Search Results

Creator:

Parrott, Alice Kagawa, 1929-2009  Search this

Citation:

Alice Kagawa Parrott papers, circa 1950-2009. Archives of American Art, Smithsonian Institution.

Topic:

Women artists  Search this

Asian American artists  Search this

Asian American art  Search this

Japanese American art  Search this

Asian American fiber artists  Search this

Asian American ceramicists  Search this

Theme:

Asian American  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)21722

(DSI-AAA_SIRISBib)398595

AAA_collcode_parralic

Theme:

Asian American

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_398595

Creator:

Parrott, Alice Kagawa, 1929-2009  Search this

Extent:

8.3 Linear feet

Type:

Collection descriptions

Archival materials

Date:

circa 1950-2009

Scope and Contents:

The papers of Japanese American fiber artist and ceramicist, Alice Kagawa Parrott, measure 8.3 linear feet and date from circa 1950-2009. The collection mainly documents Parrott's work as a fiber artist. Included are biographical material; personal and profesional correspondence with colleagues, loom manufacturers and family; notes for lectures and weaving notes; fabric dye recipes; project files; business records including fabric sales and financial reports; photographs of Parrott, her studio and dyeing process; printed material; and artwork including garment patterns, pencil sketches of wall hangings, yarn samples, annotated dye studies and samples, sketches, and studies and color stories.

Biographical / Historical:

Alice Kagawa Parrott (1929-2009) was a Japanese American fiber artist and ceramicist based in Santa Fe, New Mexico.

Provenance:

The collection was donated in 2019 by Paul Kagawa and Diane Leavitt, trustees, Alice Kagawa Parrott Family Trust.

Restrictions:

This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.

Occupation:

Artists -- New Mexico -- Santa Fe  Search this

Ceramicists -- New Mexico  Search this

Topic:

Women artists  Search this

Asian American artists  Search this

Asian American art  Search this

Japanese American art  Search this

Japanese American art  Search this

Asian American fiber artists  Search this

Asian American ceramicists  Search this

Identifier:

AAA.parralic

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9288e78de-5af2-41d7-a866-c6c2f8e67ec0

EDAN-URL:

ead_collection:sova-aaa-parralic

Creator:

National Museum of the American Indian  Search this

Type:

YouTube Videos

Uploaded:

2019-02-06T12:30:19.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

See more by:

SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_kyM97s9Rrrs

Creator:

National Museum of the American Indian  Search this

Type:

YouTube Videos

Uploaded:

2021-10-25T16:17:21.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

See more by:

SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_yGDLmv_KIuk

Creator:

Smithsonian Education  Search this

Type:

YouTube Videos

Uploaded:

2013-09-19T19:04:11.000Z

YouTube Category:

Education  Search this

Topic:

Education  Search this

See more by:

SmithsonianEducation

Data Source:

Smithsonian Education

YouTube Channel:

SmithsonianEducation

EDAN-URL:

edanmdm:yt_SGudwHVvFpw

Creator:

Smithsonian American Art Museum  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2022-11-07T14:21:53.000Z

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_s5YygQqDoSE

Medium:

Silk pile with gold colored metallic thread overlay on a weave of cotton and wool warp threads and silk weft threads. Silk fringe.

Dimensions:

H x W: 211 x 126 cm (83 1/16 x 49 5/8 in)

Type:

Costume and Textile

Origin:

Possibly Beijing, China

Date:

1930-40

Topic:

dragon  Search this

phoenix  Search this

China  Search this

Chinese Art  Search this

Pritzlaff collection  Search this

Credit Line:

Purchase — Smithsonian Collections Acquisition Program and partial gift of Richard G. Pritzlaff

Accession Number:

S1991.68

Restrictions & Rights:

Usage conditions apply

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye3b1193d6e-7b6b-4b43-b3e9-f255c03078b0

EDAN-URL:

edanmdm:fsg_S1991.68

Creator:

National Museum of the American Indian  Search this

Type:

YouTube Videos

Uploaded:

2021-08-11T20:06:44.000Z

YouTube Category:

Education  Search this

Topic:

Native Americans;American Indians  Search this

See more by:

SmithsonianNMAI

Data Source:

National Museum of the American Indian

YouTube Channel:

SmithsonianNMAI

EDAN-URL:

edanmdm:yt_eTGfKQvzDcg

Artist:

Vo, Danh 1975-  Search this

Author:

Berardini, Andrew 1982-  Search this

Host institution:

Kurimanzutto (Gallery)  Search this

Physical description:

99 pages illustrations 19 cm

Type:

Books

Exhibitions

Exhibition catalogs

Criticism, interpretation, etc

Catalogues d'exposition

Date:

2015

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1156659

Creator:

Carrier, Joseph M.  Search this

Extent:

339 Color slides

Culture:

Cua (Vietnamese people)  Search this

Hrê (Vietnamese people)  Search this

Jarai (Southeast Asian people)  Search this

Bru (Southeast Asian people)  Search this

Vietnamese  Search this

Type:

Collection descriptions

Archival materials

Color slides

Photographs

Place:

Vietnam

Guatemala

Date:

1962-1973

Scope and Contents note:

Photographs of Vietnamese peoples and refugee camps made during Joseph M. Carrier's work in Vietnam for the Rand Corporation and the National Academy of Sciences. The collection includes images of airfields, a hospital, Viet Cong defectors, and weaving and basket-making. There are also photographs depicting people, architecture, and art, made in Guatemala circa 1964 and 1972.

