN-URL:

edanmdm:yt_EgoGx3SlmfM

Creator:

National Air and Space Museum  Search this

Type:

YouTube Videos

Uploaded:

2021-10-22T13:35:18.000Z

YouTube Category:

Science & Technology  Search this

Topic:

Aeronautics;Flight;Space Sciences  Search this

See more by:

airandspace

Data Source:

National Air and Space Museum

YouTube Channel:

airandspace

EDAN-URL:

edanmdm:yt_vrsyMDmIXAs

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2021-07-14T15:15:22.000Z

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_pMBUjy4PTF4

Creator:

Lipchitz, Jacques, 1891-1973  Search this

Names:

Buchholz Gallery (New York, N.Y.)  Search this

Curt Valentin Gallery (New York, N.Y.)  Search this

Bassett, Bruce W.  Search this

Cortois, Jenny  Search this

Frank, Mary, 1933-  Search this

Fry, Annette  Search this

Fry, Varian, 1907-1967  Search this

Gaspard, Leon, 1882-1964  Search this

Hay, Gyorgy  Search this

Ingersoll, R. Sturgis (Robert Sturgis), b. 1891  Search this

Landau, Gregorio  Search this

Larrea, Juan  Search this

Larrea, Marianne  Search this

Lipchitz, Yulla, 1911-  Search this

Modigliani, Amedeo, 1884-1920  Search this

Rapoport, Nathan, 1911-  Search this

Soula, Camille, 1888-  Search this

Starrels, Celeste  Search this

Starrels, Joel  Search this

Wilkinson, Alan G., 1941-  Search this

Zorach, William, 1887-1966  Search this

Extent:

52.8 Linear feet

Type:

Collection descriptions

Archival materials

Diaries

Scrapbooks

Sketches

Designs

Date:

circa 1910-2001

bulk 1941-2001

Summary:

The Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz measure 52.8 linear feet and are dated circa 1910-2001, with the bulk of the material from the period 1941-2001. Papers are comprised of sculptor Jacques Lipchitz's personal papers and filmmaker Bruce Bassett's papers relating to Jacques Lipchitz. Lipchitz's personal papers contain personal and professional correspondence, comprising nearly half of the series, and biographical material, writings by and about Lipchitz, printed material, and photographs documenting Lipchitz's commissions, exhibitions, friendships, and interests. Also found are records relating to the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson. The Bruce Bassett papers relating to Jacques Lipchitz consist mainly of Bassett's extensive audiovisual documentation of Lipchitz's life and art. Also found are paper records related to the audiovisual projects, including letters, business records, printed materials, and production records. A small quantity of material unrelated to Lipchitz is also found among the Bassett material, including video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.

Scope and Contents note:

The Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz measure 52.8 linear feet and are dated circa 1910-2001, with the bulk of the material from the period 1941-2001. Papers are comprised of sculptor Jacques Lipchitz's personal papers and filmmaker Bruce Bassett's papers relating to Jacques Lipchitz. Lipchitz's personal papers contain personal and professional correspondence, comprising nearly half of the series, along with biographical material, writings by and about Lipchitz, printed material, and photographs documenting Lipchitz's commissions, exhibitions, friendships, and interests. Also found are records relating to the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson. The Bruce Bassett papers relating to Jacques Lipchitz consist mainly of Bassett's extensive audiovisual documentation of Lipchitz's life and art. Also found are paper records related to the audiovisual projects, including letters, business records, printed materials, and production records. A small quantity of material unrelated to Lipchitz is also found among the Bassett material, including video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.

The Jacques Lipchitz biographical material includes an address book, biographical notes, membership cards, rent receipts and a lease, and a survey of Lipchitz's property in Hastings-on-Hudson, NY.

Correspondence is both professional and personal in nature. Approximately 20 percent is in foreign languages. French predominates, followed by Russian; German, Dutch, Italian, Spanish, Latvian, Hebrew, and Yiddish are also represented.

Professional correspondence documents business transactions with architects, potential clients, museum officials, art dealers, and others concerning commissions, exhibition plans, loans of artwork, jury service, etc. Art groups, Jewish organizations and charities wrote to solicit donations of artwork for fundraising events and issued invitations to speak or be a guest of honor. Scholars contacted Lipchitz about their research and requested information about specific works by him, items in his collection, and his opinions on a variety of subjects. Also found are fan letters from aspiring artists seeking advice, and from the general public asking for the opportunity to meet Lipchitz and visit his studio. After the 1952 studio fire, many friends and strangers sent letters of condolence and encouragement.

Correspondence with wife Yulla, nephew Gyorgy Hay, and close friends recounts personal and family news, activities, and sometimes touches on future plans. Among these correspondents are: Jenny Courtois, Varian and Annette Fry, Leo Gaspard, R. Sturgis Ingersoll, Gregorio Landau, Juan and Marianne Larrea, Camille Soula, and Joel and Celeste Starrels.

Eleven small pocket diaries, 1940-1965, contain brief, often sporadic entries noting appointments, events, addresses and phone numbers, notes of expenses, and include some sketches. Among the other writings by Lipchitz are: a notebook containing random notes on sculpture; a list of sculptures destroyed in the 1952 studio fire; short pieces and fragments of writings about sculptors Mary Frank, Natan Rapoport, Auguste Rodin, and William Zorach; a memoir of Amedeo Modigliani; and articles and reflections on contemporary art and the church.

Catalogue raisonné records concern the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson, sponsored by Marlborough Gallery, Inc.

Among the financial records are statements of the sculptor's accounts with Buchholz Gallery and Curt Valentin Gallery, and receipts for Lipchitz Collection purchases. Also found are insurance and tax records, as well as receipts for routine professional expenses and miscellaneous personal expenses.

Artwork consists of a few rough sketches by Lipchitz and several geometric designs by an unidentified artist. Two scrapbooks, 1945-1946, consist of newspaper clippings and a few items from other periodicals that mention Lipchitz or contain reproductions of his work. Volume 2 includes typescripts of an interview and remarks delivered by Lipchitz, both very brief.

Printed material consists of exhibition catalogs and announcements, articles, press releases, books, programs, and reproductions concerning Lipchitz's exhibitions, sculpture, commissions, and events honoring him. Of particular interest are architectural prints showing sites and project details of several commissions. Also found are a variety of printed items about general art topics.

Photographs document people, artwork, project sites and models, exhibition installations, events, and places. People include Jacques Lipchitz, family members, and other individuals. Artwork represented is by Lipchitz and other artists. Views of Lipchitz exhibition installations mainly document solo shows. Photographs of events record a variety of occasions, among them: the opening of Lipchitz's studio in Hastings-on-Hudson, NY; a dedication ceremony for Philip Johnson's Roofless Church in New Harmony, IN, with ornamental gates and a sculpture by Lipchitz; and Lipchitz addressing an anatomy class at Albert Einstein Medical College. Among the pictures of places are Lipchitz's studios in Hastings-on-Hudson, NY, and Pietrasanta, Italy, and a view of Picasso's Paris studio.

The Bruce Bassett papers relating to Jacques Lipchitz contain mostly audiovisual materials from sound and film documentation projects conducted by Bassett with Lipchitz. Found are original sound recordings and photographs from Deborah Stott's 200 hour oral history with Jacques Lipchitz, as well as detailed, typewritten summaries of its content. Records from Bassett's film projects about Lipchitz include original film and sound recordings from Bassett's 40 hours of interviews with Lipchitz from 1971, and film documentation of the posthumous installations of Lipchitz's large-scale sculptures in Philadelphia, New York, and Israel in the late 1970s. In addition to the raw footage from these projects, which is incomplete, the collection contains workprint and final, edited works Bassett created in multiple versions and formats, and paper records documenting the film projects' creation, production, and later use.

Among the papers related to the film projects are scripts, an index to original footage, programming notes, film lab records, exhibition materials, an extensive collection of questions about Lipchitz gathered from the public for the interactive project, and other production records. Other papers include letters from Lipchitz and his wife, business correspondence, financial records, contracts, project files, and printed materials. Other projects by Bassett, unrelated to Lipchitz, are documented in video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.

Arrangement note:

The collection is arranged as 2 series:

Missing Title

Series 1: Jacques Lipchitz papers, circa 1910-1999, bulk 1941-1999 (Boxes 1-10, OV 11-12; 9.5 linear feet)

Series 2: Bruce Bassett papers concerning Jacques Lipchitz, 1961-2001 (Boxes 13-67, OV 68-69; 43.3 linear feet)

Biographical/Historical note:

Jacques Lipchitz (1891-1973), an internationally known and influential Cubist sculptor, studied in Paris and established his career there. He fled Paris just before the German occupation, arrived in New York City in 1941, and eventually settled in Hastings-on-Hudson, NY.

