This series contains materials collected and created by Myra Lynn Cones and her wife, G. Yvonne Harris. The series includes photographs, emphemera, periodicals, magazines, programs and commemorative materials from musical groups (The Village People) and television shows (Queer as Folk) as well as materials relating to marches (A Simple Matter of Justice, 1993), the AIDS Quilt, the women's festival Sisterfire, and an original poem.
Biographical / Historical:
This short biography was submitted by the donors Myra Lynn Cones and G. Yvonne Harris in October 2022
"Short Biography from 1981-2022
We first met in 1980, at on a military base in Hampton, Virginia. We were both working at the Arts and Crafts Center. We became friends first, through our love of art and being artists ourselves.
Soon there after we discovered that this was not the first time we had met. While discussing one day about our lives in Hampton, we discovered that we went to the same kindergarten school, at the same time! The conversation started like this:
Yvonne: I went to Jones Kindergarten.
Myra: So, did I.
Yvonne: Do you remember the Humpty Dumpty play at the end of the year? I played one of the soldiers in the group.
Myra: Yep, I was a soldier too. Do you remember the Christmas party?
Yvonne: Yeah, I do.
Myra: Well, my dad played Santa.
That's when we knew this was too special to ignore.
In March of 1981 we moved in together as roommates. By May, we were a couple.
We were invited to our first lesbian bar, by a couple who could not believe in the three years we were together thus far, we had never been to one. We went to a place in Norfolk, Virginia called the Her She Bar. Funny how we describe the night like that scene in the Wizard of Oz, when the film is in black and white and the door of the bar opened up and there was color. And that was the start of our foray into the Gay and Lesbian scene in the 80's.
We came out to our family in the 80's. Considering both of us coming from Christian raised families, they did very well with their acceptance.
We became part of the community, by participating in art shows at the local women's bars, and women events at the local college. Later we ventured outside the area to do shows at other women's events in Norfolk, Richmond, and the famous Women's festival Sisterfire.
We decided that we wanted to move to Washington DC, because there was an active artists and LGBT community. We both worked retail, we found that we could transfer through our companies.
In 1990, we both moved to Washington DC. While starting out in DC Yvonne had a part-time job at the well known LGBT bookstore Lambda Rising, owned by Deacon MacCububbin, and then Lammas Women Bookstore, owned and operated by Mary Farmer. We were learning about the community, participating in Pride events, and living our best LGBT life. We stayed for 10 years in a little one-bedroom apartment and later bought our first home in 2000.
After Washington DC legalized gay marriage in 2010, We decided to jump the broom. We were first going to have the ceremony done at the justice of the peace. But remembered that we had a client, who was a patron of our work who was not only clergy, but was also Lesbian. We contacted the Reverend Bonnie Berger. Reverend Bonnie conducted many weddings, and after the announcement of legalized marriages came through, she was indeed a busy woman. So, we gave her a date and she was ready to do the ceremony on May 9, 2010. We had a boat at the time, and thought that having the ceremony at the marina would be great. So, we had our boat at the dock and the guests on the pier. Not only did the invited guess come, but we were surprised to see all the folks we knew at the marina, our fellow boaters. The guys and their wives and girlfriends showed up for support and love.
As of this year 2022, we have been together 41 years. And we have enjoyed being in the city, in the heart of the artistic world, galleries, and museum that continues to feed our creativity, and seeing the advances that have been made in rights and visibility in the LGBTQ community. We've seen a lot in these 40 odd years. One doesn't realize that until you have a conversation with a 20 something year old young gay man, who looks at you in astonishment when they discover that you've been an out lesbian in the 80's.
Co-worker: How long have you two been together
Yvonne: We've been together 41 years, married for 12
Co-worker: (eyes wide) Wow, that long. That was at a time when it was hard, being out in the 80's. Was it scary?
That is how far we've come. Wizard of Oz, black and white to color!"
Series Restrictions:
The collection is open for research use.
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Do not use original materials when available on reference video or audio tapes.
Series Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Series Citation:
Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution
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.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2018 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
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.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2018 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Smithsonian Institution. Center for Folklife and Cultural Heritage Search this
Type:
Archival materials
Collection 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.