Biographical/Historical note:

Joseph Michel Carrier (b. 1927) was a counterinsurgency specialist for the Rand Corporation in Vietnam, a researcher on herbicide use in Vietnam, and an anthropologist specializing in the analysis of homosexuality among Mexican and Vietnamese men. Educated at the University of Miami (BA, 1950) and Purdue University (MA, 1952), he gained employment with the Rand Corporation in 1956 as a research analyst. In 1962 and 1965-1967, Carrier was detailed to South Vietnam, where he assisted anthropologist Gerald Cannon Hickey's research on the Highland peoples and conducted fieldwork on Viet Cong morale and defection. Carrier returned to the United States in 1968 and entered the graduate program in anthropology at the University of California at Irvine. However, despite his doctoral research on homosexual men in Mexico, Carrier could find no positions in sex research after earning his PhD in 1972. With Hickey's support, Carrier found employment as a staff officer for the National Academy of Science's Herbicide Study Group, for whom he gathered data on the effects of US operations in Vietnam which used herbicides to defoliate forests to expose enemy compounds and poisoned Viet Cong food supplies. In 1974, Carrier helped author a working paper on the effects of these programs on the Vietnamese Highland populations. After his time in Vietnam, Carrier worked as an evaluator of California law enforcement programs (1973-1987) and was Chief Social Scientist for the Orange County Health Agency AIDS Community Education Project (retired 1992).

Local Call Number(s):

NAA Photo Lot 2014-02

Location of Other Archival Materials:

The Southeast Asian Archive, The UC Irvine Libraries and the ONE National Gay & Lesbian Archives hold Joseph Carrier's papers.

Related Materials:

The National Anthropological Archives holds the papers and photographs of Gerald Cannon Hickey.

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Contact the repository for terms of use.

Topic:

Refugee camps  Search this

Vietnam War, 1961-1975  Search this

Genre/Form:

Photographs

Citation:

Photo Lot 2014-02, Joseph M. Carrier photographs of Vietnamese Central Highlanders, National Anthropological Archives, Smithsonian Institution.

Identifier:

NAA.PhotoLot.2014-02

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw366fd5984-46f0-4327-9847-7946730cd89a

EDAN-URL:

ead_collection:sova-naa-photolot-2014-02

Creator:

Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this

Names:

Smithsonian Folklife Festival  Search this

Extent:

1 Cubic foot (approximate)

Type:

Collection descriptions

Archival materials

Audiocassettes

Sound recordings

Contracts

Notes

Video recordings

Memorandums

Audiotapes

Business records

Photographic prints

Videotapes

Plans (drawings)

Slides (photographs)

Correspondence

Digital images

Negatives

Date:

June 24-July 5, 1998

Summary:

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

Scope and Contents note:

This collection documents the planning, production, and execution of the 1998 Smithsonian Folklife Festival. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.

Arrangement note:

Arranged in 6 series.

Series 1: Program Books, Festival Publications, and Ephemera

Series 2: The Baltic Nations: Estonia, Latvia, and Lithuania

Series 3: Pahiyas: A Philippine Harvest

Series 4: The Río Grande/Río Bravo Basin

Series 5: Special Events

Series 6: Wisconsin

Historical note:

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

The 1998 Festival of American Folklife was produced by the Smithsonian Center for Folklife Programs and Cultural Studies and cosponsored by the National Park Service.

For more information, see Smithsonian Folklife Festival records.

Introduction:

On January 25, 1998, the Smithsonian Board of Regents voted to change the name of the Festival of American Folklife to the Smithsonian Folklife Festival. The Folklife and Folkways Archives and Collection of the Center for Folklife Programs and Cultural Studies were also renamed to become the Ralph Rinzler Folklife Archives and Collections.

In presenting community cultural life, the Smithsonian Folklife Festival always engages those communities. The 1998 Festival was a good case in point. All of the nearly 75 researchers who documented, analyzed, and recommended traditions and people for the Festival came from the represented communities. Festival curators and senior staff met with researchers, shared experiences from previous Festivals, challenged assumptions, listened, learned, argued, and negotiated the character of the programs. Although not an easy way to craft a cultural representation, this approach nevertheless allowed for an honest, intellectual engagement, with mutual respect and discovery as ther result.