Chaim Jacob Lipchitz was born in Druskieniki, Lithuania, then part of the Russian empire. His father, a building contractor from a well-to-do Jewish banking family, expected his son to study engineering as preparation for joining the business. Lipchitz, however, aspired to become a sculptor. With financial help from his mother, and determined to pursue his dream, he left for Paris after graduating from high school in 1909. Once there, Chaim Jacob soon became Jacques, the name he used throughout his life.

He first enrolled at the École des Beaux-Arts as a "free pupil." After his father agreed to provide an allowance, Lipchitz transferred to the Académie Julian to study with sculptor Raoul Verlet. He also attended evening drawing classes at the Académie Colarossi. By 1911 he was working in his own studio. Two years later, Lipchitz's entry in the Salon d'Automne received favorable recognition.

In Paris, his circle of friends and acquaintances grew to include Dr. Albert C. Barnes, Constantin Brancusi, Coco Chanel, Jean Cocteau, André Derain, Ernest Hemingway, Max Jacob, Charles-Édouard Jenneret (Le Corbusier), James Joyce, Fernand Léger, André Lhote, Jean Metzinger, Amédée Ozenfant, Pablo Picasso, Diego Rivera, Chaim Soutine, Gertrude Stein, and Virgil Tompson. Juan Gris and Amedeo Modigliani were his closest friends.

Lipchitz's earliest work was traditional. Exposure to Picasso and other avant-garde artists influenced his style, and by 1915 he was producing purely Cubist sculptures. In 1916, dealer Léonce Rosenberg offered Lipchitz a contract with a monthly stipend. Able to afford assistants, Lipchitz began much larger projects. Over time, as he came to feel that angular forms were devoid of humanity, his style gradually changed. In the 1920s, he began experimenting with "transparencies" - delicate abstract forms with large open spaces for which he developed casting techniques that influenced sculpture for a generation. In the 1950s, he began creating "semi-automatics." These were cast in bronze from forms made by submerging hot wax in water, which sometimes incorporated found objects. Much of Lipchitz's later work was massive, dynamic, and incorporated more naturalistic forms.

In the early 1920s, Lipchitz received multiple commissions from Coco Chanel and Dr. Albert C. Barnes. He became a French citizen in 1924, the year he married poet Berthe Kitrosser, with whom he had lived since 1915. (Their double portrait by Modigliani that Lipchitz commissioned in 1916, now titled The Sculptor Jacques Lipchitz and His Wife Berthe Lipchitz, is in the permanent collection of the Art Institute of Chicago). The following year they moved to a suburban home and studio designed by Le Corbusier.

Léonce Rosenberg's Galerie de l'Effort Moderne presented Lipchitz's first solo exhibition in 1930, and the first important Lipchitz exhibition in the United States was held in 1935 at Brummer Gallery, New York. As the sculptor's reputation grew throughout the 1930s, his work was very much in demand.

As World War II approached, Lipchitz sensed the impending horror of the Nazi regime but was extremely reluctant to leave Paris. With time running out, he finally was persuaded that it was too dangerous to stay. Jacques and Berthe Lipchitz departed for the free zone of Toulouse, and with help from American friends sought asylum in the United States. In June of 1941, they arrived in New York City with some clothing, a portfolio of drawings, and very little money.

Lipchitz, a mature artist with an international reputation, soon attracted invitations to teach. Although finances were tight, the offers were rejected because he understood that any commitment would impede his artistic output. In search of a gallery, he contacted Brummer Gallery, the site of his first American show six years earlier. Although Joseph Brummer had shifted his focus to antiques, he provided an introduction to art dealer Curt Valentin of Buchholz Gallery (later Curt Valentin Gallery), who was sincerely interested in modern sculpture. Valentin went on to represent Lipchitz for well over a decade. Curt Valentin Gallery closed in 1955, a year after the owner's death. Lipchitz then became affiliated with Fine Arts Associates and its many successors (Otto Gerson Gallery, Inc., and Marlborough-Gerson Gallery, Inc.), which represented him for the remainder of his life. Marlborough Gallery, Inc. handled Lipchitz's estate.

Berthe longed to go home after the war, and in 1946 the couple returned to France. But because he and France had changed, Lipchitz soon realized that his future lay in America. He returned to New York after seven months; Berthe remained, and a divorce soon followed.

Within the year, Jacques Lipchitz married Yulla Halberstadt, a fellow refugee who was also a sculptor. Their only child, Loyla Rachel, was born in 1948. The family moved to Hastings-on-Hudson, NY in 1949, and he continued to work at his studio on East 23rd Street in New York City. After a major studio fire in early 1952 destroyed commissions in progress and many other pieces, the sculptor set up a temporary work space at Modern Art Foundry, Long Island City, NY. Several museums, collectors, and friends, quickly raised funds for a new studio, which became a loan at Lipchitz's insistence. A new studio designed by Milton Lowenfish and located within walking distance of Lipchitz's Hastings-on-Hudson home opened in 1953.

During the course of his career, Lipchitz was honored with a large number of solo and retrospective exhibitions at major museums and galleries in Europe, North and South America, and Israel. His work is represented in the permanent collections of world renowned museums and is owned by a wide range of private collectors and institutions.

Lipchitz was an avid art collector. An exhibition of Scythian art at the Hermitage Museum, seen while on a brief trip home in 1912, greatly impressed and inspired him. The result was an intense interest in non-European art, especially African art. He began to collect appealing objects from other cultures, and soon developed a life-long habit of visiting flea markets, antique shops, and galleries on a regular basis in search of items for his growing collection. In addition to ethnographic and ancient art, Lipchitz also bought old masters and 19th century art, and developed a special interest in Géricault. The original collection was abandoned when he left Paris; once settled in the United States, he resumed collecting. A substantial portion of the Lipchitz Collection, with an accompanying scholarly catalogue, was exhibited in 1960 at The Museum of Primitive Art, New York City.

Lipchitz's family was observant and he attended Jewish schools that stressed religious education, but he showed little interest in his faith during his early adult life. However, the establishment of Israel affected him profoundly and, over time, religious themes emerged in Lipchitz's work. He began making arrangements for gifts of sculpture to the Bezalel National Museum and the Israel Museum, developed a friendship with Jerusalem's outspoken Zionist mayor, Theodore Kollek, and in 1963 made his first of many visits to Israel.

He was a Chevalier de la Légion d'Honneur, was elected a member of the American Academy of Arts and Letters, and received awards for artistic achievement from the American Institute of Architects, Boston University, and Brandeis University. The Jewish Theological Seminary, New York, presented him an Honorary Doctorate of Laws degree.

Jacques Lipchitz died in Capri, Italy, May 16, 1973, and is buried in Israel. At his death, several large-scale sculpture commissions were left unfinished, and his wife Yulla took over the projects and saw that the installations were accomplished as planned. These posthumous installations include Government for the People, installed in Philadelphia in 1976, Bellerophon Taming Pegasus, installed at the Columbia University School of Law in New York City in 1977, and Our Tree of Life, installed in Jersusalem in 1978.

Bruce Bassett (1925-2009), a television and film producer, worked for NBC in New York for over 20 years. Bassett met the sculptor Jacques Lipchitz (1891-1973) when they were both living in Hastings-on-Hudson, NY. In 1968, Bassett initiated an extensive oral history project when he realized that Lipchitz, as an English speaker and participant in the birth of modernism in Europe, was the only living artist who could provide an oral record of the beginnings of modern art for an English audience.

From 1968, until his death in 2009, Bassett carried out extensive documentation projects regarding Lipchitz, often in his spare time, under the auspices of two organizations he founded: the Jacques Lipchitz Art Foundation (1968-1975) and Histor Systems (circa 1991-2001). In 1968 Bassett raised funds to enable Deborah Stott to travel to Italy and conduct roughly 200 hours of audio interview with Lipchitz, interviews which cover not only his own history, but also include a complete record of the origins of his extensive collection of primitive art, numbering almost 3000 objects at the time. Bassett himself traveled to Italy and filmed nearly 40 hours of additional interviews with Lipchitz in 1971.

Drawing from these filmed interviews, Bassett created a pioneering interactive program which allowed museum-goers to pose questions to Lipchitz and moments later receive answers in the form of video segments of Lipchitz speaking. He used the same footage to write, produce, and direct a one hour documentary, "Portrait of an Artist: Jacques Lipchitz." Both projects were originally presented to the public in tandem with a retrospective exhibition of Lipchitz's sculpture at the Metropolitan Museum in New York in 1972, and were later revised and updated several times for subsequent distribution and presentation. The last presentation of the interactive project documented in Bassett's papers was held at the Krannert Art Museum of the University of Illinois at Urbana-Champaign in 2001. The interactive project is now online at the Israel Museum website entitled "Ask Jacques Lipchitz a Question," a project Bassett had been working on with Hanno Mott at his death. Bassett had visited the Museum several years earlier to demonstrate the video.