Collection Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Collection Citation:
Smithsonian Folklife Festival records: 2014 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Photo Lot 90-1, George V. Allen collection of photographs of Native Americans and the American frontier, National Anthropological Archives, Smithsonian Institution
Use of original records requires an appointment. The negatives are located in cold storage. All negatives have been digitized and are available online.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Collection Citation:
Betty LaDuke collection, EEPA 2007-003, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
Photographs documenting villages, people, ceremonies, and activities of Thai hill tribes, including the Akha, Karen, Lahu, Lawa, Lisu, Meo, Tai Luc, and Yao. Some photographs are duplicated in an album with captions by Bunnag.
Biographical/Historical note:
Surapong Bunnag was a Thai employee of the Voice of America, stationed in Bangkok.
Congo Français Congo Français - Musiciens Lindas Kouango
Extent:
1 Postcard (b&w, 9 x 14 cm.)
Type:
Archival materials
Postcards
Place:
Africa
Congo (Brazzaville)
Date:
[ca. 1905]
Scope and Contents:
Translated caption reads: ''French Congo. Lindas Kouango musicians''. Two musicians sitting on the ground, wearing lips ornaments on their upper lips, one playing a xylophone, the other one playing drum, in the background group of village people. Congo Français. Photograph by J. Audema
Local Numbers:
Audema 0503
General:
Title source: Postcard caption.
Image indexed by negative number.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Printed text on recto reads: "23.- Congo Francais; Passage de M. l'Administrateur E." and "Collection J. Audema." Printed text on verso reads: "Carte Postale; Tous les pays etrangers n'acceptent pas la correspondance au recto (Se renseigner a la Poste); Correspondance; Adresse."
Translated caption reads: "French Congo. Passage of Mr. Administrator E.'' In the foreground, two leaders sitting in reclining chairs, in the background, village people and cabins. Congo Français. Photograph by J. Audema.
Local Numbers:
Audema 0023
General:
Title source: Postcard caption.
Image indexed by negative number.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Translated caption reads: ''French Congo. Yakoma village on the Oubanghi''. In the foreground, village people in the background, cabins. Congo Français. Photograph by J. Audema
Local Numbers:
Audema 0439
General:
Title source: Postcard caption.
Image indexed by negative number.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Folders 35-36 include letters received from Dorothea A. Dreier
Collection Restrictions:
The bulk of this collection has been digitized and is available online via the Archives of American Art's website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Dorothea A. Dreier papers, 1881-1941, bulk 1887-1923. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
Li Chi was a prominent Chinese archaeologist, trained in the United States and one of the first Chinese archaeologists to conduct and teach scientific archaeology in China. This collection contains the manuscripts of the reports Li Chi prepared for the Freer Gallery when he was a member of the archaeological expeditions in China sponsored by the Freer Gallery of Art and headed by Carl Whiting Bishop during the years 1926 to 1929. This specific manuscript describes Li Ji's Yin-Hsü trip in 1928-1929.
Arrangement:
This manuscript is part of the Li Ji Reports, 1926-1931.
Biographical / Historical:
Li Chi was a member of Carl Whiting Bishop's archaeological team during a Freer-Gallery sponsored expeditions to China from 1926 to 1929.
Assembled by collectors Dr. Henry D. Rosin and Nancy Rosin to document nineteenth-century and early twentieth-century photography of Japan. Includes albumen prints, portions handcolored, some signed and numbered in the negative. Taken by photographers Felice Beato (b. ca. 1825), Baron Raimon von Stillfried (1938-1911), Kusakabe Kimbei (active 1880s), Ueno Hikoma (1838-1904), Ogawa Kazumasa (1860-1929) and unknown photographers to depict architecture, landscapes, formal studio portraits, and daily activities.
Arrangement:
Organized chronologically by the creators.
Biographical / Historical:
Henry and Nancy Rosin were collectors of Japanese photography of the nineteenth and twentieth centuries.
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Purchase and partial donation.
Photographs taken by John E. Lomas in the Sudan from 1972 through 1973. The images document the art and culture of village peoples of the Sudan to include the Dinka, Murle and Shilluk. Most are portraits showing body painting and scarification. Activities portrayed include buying and selling in markets, domestic chores, hunting and metal smithing. There are also images of modern and traditional architecture.
Arrangement note:
Images indexed by negative number.
Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Genre/Form:
Color slides
Identifier:
EEPA.1985-005
Archival Repository:
Eliot Elisofon Photographic Archives, National Museum of African Art
![view [Yin-Hsü Trip, 1928-1929] digital asset: [Yin-Hsü Trip, 1928-1929]](https://ids.si.edu/ids/deliveryService?max=170&id=https://sirismm.si.edu/siris/SelectedImages.gif "[Yin-Hsü Trip, 1928-1929]")