Bassett died in 2009 in New York, NY.

Related Archival Materials note:

Interviews with Lipchitz are represented among the following Archives of American Art collections: Brooklyn Museum interviews of artists; KPFK "Art Scene," interviews by Marian L. Gore; Interviews of artists by Brian O'Doherty; and Interviews relating to American Abstract Artists by Ruth Bowman.

The Tate Archive houses the Jacques Lipchitz collection presented by Rubin Lipchitz, with materials dating from the 1910s-1970s and measuring 9.8 linear feet.

The Israel Museum hosts a website entitled "Ask Jacques Lipchitz a Question," which presents Bruce Bassett's entire interactive project of Lipchitz, described here in series 2.5.2, as a web-accessible video project.

Provenance:

Donated in 2010 by Hanno D. Mott, step-son of Jacques Lipchitz, and also on behalf of Loyla R. Lipchitz and Frank L. Mott.

Restrictions:

Use of original papers requires an appointment. Use of audiovisual materials with no duplicate access copy requires advance notice.

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:

Artists' studios -- Photographs  Search this

Genre/Form:

Diaries

Scrapbooks

Sketches

Designs

Citation:

Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz, circa 1910-2001, bulk 1941-2001. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by The Jacques and Yulla Lipchitz Foundation, Inc.

Identifier:

AAA.lipcjacq2

See more items in:

Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91b1a0c38-358c-4de5-bef5-2c27f942b166

EDAN-URL:

ead_collection:sova-aaa-lipcjacq2

Creator:

Asch, Moses  Search this

Distler, Marian, 1919-1964  Search this

Folkways Records  Search this

Names:

Courlander, Harold, 1908-1996  Search this

Guthrie, Woody, 1912-1967  Search this

Jenkins, Ella  Search this

Leadbelly, 1885-1949  Search this

Ramsey, Frederic, 1915-1995  Search this

Seeger, Pete, 1919-2014  Search this

Extent:

841 Cubic feet

Type:

Collection descriptions

Archival materials

Business records

Correspondence

Phonograph records

Photographic prints

Audiotapes

Date:

1926-1986

bulk 1948-1986

Summary:

This collection, which dates from 1926-1986, documents the output of Moses Asch through the various record labels he founded and co-founded, and includes some of his personal papers. The Asch collection includes published recordings, master tapes, outtakes, business records, correspondence, photographs, and film.

Scope and Contents:

The Moses and Frances Asch Collection measures 841 cubic feet and dates from 1926-1987, with some contemporary, relevant correspondence, clippings, and ephemera added after 1987.

Most of the collection consists of audio recordings (commercial 78 rpm and long-playing records, open reel tapes, acetate discs, and test pressings), correspondence with recording artists and producers, artwork, photographs, ephemera, clippings, record production materials, writings, and business papers relating to Folkways Records. Materials relating to Folkways Records can be found primarily in the Correspondence, Folkways Production, Business Records, Photographs, Artwork, Sound Recordings, and Film series.

The collection also contains some biographical materials and personal correspondence, including materials related to Asch's first business, Radio Laboratories, located in the Biographical Materials series. Correspondence, ephemera, photographs, record production materials, business papers, and recordings relating to Asch's record labels before Folkways Records (Asch Recordings, Disc Company of America, Cub Records) are located in the Early Label Materials series as well as the Audio Recordings and Photographs series.

Arrangement note:

The collection is arranged in 10 series:

Series 1: Correspondence, 1942-1987

Series 2: Folkways Production, 1946-1987

Series 3: Business Records, 1940-1987

Series 4: Woody Guthrie papers, 1927-1985

Series 5: Early Label Materials, 1940-1949

Series 6: Biographical Materials, 1926-1987

Series 7: Photographs

Series 8: Artwork

Series 9: Audio Recordings

Series 10: Film

At this time, the collection is partially processed. Please contact rinzlerarchives@si.edu for more information.

Biographical/Historical note:

The son of Yiddish writer Sholem Asch, Moses Asch was born in Poland in 1905. His childhood was spent in Poland, France, Germany, and New York. While young, Asch developed an interest in radio electronics, which ultimately lead him to his life's work, recording the music and sounds of the world. He established several record labels in succession, sometimes partnering with other record companies. Two of his fist record companies, Asch Recordings and DISC Co. of America, went bankrupt. They were followed by his best-known label, Folkways Records, which was founded in 1948 with Marian Distler (1919-1964). He was still working on Folkways recordings when he died in 1986.

Folkways Records sought to document the entire world of sound. The 2,168 titles Asch released on Folkways include traditional and contemporary music from around the world, spoken word in many languages, and documentary recordings of individuals, communities, and current events. Asch's business practices revolved around the commitment to keep every recording issued by Folkways in print, despite low sales. Asch stayed afloat by cutting costs where he could (such as color printing) and offering a high-quality product, meticulously recorded and accompanied by extensive liner notes. In doing this, he could charge a slightly higher price than other commercial outfits. Despite a tenuous relationship with financial solvency, Folkways grew to be not only one of the most important independent record companies in the United States in the 20th century, but also one of the largest and most influential record companies in the world.

Moses Asch's record labels featured famous and lesser known American writers, poets, documentarians, ethnographers, and grass roots musicians on commercial recordings. American folk icon Woody Guthrie recorded on the Asch, Disc, and Folkways labels, and the Asch Collection includes some of his correspondence, lyrics, drawings, and writings. The collection also includes correspondence with other notable musicians and artists such as John Cage, Langston Hughes, Margaret Walker, Huddie "Lead Belly" Ledbetter, Pete Seeger, Peggy Seeger, Ewan MacColl, Alan Lomax, Henry Cowell, and Kenneth Patchen. Also in the collection are ethnographic field notes and photographs by as well as correspondence with Béla Barók, Sidney Robertson Cowell, Harold Courlander, Helen Creighton, Laura Boulton, and Samuel Charters. Asch hired various prominent artists and graphic designers including David Stone Martin, Ben Shahn, John Carlis, and Ronald Clyne to create album cover art for his recordings. Much of the original art and designs for these covers can be found in the Asch Collection.

Asch's output of recordings on various labels, including published recordings, open reel master tapes, outtakes, and acetate disks, in addition to his business papers, correspondence, photographs, and other files were acquired by the Smithsonian Institution in 1987. The collection came to the Smithsonian with the understanding that all 2168 titles under the Folkways label would be kept available in perpetuity.

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.

Provenance:

Ralph Rinzler arranged the Smithsonian's acquisition of the Moses and Frances Asch Collection in 1987, beginning with Asch before his death in 1986 and continuing with extensive discussions between Rinzler and the Asch family. Since its acquisition, archivist Jeff Place and others have added contemporary, relevant correspondence with Folkways artists and related individuals.

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:

Folk music  Search this

Folk dance music  Search this

Electronic music  Search this

Oral interpretation of poetry  Search this

Oral interpretation of fiction  Search this

Music -- 20th century  Search this

Music -- 19th century  Search this

Music -- 18th century  Search this

Jazz  Search this

Folk music -- United States  Search this

World music  Search this

Sounds  Search this

Vocal music  Search this

Popular music -- 20th century -- United States  Search this

Genre/Form:

Business records

Correspondence

Phonograph records

Photographic prints

Audiotapes

Citation:

Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.ASCH

See more items in:

Moses and Frances Asch Collection

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk533b8a927-559a-44ac-98d2-f32d871058b4

EDAN-URL:

ead_collection:sova-cfch-asch

Photographer:

Fogg, John M. (John Milton), 1898-1982  Search this

Extent:

183 Slides (photographs) (35mm, 0.1 cubic feet, 1 slide box)

Type:

Collection descriptions

Archival materials

Slides (photographs)

Slides (35mm transparencies)

Color slides

Photographic slides

Date:

1955-1967

Summary:

Collection consists of 183 35mm photographic slides that Dr. John M. Fogg took of a variety of arboreta, botanic gardens, plant nurseries, and other assorted gardens throughout the United States and Canada between 1955 and 1967.

Scope and Contents:

The collection comprises 183 35mm photographic slides taken by Dr. John M. Fogg between 1955 and 1967 documenting a variety of trips to botanic gardens, arboreta, and plant nurseries in the U.S. and Canada. Photographs also include trips taken by Fogg and other members of the American Association of Botanical Gardens and Arboreta (later the American Public Gardens Association).

Arrangement:

The collection is arranged into the following series and subseries:

Series 1: Garden images Subseries 1: Gardens in the United States Subseries 2: Foreign Gardens

Biographical Note:

Dr. John Milton Fogg Jr. (b.1898 - d.1982), a botanist, was a professor of botany for over sixty years at the University of Pennsylvania. He was the director of the Morris Arboretum at the University of Pennsylvania between 1954 and 1967. In 1941 Fogg was appointed Dean of the College of Arts and Sciences and named Vice Provost of the University of Pennsylvania in 1944. His career in botany was prolific.

Throughout his career Fogg worked to survey the flora of Pennsylvania. He helped to establish a horticulture school at the Barnes Foundation in Merion, Pennsylvania where he served as its first botany instructor. In 1966, Dr. Fogg was appointed Director of the Arboretum of the Barnes Foundation. Fogg wrote and published dozens of books and articles about botany and plants throughout his career. Fogg died in 1982 at the age of 83.

Related Archival Materials:

Records relating to Dr. Fogg's professional career are located at the following repositories: The John Milton Fogg Papers, 1931-1982 at the Barnes Foundation Archives in Merion, Pennsylvania, and the Morris Arboretum of the University of Pennsylvania records 1933-2013 at the Morris Arboretum Archives at the University of Pennsylvania, Philadelphia, Pensylvania.

Provenance:

This collection was donated to the Archives of American Gardens by the Morris Arboretum of the University of Pennsylvania in 2017.

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.

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:

Public gardens  Search this

Gardens -- Missouri  Search this

Gardens -- Virginia -- Norfolk  Search this

Gardens -- Virginia  Search this

Botanists -- 1950-1980  Search this

Gardens -- Tennessee  Search this

Gardens -- Ohio  Search this

Botanical gardens  Search this

Gardens -- United States  Search this

Gardens -- Massachusetts  Search this

Gardens -- Washington (D.C.)  Search this

Gardens  Search this

Gardens -- Canada  Search this

Botany  Search this

Gardens -- New Jersey  Search this

Gardens -- New York (State)  Search this

Gardens -- Pennsylvania  Search this

Gardens -- Georgia  Search this

Arboretums  Search this

Gardens -- Minnesota  Search this

Gardens -- North Carolina  Search this

Nurseries (Horticulture)  Search this

Genre/Form:

Slides (35mm transparencies)

Color slides

Photographic slides

Slides (photographs)

Citation:

Smithsonian Institution, Archives of American Gardens, John M. Fogg Photographic Slides

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.FOG

See more items in:

John M. Fogg photographic slides

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6a47ab3dd-3f27-48d1-a721-1d47d504a50e

EDAN-URL:

ead_collection:sova-aag-fog

Collector:

Allen, George V.  Search this

Names:

Albuquerque Indian School  Search this

Castillo de San Marcos (Saint Augustine, Fla.)  Search this

Chilocco Indian Agricultural School  Search this

Geological Survey (U.S.)  Search this

Haskell Indian Nations University  Search this

United States Indian School (Carlisle, Pa.)  Search this

Yankton Mission (Yankton Indian Reservation, S.D.)  Search this

American Horse, 1840-1908  Search this

Big Bow Chief  Search this

Bogy, Lewis V. (Lewis Vital), 1813-1877  Search this

Cushing, Frank Hamilton, 1857-1900  Search this

Harding, Warren G. (Warren Gamaliel), 1865-1923  Search this

Hough, Walter, 1859-1935  Search this

Iron Bull (Crow Indian chief)  Search this

Kelly, Luther S. (Luther Sage), 1849-1928  Search this

Mató-Tópe, Mandan chief, d. 1837  Search this

Mix, Charles E.  Search this

Monroe, Mark, 1930-  Search this

Moran, John, 1831-1903  Search this

Ouray  Search this

Red Cloud, 1822-1909  Search this

Red Dog, Oglala chief  Search this

Red Shirt, 1845?-1925  Search this

Reilly, John James, 1838-1894  Search this

Reynolds, Joseph Jones, 1822-1899  Search this

Sitting Bull, 1831-1890  Search this

Spotted Tail, 1823-1881  Search this

Stevenson, Matilda Coxe, 1850-1915  Search this

Two Guns White Calf, 1872-1934 (Piegan)  Search this

Photographer:

Alvord, Kellogg, & Campbell  Search this

Bailey & Whitesides  Search this

Bailey, Dix, & Mead  Search this

Bennett & Brown  Search this

Black Hills View Company  Search this

Brooks Photo  Search this

Brubaker and Whitesides  Search this

C. Duhem & Bro.  Search this

Calfee & Catlin  Search this

Caswell & Davy  Search this

Copelin & Son  Search this

Cosand & Mosser  Search this

Cunningham & Co. (1880-1889)  Search this

D.D. Merrill, Randall & Co.  Search this

E. & H.T. Anthony (Firm)  Search this

Eaton, of Ralston, Oklahoma  Search this

Griffith & Griffith  Search this

Gurnsey & Illingworth  Search this

Hamilton and Hoyt  Search this

Hamilton and Kodylek  Search this

Hansard & Carden  Search this

Henry L. Shepard & Co.  Search this

Ingersoll View Company (St. Paul, Minnesota)  Search this

J.J. Reilly & Co.  Search this

Judd and McLeish  Search this

Keystone View Company  Search this

Kilburn Brothers  Search this

Lawrence & Houseworth  Search this

Leonard & Martin  Search this

M.S. Mepham & Bro.  Search this

Martin's Gallery  Search this

Montgomery Ward  Search this

Ramsour & Pennel  Search this

Reed & McKenney  Search this

Rodocker & Blanchard  Search this

Savage & Ottinger  Search this

Thomas Houseworth & Co  Search this

Underwood & Underwood  Search this

Universal Photo Art Co  Search this

Whitney & Zimmerman  Search this

Wittick & Bliss  Search this

Wittick & Russell  Search this

Young & Chase  Search this

Barker, George, 1844-1894  Search this

Barry, D. F. (David Francis), 1854-1934  Search this

Batchelder, B. P. (Benjamin Pierce), 1826-1891  Search this

Bates, Edw. (Edward)  Search this

Beaman, Edward O.  Search this

Bell, C. M. (Charles Milton), approximately 1849-1893  Search this

Bell, William, 1830-1910  Search this

Benecke, Robert  Search this

Bennett, H. H. (Henry Hamilton), 1843-1908  Search this

Bierstadt, Charles, 1819-1903  Search this

Blessing, S. T.  Search this

Blosser, J. A.  Search this

Bonine, Elias A., 1843-1916  Search this

Brockham, William (of Morris, Minnesota)  Search this

Brown, William Henry, 1844-1886  Search this

Brubaker, C. B.  Search this

Buehman, Henry, 1851-1912  Search this

Calfee, H. B. (Henry Bird), 1848-1912  Search this

Carbutt, John, 1832-1905  Search this

Carter, C. W., 1832-1918  Search this

Chamberlain, W. G. (William Gunnison)  Search this

Chase, D. B. (Dana B.)  Search this

Childs, B. F. (Brainard F.), ca. 1841-1921  Search this

Choate, J. N. (John N.), 1848-1902  Search this

Clark, George A. (George Alfred), 1936-  Search this

Climo, John Saunders  Search this

Cobb, William Henry, 1859-1909  Search this

Conklin, E (Enoch)  Search this

Cozzens, Samuel Woodworth, 1834-1878  Search this

Croft, Thomas  Search this

Cross, W. R. (William R.)  Search this

Currier, Frank, fl. 1890-1909  Search this

Curtis, Edward S., 1868-1952  Search this

Curtis, George E., 1830-1910  Search this

Cushing, W. H., fl. 1870-1889  Search this

Davis, S., fl. 1860-1880  Search this

Doremus, John P., 1827-1890  Search this

Eaton, E. L. (Edric L.), b. ca. 1836  Search this

Ebell, Adrian J. (Adrian John), 1840-1877  Search this

Eisenmann, Charles, b. 1850  Search this

Flanders, Dudley P.  Search this

Forsyth, N. A. (Norman A.), 1869-1949  Search this

Fouch, John H., 1849-1933  Search this

Gardner, Alexander, 1821-1882  Search this

Godkin, William R.  Search this

Goodell, Abner Cheney, 1831-1914  Search this

Graves, C. H. (Carleton H.), -1943  Search this

Gurnsey, B. H. (Byron H.), 1833-1880  Search this

Hamilton, J. H. (James H.)  Search this

Hart, Alfred A., 1816-1908  Search this

Hawkins, B.A.  Search this

Haynes, F. Jay (Frank Jay), 1853-1921  Search this

Hazeltine, M. M. (Martin Mason), 1827-1903  Search this

Heister, H. T., (Henry T.), -1895  Search this

Heller, Louis Herman, ca. 1839-1929  Search this

Heston, Wat  Search this

Hillers, John K., 1843-1925  Search this

Hook, W. E. (William Edward), 1833-1908  Search this

Huffman, L. A. (Laton Alton), 1854-1931  Search this

Illingworth, W. H. (William H.), 1842-1893  Search this

Immke, Henry W.  Search this

Ingalls, George W., 1838-1920  Search this

Jackson, William Henry, 1843-1942  Search this

Jacoby, W. H. (William H.), 1841-1905  Search this

Jarvis, J. F. (John F.), b. 1850  Search this

Johnson, W.S.  Search this

Kirkland, Geo. W. (George W.)  Search this

Knight, J. Lee  Search this

Landon, S. C. (Seth C.), b. 1825  Search this

Line, A. A.  Search this

Little, H.N.  Search this

Marshall, William I. (William Isaac), 1840-1906  Search this

Martin, Alex (Alexander), 1841-1929  Search this

Maude, F. H. (Frederic Hamer)  Search this

Maynard, Hannah, 1834-1918  Search this

Maynard, Richard, 1832-1907  Search this

McIntyre, A. C. (Alexander Carson)  Search this

Meddaugh, J. E.  Search this

Mellen, Geo. E. (George Egbert), b. 1854  Search this

Mepham, Michael S.  Search this

Mitchell, Daniel S.  Search this

Morrow, Stanley J.  Search this

Muybridge, Eadweard, 1830-1904  Search this

Newcomb, C. H.  Search this

Nims, F.A.  Search this

O'Sullivan, Timothy H., 1840-1882  Search this

Palmer, A. A.  Search this

Parker, Joseph C.  Search this

Pierron, Geo. (George), b. 1816  Search this

Pollock, Charles, 1832-1910  Search this

Powers, F. F.  Search this

Raitt, T.G.  Search this

Randall, A. Frank  Search this

Rau, William Herman, 1855-1920  Search this

Rinehart, F. A. (Frank A.)  Search this

Rodocker, D. (David)  Search this

Rothrock, George H.  Search this

Rudy, W. Ira  Search this

Russell, Andrew J.  Search this

Rutter, Thomas H., 1837-1925  Search this

Savage, C. R. (Charles Roscoe), 1832-1909  Search this

Seaver, C. (Charles)  Search this

Sedgwick, S. J. (Stephen James)  Search this

Shipler, James William, 1849-1937  Search this

Soule, John P.  Search this

Stoddard, Seneca Ray, 1844-1917  Search this

Taber, I. W. (Isaiah West), 1830-1912  Search this

Thorne, G.W.  Search this

Thurlow, J., 1831-1878  Search this

Towne, Bertram C.  Search this

Trager, George E.  Search this

Upton, B. F. (Benjamin Franklin)  Search this

Watkins, Carleton E., 1829-1916  Search this

Weitfle, Charles, 1836-1921  Search this

Wendt, Julius M.  Search this

Whitney, Joel E. (Joel Emmons), 1822-1886  Search this

Williscraft, W.H.  Search this

Wittick, Ben, 1845-1903  Search this

Woodburn, J. R.  Search this

Zimmerman, Charles A., 1844-1909  Search this

Publisher:

Beal's Gallery  Search this

Continent Stereoscopic Company  Search this

Florida Club (Cooperative)  Search this

Union View Company (Rochester, New York)  Search this

Webster & Albee (Rochester, N.Y.)  Search this

Smith, O. C.  Search this

Extent:

67 Lantern slides

26 Negatives (photographic) (glass)

10 Negatives (photographic) (nitrate)

6 Autochromes (photographs)

50 Stereographs (circa 50 printed stereographs, halftone and color halftone)

1,000 Stereographs (circa, albumen and silver gelatin (some tinted))

239 Prints (circa 239 mounted and unmounted prints, albumen (including cartes de visite, imperial cards, cabinet cards, and one tinted print) and silver gelatin (some modern copies))

96 Prints (Album :, silver gelatin)

21 Postcards (silver gelatin, collotype, color halftone, and halftone)

Culture:

Puyallup  Search this

Kumeyaay (Diegueño)  Search this

Anishinaabe (Chippewa/Ojibwa)  Search this

Tohono O'odham (Papago)  Search this

Kalispel (Pend d'Oreilles)  Search this

Indians of North America -- California  Search this

Taos Indians  Search this

Nuu-chah-nulth (Nootka)  Search this

Kickapoo  Search this

Laguna Indians  Search this

Pueblo  Search this

Ho-Chunk (Winnebago)  Search this

Havasupai (Coconino)  Search this

Assiniboine (Stoney)  Search this

Isleta Pueblo  Search this

Mojave (Mohave)  Search this

Mewuk (Miwok)  Search this

Kwakwaka'wakw (Kwakiutl)  Search this

Arctic peoples  Search this

Akimel O'odham (Pima)  Search this

Piipaash (Maricopa)  Search this

Iroquois  Search this

Hopi Pueblo  Search this

Modoc  Search this

A:shiwi (Zuni)  Search this

Niimíipuu (Nez Perce)  Search this

Washo Indians  Search this

A'aninin (Gros Ventre)  Search this

Tonkawa  Search this

Diné (Navajo)  Search this

Yavapai  Search this

Ute  Search this

Sauk  Search this

Chaticks Si Chaticks (Pawnee)  Search this

Indians of North America -- Great Plains  Search this

Bannock  Search this

Shoshone  Search this

Cochiti Pueblo  Search this

Omaha  Search this

Indians of North America -- Southwest, New  Search this

Indians of North America -- Great Basin  Search this

Indians of North America -- Northwest Coast of North America  Search this

Choctaw  Search this

Sioux  Search this

Eskimos  Search this

Northwest Coast  Search this

Indians of North America -- Plateau  Search this

Tsitsistas/Suhtai (Cheyenne)  Search this

Numakiki (Mandan)  Search this

Sahnish (Arikara)  Search this

Tlingit  Search this

Haida  Search this

Cree  Search this

Apsáalooke (Crow/Absaroke)  Search this

Acoma Pueblo  Search this

Quapaw Indians  Search this

Osage  Search this

Apache  Search this

Kaw (Kansa)  Search this

Umatilla  Search this

Shawnee  Search this

Fox  Search this

Pomo  Search this

Indians of North America -- Subarctic  Search this

Paiute  Search this

Seminole  Search this

Mi'kmaq (Micmac)  Search this

Niuam (Comanche)  Search this

Potawatomi  Search this

Type:

Collection descriptions

Archival materials

Lantern slides

Negatives (photographic)

Autochromes (photographs)

Stereographs

Prints

Postcards

Place:

Custer Battlefield (Montana)

Date:

circa 1860-1935

Scope and Contents note:

Photographs relating to Native Americans or frontier themes, including portraits, expedition photographs, landscapes, and other images of dwellings, transportation, totem poles, ceremonies, infants and children in cradleboards, camps and towns, hunting and fishing, wild west shows, food preparation, funeral customs, the US Army and army posts, cliff dwellings, and grave mounds and excavations. The collection also includes images of prisoners at Fort Marion in 1875, Sioux Indians involved in the Great Sioux Uprising in Minnesota, the Fort Laramie Peace Commission of 1868, Sitting Bull and his followers after the Battle of the Little Bighorn, and the aftermath of the Wounded Knee Massacre in 1890.

There are studio portraits of well-known Native Americans, including American Horse, Big Bow, Four Bears, Iron Bull, Ouray, Red Cloud, Red Dog, Red Shirt, Sitting Bull, Spotted Tail, Three Bears, and Two Guns White Calf. Depicted delegations include a Sauk and Fox meeting in Washington, DC, with Lewis V. Bogy and Charles E. Mix in 1867; Kiowas and Cheyennes at the White House in 1863; and Dakotas and Crows who visited President Warren G. Harding in 1921. Images of schools show Worcester Academy in Vinita, Oklahoma; Chilocco Indian School; Carlisle Indian Industrial School; Haskell Instittue, and Albuquerque Indian School.

Some photographs relate to the Centennial Exposition in Philadelphia, 1876; World's Columbian Exposition in Chicago, 1893; Louisiana Purchase Exposition in St. Louis, 1903; and Centennial Exposition of the Baltimore and Ohio Railraod, 1876. Expedition photographs show the Crook expedition of 1876, the Sanderson expedition to the Custer Battlefield in 1877, the Wheeler Survey of the 1870s, Powell's surveys of the Rocky Mountain region during the 1860s and 1870s, and the Hayden Surveys.

Outstanding single views include the party of Zuni group led to the sea by Frank Hamilton Cushing; Episcopal Church Rectory and School Building, Yankton Agency; Matilda Coxe Stevenson and a companion taking a photographs of a Zuni ceremony; John Moran sketching at Acoma; Ben H. Gurnsey's studio with Indian patrons; Quapaw Mission; baptism of a group of Paiutes at Coeur d'Alene Mission; court-martial commission involved in the trial of Colonel Joseph J. Reynolds, 1877; President Harding at Sitka, Alaska; Walter Hough at Hopi in 1902; and Mrs. Jesse Walter Fewkes at Hopi in 1897.

Biographical/Historical note:

George V. Allen was an attorney in Lawrence, Kansas and an early member of the National Stereoscope Association. Between the 1950s and 1980s, Allen made an extensive collection of photographs of the American West, mostly in stereographs, but also including cartes-de-visite and other styles of mounted prints, photogravures, lantern slides, autochromes, and glass negatives.

Local Call Number(s):

NAA Photo Lot 90-1

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Contact the repository for terms of use.

Topic:

Camps  Search this

Child care  Search this

Rites and ceremonies  Search this

Totem poles  Search this

Cookery  Search this

Wild west shows  Search this

Fishing  Search this

Hunting  Search this

Transportation  Search this

Dwellings  Search this

Indians of North America -- Northeast  Search this

Funeral rites and ceremonies  Search this

Wounded Knee Massacre, S.D., 1890  Search this

Indians of North America -- Southern states  Search this

Citation:

Photo Lot 90-1, George V. Allen collection of photographs of Native Americans and the American frontier, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.PhotoLot.90-1

See more items in:

George V. Allen photograph collection of photographs of Native Americans and the American frontier

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3c6f12a20-b859-4219-a567-b2b3246a66be

EDAN-URL:

ead_collection:sova-naa-photolot-90-1

Creator:

Smithsonian Institution. Bureau of American Ethnology  Search this

Extent:

245 Linear feet ((375 boxes and 10 map drawers))

Type:

Collection descriptions

Archival materials

Date:

1878-1965

Summary:

The records in this collection embody the administrative functions of the Bureau of American Ethnology from 1879 to 1965. The collection consists of correspondence, card files, registers, official notices, annual and monthly work reports, research statements, research proposals, grant applications, personnel action requests, notices of personnel action, meeting minutes, purchase orders and requisitions, property records, biographical sketches, resolutions, newspaper clippings, reviews of publications, drafts of publications, circulars, programs, pamphlets, announcements, illustrations, cartographic materials, photographic prints, photographic negatives, bibliographies, and reprinted publications.

Scope and Contents:

The records in this collection embody the administrative functions of the Bureau of American Ethnology from 1879 to 1965. The collection consists of correspondence, card files, registers, official notices, annual and monthly work reports, research statements, research proposals, grant applications, personnel action requests, notices of personnel action, meeting minutes, purchase orders and requisitions, property records, biographical sketches, resolutions, newspaper clippings, reviews of publications, drafts of publications, circulars, programs, pamphlets, announcements, illustrations, cartographic materials, photographic prints, photographic negatives, bibliographies, and reprinted publications.

Correspondence comprises the bulk of this collection. A significant portion of this correspondence originates from the Bureau's duty to field inquiries regarding North American aboriginal cultures and respond to requests relating to the duplication of BAE library and archival materials. Inquiries and requests, received from all parts of the world, were submitted by colleagues, museum curators and directors, students, professors, amateur archaeologists, government agents, military officials, Smithsonian Institution officials, artists, and members of the general public. Other correspondence reflects the Bureau's day-to-day operations and internal affairs. Subjects discussed in this correspondence include research projects, field expeditions, annual budgets, personnel matters, the acquisition of manuscripts, the disbursement of specimens, and production of BAE publications. Correspondence is occasionally accompanied by announcements, circulars, programs, pamphlets, photographs, drawings, diagrams, bibliographies, lists, newspaper clippings, and maps. Also among these records are the card files and registers of incoming and outgoing correspondence maintained by early BAE administrative staff. For a list of correspondents, see the appendix to this finding aid, available in the NAA reading room.

The majority of illustrations, artwork, and photographs that appear in this collection are associated with BAE publications, including BAE Annual Reports, BAE Bulletins, Contributions to North American Ethnology and Smithsonian Institution, Miscellaneous Collection. Maps located among the collection originate, by and large, from BAE field expeditions and research projects. BAE staff also amassed great quantities of newspaper clippings that concerned BAE research or points of interest. Of particular note are three scrapbooks comprised of clippings that relate to "mound builders" and the work of the BAE's Division of Mound Explorations.

Also worthy of note are the various records relating to the 1903 investigation of the BAE. Records related to the investigation highlight the Smithsonian Institution's longstanding dissatisfaction with the internal management of the BAE, its concerns over the BAE's loose relationship with the parent organization, and displeasure with the manner in which BAE scientific research was developing. Other materials of special interest are the various administrative records covering the period 1929 to 1946 and 1949 to 1965. The majority cover personnel matters; however, others justify the work of the BAE and bear witness to growing concerns that the BAE would eventually be absorbed by the Department of Anthropology within the United States National Museum.

Arrangement:

The collection has been arranged into the following 12 series: (1) Correspondence, 1897-1965; (2) Cooperative Ethnological Investigations, 1928-1935; (3) Miscellaneous Administrative Files, 1929-1946; (4) Miscellaneous Administrative Files, 1949-1965; (5) Records Concerning the Photographic Print Collection, 1899-1919; (6) Records Concerning Employees; (7) Fiscal Records, 1901-1902 and 1945-1968; (8) Records Relating to the 1903 Investigation of the BAE; (9) Property Records and Requisitions; (10) Clippings; (11) Publications; (12) BAE Library Materials, Pamphlets and Reprints

Administrative History:

The Bureau of Ethnology was established by an act of the United States Congress on March 3, 1879, but it was largely the personal creation of the geologist and explorer Major John Wesley Powell. His earlier explorations of the Colorado River and Grand Canyon formed the basis of the Geographical and Geological Survey of the Rocky Mountain Region. While exploring the area, Powell became alarmed at what he perceived to be the decline of the aboriginal way of life due to rapid depopulation. In a letter to the Secretary of the Interior, he warned that "in a few years, it will be impossible to study…Indians in their primitive condition, except from recorded history" (Hinsley). He urged swift government action; the result of which was the appropriation of $20,000 (20 Stat. 397) to transfer all documents relating to North American Indians from the Department of Interior to the Smithsonian Institution and its Secretary's appointment of Powell as director of the newly established Bureau of Ethnology, a position he held until his death in 1902. In 1897, its name was changed to the Bureau of American Ethnology (BAE) to underscore the limits of its geographical reaches.

Under Powell, the BAE organized the nation's earliest anthropological field expeditions, in which the characteristics and customs of native North Americans were observed firsthand and documented in official reports. Images of Indian life were captured on photographic glass plate negatives, and their songs on wax cylinder recordings. Histories, vocabularies and myths were gathered, along with material objects excavated from archaeological sites, and brought back to Washington for inclusion in the BAE manuscript library or the United States National Museum.

The fruits of these investigations were disseminated via a series of highly regarded and widely distributed publications, most notably BAE Annual Reports, BAE Bulletins, and Contributions to North American Ethnology. BAE research staff also responded routinely to inquiries posed by colleagues, government agencies, and the general public on matters ranging from artwork to warfare. Moreover, the BAE prepared exhibits on the various cultural groups it studied not only for the Smithsonian Institution, but also for large expositions held nationwide.

In 1882 Powell, under instruction of Congress, established the Division of Mound Explorations for the purpose of discovering the true origin of earthen mounds found predominately throughout the eastern United States. It was the first of three temporary, yet significant, subunits supported by the Bureau. Cyrus Thomas, head of the Division, published his conclusions in the Bureau's Annual Report of 1894, which is considered to be the last word in the controversy over the mounds' origins. With the publication of Thomas' findings, the Division's work came to a close.

The course of BAE operations remained largely the same under Powell's successors: W.J. McGee (acting director) 1902; William Henry Holmes, 1902-1910; Frederick W. Hodge, 1910-1918; J. Walter Fewkes, 1918-1928; Matthew W. Stirling, 1928-1957; Frank H.H. Roberts, Jr., 1957-1964; and Henry B. Collins (acting director), 1964-1965. However, following a 1903 internal investigation of the Bureau's administrative activities, Smithsonian officials called for a broader scope of ethnological inquiry and greater application of anthropological research methodologies. The BAE responded in 1904 by expanding agency activities to include investigations in Hawaii, the Philippines, and the Caribbean.

The BAE extended its geographical reaches once again, in the 1940s, to include Central and South America. In 1943, the Institute of Social Anthropology (ISA) was established as an independent subunit of the Bureau for the purpose of developing and promoting ethnological research throughout the American Republics. The findings of ISA-sponsored investigations were published in the six volume series, Handbook of South American Indians (BAE Bulletin 143). Julian H. Steward, editor of the Handbook, was appointed director of ISA operations and held the position until 1946 when George M. Foster assumed responsibility. The ISA was absorbed by the Institute of Inter-American Affairs in 1952, thus terminating its relationship with the BAE.

In 1946 the BAE assumed partial administrative control of the recently established River Basin Surveys (RBS), its third and final autonomous subunit. The purpose of the RBS was to salvage and preserve archaeological evidence threatened by post-World War II public works programs, more specifically the rapid construction of dams and reservoirs occurring throughout the country. Excavations conducted under the RBS yielded considerable data on early North American Indian settlements, and subsequent deliberations on this data were published as reports in various BAE Bulletins.

In 1965, the BAE merged administratively with the Smithsonian Institution's Department of Anthropology to form the Office of Anthropology within the United States National Museum (now the Department of Anthropology within the National Museum of Natural History). The BAE manuscript library, also absorbed by the Department of Anthropology, became the foundation of what is today the National Anthropological Archives (NAA).

In its 86 year existence, the BAE played a significant role in the advancement of American anthropology. Its staff included some of the nineteenth and twentieth centuries' most distinguished anthropologists, including Jeremiah Curtain, Frank Hamilton Cushing, J.O. Dorsey, Jesse Walter Fewkes, Alice Cunningham Fletcher, Albert H. Gatschet, John Peabody Harrington, John N.B. Hewitt, William Henry Holmes, Ales Hrdlicka, Neil Judd, Francis LaFlesche, Victor and Cosmo Mindeleff, James Mooney, James Pilling, Matilda Coxe Stevenson, Matthew Williams Stirling, William Duncan Strong, and William Sturtevant. The BAE also collaborated with and supported the work of many non-Smithsonian researchers, most notably Franz Boas, Frances Densmore, Gerard Fowke, Garrick Mallery, Washington Matthews, Paul Radin, John Swanton, Cyrus Thomas, and T.T. Waterman, as well as America's earliest field photographers such as Charles Bell, John K. Hillers, Timothy O'Sullivan, and William Dinwiddie. Several of its staff founded the Anthropological Society of Washington in 1880, which later became the American Anthropological Association in 1899. What is more, its seminal research continues to be drawn upon by contemporary anthropologists and government agents through the use of BAE manuscripts now housed in the NAA.

Sources Consulted:

Hinsley, Curtis. Savages and Scientists: The Smithsonian Institution and the Development of American Anthropology, 1846-1910. Washington, DC: Smithsonian Institution Press, 1981.

McGee, WJ. "Bureau of American Ethnology." The Smithsonian Institution, 1846-1896, The History of its First Half-Century, pp. 367-396. Washington, DC: Smithsonian Institution Press, 1897.

Sturtevant, William. "Why a Bureau of American Ethnology?" Box 286, Functions of the BAE, Series IV: Miscellaneous Administrative Files, 1948-1965, Records of the Bureau of American Ethnology, National Anthropological Archives.

Related Materials:

Additional material relating to BAE administrative affairs and research projects can be found among the National Anthropological Archives' vast collection of numbered manuscripts. Too numerous to list in this space, these include official correspondence, monthly and annual work reports, fiscal records, field notes, personal diaries, expedition logs, catalogues of specimens, vocabularies, historical sketches, maps, diagrams, drawings, bibliographies, working papers and published writings, among various other material. Most of these documents are dispersed throughout the numbered manuscript collection as single items; however, some have been culled and unified into larger units (e.g., MS 2400 is comprised of documents relating to the Division of Mound Explorations). Artwork and illustrations produced for BAE publications are also located among the NAA's numbered manuscript collection as well as its photograph collection (e.g., Photo Lot 78-51 and Photo Lot 80-6).

Photographs concerning BAE research interests can be found among the following NAA photographic lots: Photo Lot 14, Bureau of American Ethnology Subject and Geographic File ca. 1870s-1930s; Photo Lot 24, BAE Photographs of American Indians 1840s to 1960s (also known as the Source Print Collection); Photo Lot 60, BAE Reference Albums 1858-1905; and Photo Lot 85, BAE Miscellaneous Photographs 1895 to 1930. Other photographic lots include portraits of BAE staff and collaborators, namely Photo Lot 33, Portraits of Anthropologists and others 1860s-1960s; Photo Lot 68, Portraits of John Wesley Powell ca. 1890 and 1898; and Photo Lot 70, Department of Anthropology Portrait File ca. 1864-1921.

Additional materials in the NAA relating to the work of the BAE can be found among the professional papers of its staff, collaborators and USNM anthropologists. These include the papers of Ales Hrdlicka, John Peabody Harrington, Otis Mason, J.C. Pilling, Matthew Williams Stirling, and William Duncan Strong. Documents relating to the work of the BAE can be found among the records of the River Basin Surveys (1928-1969) and the Institute of Social Anthropology (1941-1952).

Records related to this collection can also be found in the Smithsonian Institution Archives (SIA). SIA accession 05-124 includes information regarding the 1942 transfer of six audio recordings related to the Chumash Indian language from the Bureau of American Ethnology to the National Archives, nine pages of Chumash translations, and "The Story of Candalaria, the Old Indian Basket-Maker." The Fiscal and Payroll Records of the Office of the Secretary, 1847 to 1942 (Record Unit 93), includes voucher logs, disbursement journals and daybooks of money paid out to the BAE from 1890 to 1910. BAE correspondence can also be found among the Records of the Office of the Secretary (Record Unit 776, accession 05-162). The Papers of William Henry Holmes, second director of the BAE, are also located among the SIA (Record Unit 7084).

Accession records concerning artifacts and specimens collected by the BAE are located in the registrar's office of the National Museum of Natural History.

Related collections can also be found at the National Archives and Records Administration. RG 57.3.1, the Administrative Records of the United States Geological Survey, includes register of applications for BAE ethnological expositions conducted between 1879-1882. RG 75.29, Still Pictures among the Records of the Bureau of Indian Affairs, includes 22 photographs of Arapaho, Cheyenne, Kiowa, Comanche, Navajo, and Apache Indians taken by William S. Soule for the BAE during 1868-1875. RG 106, Records of the Smithsonian Institution, includes cartographic records (106.2) relating to Indian land cessions in Indiana created for the First Annual Report of the Bureau of American Ethnology, 1881 (1 item); a distribution of American Indian linguistic stock in North America and Greenland, by John Wesley Powell, for the Seventh Annual Report of the Bureau of American Ethnology, ca. 1887 (1 item); a distribution of Indian tribal and linguistic groups in South America, 1950 (1 item); the Indian tribes in North America, for Bulletin 145, Bureau of American Ethnology, 1952 (4 items). Sound Recordings (106.4) include songs and linguistic material relating to the Aleut, Mission, Chumash, and Creek, gather by the BAE in 1912, 1914, 1930-41. Some include translations (122 items).

Provenance:

The Records of the Bureau of American Ethnology were transferred to the Smithsonian Office of Anthropology Archives with the merger of the BAE and the Department of Anthropology of the National Museum of Natural History in 1965. The Smithsonian Office of Anthropology Archives was renamed the National Anthropological Archives in 1968.

Restrictions:

The Records of the Bureau of American Ethnology are open for research.

Access to the Records of the Bureau of American Ethnology requires an appointment.

Rights:

Contact repository for terms of use.

Citation:

Records of the Bureau of American Ethnology, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.XXXX.0155

See more items in:

Records of the Bureau of American Ethnology

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw391046c25-21e2-4334-a01f-9a6f734ae9cd

EDAN-URL:

ead_collection:sova-naa-xxxx-0155

Depicted:

American Association for the Advancement of Science  Search this

Smithsonian Institution. Bureau of American Ethnology  Search this

United States De Soto Expedition Commission  Search this

Boas, Franz, 1858-1942  Search this

Bond, Q. M.  Search this

Cammerer, Arno B.  Search this

Cushing, Frank Hamilton, 1857-1900  Search this

Davis, E. H. (Edwin Hamilton), 1811-1888  Search this

Densmore, Frances, 1867-1957  Search this

Dorsey, James Owen, 1848-1895  Search this

Drucker, Philip, 1911-1982  Search this

Fewkes, Jesse Walter, 1850-1930  Search this

Gatschet, Albert S. (Albert Samuel), 1832-1907  Search this

Geary, James A.  Search this

Goode, G. Brown (George Brown), 1851-1896  Search this

Hale, Horatio, 1817-1896  Search this

Harrington, John Peabody, 1884-1961  Search this

Henshaw, Henry W. (Henry Wetherbee), 1850-1930  Search this

Hewitt, J. N. B. (John Napoleon Brinton), 1859-1937  Search this

Hillers, John K., 1843-1925  Search this

Holmes, William Henry, 1846-1933  Search this

Jackson, William Henry, 1843-1942  Search this

Judd, Neil Merton, 1887-1976  Search this

Knez, Eugene I. (Eugene Irving), 1916-2010  Search this

Kroeber, A. L. (Alfred Louis), 1876-1960  Search this

Le Plongeon, Augustus, 1826-1908  Search this

Mason, Otis Tufton, 1838-1908  Search this

Matthews, Washington, 1843-1905  Search this

McGee, W J, 1853-1912  Search this

Merriam, C. Hart (Clinton Hart), 1855-1942  Search this

Mooney, James, 1861-1921  Search this

Morgan, Lewis Henry, 1818-1881  Search this

Pilling, James Constantine, 1846-1895  Search this

Powell, John Wesley, 1834-1902  Search this

Rink, Signe  Search this

Roberts, Frank H. H. (Frank Harold Hanna), 1897-1966  Search this

Royce, Charles C., 1845-1923  Search this

Stephenson, Robert L. (Robert Lloyd), 1919-  Search this

Stevenson, James, 1840-1888  Search this

Stevenson, Matilda Coxe, 1850-1915  Search this

Steward, Julian Haynes, 1902-1972  Search this

Struever, Stuart  Search this

Swan, James G., 1818-1900  Search this

Swanton, John Reed, 1873-1958  Search this

Upham, E. P. (Edwin Porter), 1845-1918  Search this

Washburn, Wilcomb E.  Search this

Willey, Gordon R. (Gordon Randolph), 1913-2002  Search this

Photographer:

Bachrach & Brother  Search this

Blackstone Studios  Search this

National Geographic Society (U.S.)  Search this

Bailey, Vernon Orlando  Search this

Dana (of New York)  Search this

Garrett, Gene  Search this

Gilbert, C. W.  Search this

Gill, De Lancey, 1859-1940  Search this

Jackson, William Henry, 1843-1942  Search this

Kemethy, Kets  Search this

Koby, Paul  Search this

McDonough, David  Search this

Parker, Charles  Search this

Phillips, H. C.  Search this

Rice (of Washington, D.C.)  Search this

Shuck, J. A.  Search this

Names:

Geological Survey (U.S.)  Search this

Artist:

Nicholson, Grace, -1948  Search this

Extent:

1 Print (photogravure)

8 Prints (halftone (including one newspaper clipping))

124 Prints (circa, silver gelatin, albumen, and platinum)

50 Copy prints (circa)

3 copper printing plates

1 Color print

1 Print (wood engraving)

3 Copy negatives (glass)

Type:

Collection descriptions

Archival materials

Prints

Copy prints

Color prints

Copy negatives

Photographs

Date:

circa 1860s-1970

Scope and Contents note:

This collection is an artificial collection of photographs, copper plates, and a few notes, all of which depict or relate to anthropologists, many of which were associated with the Bureau of American Ethnology.

Included are portraits of Franz Boas, Q. M. Bond, Arno B. Cammerer, Frank Hamilton Cushing, Edwin Hamilton Davis, J. Woodbridge Davis, Frances Densmore, James Owen Dorsey, Philip Drucker, Jesse Walter Fewkes (including photographs of his home by Frances Densmore), Albert Samuel Gatschet, James A. Geary, De Lancey W. Gill, George Brown Goode, Horatio Hale, Henry Wetherbee Henshaw, John Napoleon Brinton Hewitt, John K. Hillers, William Henry Holmes, William Henry Jackson, Eugene Irving Knez, Alfred Louis Kroeber, Pere Albert Lacomb, Augustus Le Plongeon, James Mooney, Lewis Henry Morgan, Carl Oschsicanes, James Constantine Pilling, John Wesley Powell, Frau Signe Rink, Frank Harold Hanna Roberts, Jr., Charles C. Royce, Robert Lloyd Stephenson, James Stevenson, Matilda Coxe Stevenson, Julian Haynes Steward, Steward Struever, James Gilchrist Swan, John Reed Swanton, Edwin P. Upham, Wilcomb E. Washburn, and Gordon Randolph Willey. Groups depicted include the staff of the Bureau of American Ethnology, 1936; the De Soto Commission; officers of the American Association for the Advancement of Science, 1885; a 1920 expedition group to Hawikuk; staff of the Great Lakes Division, United States Geological Survey, in Salt Lake City, 1882; a group at Moundville, Alabama, 1932; the University of Nebraska archeological field party, 1920; the Pecos conference, 1927; John Wesley Powell with Wild Hank, Kentucky Mountain Bill, and Jesus Aloiso; and the United States Geological Survey staff, ca. 1894.

Among photographers represented are Vernon Orlando Bailey, Blackston Studios of New York, Dana of New York, Frances Densmore, Gene Garrett, C. W. Gilbert, De Lancey W. Gill, John K. Hillers, William H. Jackson, Kets Kemethy, Paul Koby, David McDonough, H. C. Phillips, Rice of Washington, D. C., and J. A. Shuck of El Reno, Oklahoma.

Local Call Number(s):

NAA Photo Lot 33

Location of Other Archival Materials:

Four photographs with negatives by Matilda Coxe Stevenson have been relocated to Photo Lot 23.

This collection includes photographs that have been removed from other collections in the National Anthropological Archives, including MS 4970, MS 4851, MS 4780, MS 4250, MS 4751, MS 4516, MS 4860, MS 4695, MS 4970, and MS 4558.

See others in:

Portraits of anthropologists, 1860s-1960s

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Copy prints of original photographs held by the American Philosophical Society, National Geographic Society, and National Archives cannot be copied. Copies may be obtained from these repositories.

Genre/Form:

Photographs

Citation:

Photo lot 33, Portraits of anthropologists, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.PhotoLot.33

See more items in:

Portraits of anthropologists

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw315fa853c-2f6b-4db6-9f01-be3010ee1f93

EDAN-URL:

ead_collection:sova-naa-photolot-33

Creator:

Bushnell, David I., Jr. (David Ives), 1875-1941  Search this

Extent:

25 Gelatin silver prints (mounted)

Culture:

Etruscans  Search this

Italians  Search this

Type:

Collection descriptions

Archival materials

Gelatin silver prints

Photographs

Place:

Italy -- Antiquities

Sovana (Italy)

Date:

1904-1907

Scope and Contents note:

Photographs made by David I. Bushnell during visits to the Etruscan sites of Sovana and Castellina del Chianti in Italy. The photographs document artifacts, a columbarium, the excavation of a temple, and nearby towns and scenery.

Biographical/Historical note:

David Ives Bushnell, Jr. (1875-1941) was educated in St. Louis, Missouri, and Europe before traveling to northern Minnesota in 1899 on his first anthropological expedition. From 1901-1904, he worked as an archaeological assistant at the Peabody Museum at Harvard University and continued his studies in anthropology. Bushnell lived in Europe from 1904-1907, documenting North American ethnographic material held in museums and private collections. Upon his return to the United States, Bushnell was hired as a contributor for the Smithsonian's Handbook of American Indians (1907) and was later appointed editor of the Bureau of American Ethnology (1912-1921).

Local Call Number(s):

NAA Photo Lot 141B

Location of Other Archival Materials:

Photographs by Bushnell are held in National Anthropological Archives Photo Lot 14, Photo Lot 24, Photo Lot 2522-c, Photo Lot 80-35, Photo Lot 78, and the BAE historical negatives.

Surveys, reports, data and notes by Bushnell are held in National Anthropological Archives MS 3433, MS 2255, MS 3434, MS 4098, MS 7138, MS 4109, MS 2126, and MS 4494.

Correspondence from Bushnell can be found in the National Anthropological Archives in the Henry Bascom Collins, Jr. Papers, John P. Harrington Papers, Ales Hrdlicka Papers, Bureau of American Ethnology records, and MS 4210.

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Contact the repository for terms of use.

Genre/Form:

Photographs

Citation:

Photo lot 141B, David Ives Bushnell photographs relating to Etruscan sites in Italy, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.PhotoLot.141B

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3a1b89b9e-243d-4dbb-9258-7131e006be2e

EDAN-URL:

ead_collection:sova-naa-photolot-141b