The 1998 Festival hosted programs on Wisconsin, the Río Grande/Río Bravo Basin, the Philippines, and the Baltic nations of Estonia, Latvia, and Lithuania. Wisconsin celebrated its sesquicentennial in 1998, and sought through the Festival to demonstrate to the nation the vitality of its people and their traditions. The Río Grande/Río Bravo region was redefined 150 years ago with the Treaty of Guadalupe Hidalgo, which established a new boundary between Mexico and the United States. The river has a variety of meanings for local communities that were explored on the National Mall. The Philippines first tasted independence 100 years ago, and marked its centennial with activities that gave voice to Filipino peoples, both in the island nation and in the United States. The Baltic nations each demonstrated the richness of their cultural life, and its importance in sustaining the struggle to regain their freedom and independence less than a decade before. Special events celebrated the Festival's founder, Ralph Rinzler, and the 50th anniversary of Folkways Records.

The Festival's million visitors could dance to polkas from Milwaukee, learn borderlands ballads, participate in a Philippine pageant, and marvel at the amber work, flax weaving, and choral songs of Estonia, Latvia, and Lithuania. The unexpected also met their eye - a Tibetan sand mandala maker from Wisconsin, a Filipino artisan who fashions musical gongs from bullet casings, a New Mexican pueblo potter who incorporates modern flood stories into her craft, and a Baltic-style St. John's Day ceremony.

The 1998 Festival took place during two five-day weeks (June 24-28 and July 1-5) between Madison Drive and Jefferson Drive and between 9th Street and 14th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan). It featured four programs, with special events that included the Ralph Rinzler Memorial Concert.

The 1998 Program Book included schedules and participant lists for each program; essays provided background on the Festival and on each of the programs.

The Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Center for Folklife Programs & Cultural Studies.

Center for Folklife Programs & Cultural Studies

Richard Kurin, Director; Richard Kennedy, Deputy Director; Diana Parker, Festival Director; Anthony Seeger, Director, Smithsonian Folkways Recordngs; James Early, Director, Cultural Studies & Communications; Thomas Vennum, Jr., Senior Ethnomusicologist; Olivia Cadaval, Chair, Research & Education; Betty J. Belanus, Marjorie Hunt, Diana Baird N'Diaye, Peter Seitel, Curators, Folklorists, Education and Cultural Specialists; Carla M. Borden, Program/Publications Manager; John W. Franklin, Program Manager; Cynthia Vidaurri, Coordinator, Latino Cultural Resource Network; Jeffrey Place, Archivist; Stephanie Smith, Assistant Archivist; Arlene L. Reiniger, Program Specialist; Charlie Weber, Media Specialist; Roland Freeman, Dan Goodwin, Ivan Karp, Corinne Kratz, Alan Lomax, Worth Long, René López, Kate Rinzler, Fellows & Research Associates

Folklife Advisory Council and Folkways Advisory Council

Roger Abrahams, Jacinto Arias, Michael Asch, Jane Beck, Don DeVito, Pat Jasper, Ella Jenkins, Jon Kertzer, Barbara Kirshenblatt-Gimblett, John Nixdorf, Bernice Johnson Reagon, John Roberts, Carol Robertson, Gilbert Sprauve, Jack Tchen, Ricardo Trimillos, Carlos Vélez-Ibáñez

National Park Service

Robert Stantion, Director; Terry Carlstrom, Director, National Capital Region

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://folklife.si.edu/archives#shared-stewardship.

Forms Part Of:

Smithsonian Folklife Festival records: 1998 Smithsonian Folklife Festival forms part of the Smithsonian Folklife Festival records .

Smithsonian Folklife Festival records

Smithsonian Folklife Festival records: Papers

1967 Festival of American Folklife records - [Ongoing]

Related Archival Materials note:

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

Restrictions:

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

Rights:

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

Topic:

arts and crafts  Search this

Folklore  Search this

World music  Search this

Folk music  Search this

Folk festivals  Search this

Folk art  Search this

Food habits  Search this

Genre/Form:

Audiocassettes

Sound recordings

Contracts

Notes

Video recordings

Memorandums

Audiotapes

Business records

Photographic prints

Videotapes

Plans (drawings)

Slides (photographs)

Correspondence

Digital images

Negatives

Citation:

Smithsonian Folklife Festival records: 1998 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.SFF.1998

See more items in:

Smithsonian Folklife Festival records: 1998 Smithsonian Folklife Festival

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk5c96ded82-f8f8-4800-8804-a7535f001b13

EDAN-URL:

ead_collection:sova-cfch-sff-1998

Editor:

Bartra, Eli  Search this

Physical description:

viii, 244 pages illustrations 23 cm

Type:

Books

Place:

Latin America

Caribbean Area

Amérique latine

Caraïbes (Région)

Lateinamerika

Date:

2003

Topic:

Folk art  Search this

Women artists  Search this

Art populaire  Search this

Femmes artistes  Search this

ART--Folk & Outsider Art  Search this

Kunsthandwerk  Search this

Frau  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1157219

Creator:

Liebes, Dorothy  Search this

Names:

Bigelow-Sanford Carpet Company  Search this

E.I. du Pont de Nemours & Company. Textile Fibers Department  Search this

Golden Gate International Exposition (1939-1940 : San Francisco, Calif.)  Search this

Morin, Relman, 1907-1973  Search this

Wright, Frank Lloyd, 1867-1959  Search this

Extent:

24.7 Linear feet

Type:

Collection descriptions

Archival materials

Sound recordings

Scrapbooks

Diaries

Drawings

Interviews

Date:

circa 1850-1973

bulk 1922-1970

Summary:

The papers of weaver, textile designer, and consultant Dorothy Liebes date from circa 1850-1973 (bulk 1922-1970) and comprise 24.7 linear feet. Through biographical material including a sound recording of an interview, family and general correspondence, writings including a draft of Liebes's autobiography, subject files providing detailed records of her influential consulting work, financial and legal files, printed material, scrapbooks, artwork, textile samples, and photographic material picturing a wide variety of career and personal activities, the collection provides rich and extensive documentation of Liebes's career and personal life.

Scope and Content Note:

The papers of weaver, textile designer, and consultant Dorothy Liebes date from circa 1850-1973 (bulk 1922-1970) and comprise 24.7 linear feet. Through biographical material including a sound recording of an interview, family and general correspondence, writings including a draft of Liebes's autobiography, subject files providing detailed records of her influential consulting work, financial and legal files, printed material, scrapbooks, artwork, textile samples, and photographic material picturing a wide variety of career and personal activities, the collection provides rich and extensive documentation of Liebes's career and personal life.

Biographical material consists of awards, biographical notes, membership and identification cards, passports, a will, and a sound recording of a 1945 interview with Liebes.

Correspondence is personal with family and friends, and general with friends and colleagues including artists, and fellow weavers and designers. Notable correspondents include Dorr Bothwell, Daren Pierce, Beatrice Wood, and Frank and Olgivanna Lloyd Wright.

Diaries and calendars record Liebes's busy professional and personal life, with notations on daily activities and, beginning in 1952, detailed notes by staff recording activities at the studio on days when Liebes was absent.

Writings by Dorothy Liebes include notes, drafts, and manuscripts of published and unpublished writings, including an autobiography, speeches, and drafts for an unpublished book on weaving.

Subject files contain correspondence, printed material, photographs, and miscellaneous items in varying combinations, and focus heavily on Liebes's consulting work for businesses in the textile industry, including her work with DuPont, Bigelow-Sanford, Goodall, Dow, and others. The files document the importance of her work as a colorist and show how she successfully adapted craft weaving to machine methods. Furthermore, they record how Liebes used her marketing instincts and broad media appeal to rebrand the image of companies such as DuPont from one of chemistry and utility, to one that represented high style and glamor in durable and practical fabrics that were affordable and desirable in home furnishings. Other subject files document organizations, individuals, and topics of interest to Liebes, including files recording her involvement with arts and crafts organizations, her role as director for the Decorative Arts Display at the Golden Gate Exposition in 1939, her work as director of the Red Cross's Arts and Skills workshop, scattered exhibition records, and files on weavers and weaving. Files on Liebes's extensive promotional work for multiple clients are also included here, as are files documenting Liebes's relationship with Relman Morin, such as correspondence and scattered records of Morin's career as a Pullitzer Prize winning journalist.

Financial and legal records are comprised of accounting records from the 1930s-1940s, financial summaries, investment statements, personal and business inventories, personal and business tax returns, and some legal records.

Printed material includes advertisements, articles, and exhibition announcements and catalogs, recording Liebes's career. This material is supplemented by thirty-three bound scrapbooks of printed publicity material, photographs, and documents recording Liebes's career in substantial depth.

Artwork by Dorothy Liebes consists of designs, feather weavings, a small hooked composition, and tapestry samples. Artwork by others includes prints by Dorr Bothwell, designs by Lawrence J. Colwell, and painted sketches of clothing designs by Daren Pierce. Two linear feet of samples consist primarily of textile swatches primarily designed by Dorothy Liebes Studio, Inc.

Photographic material includes professional portraits of Liebes and others, photos of Liebes at events and parties, with staff and other weavers, at work in her studio, and traveling. Of note are a series of pictures taken at Taliesin West with Frank and Olgivanna Wright, Relman Morin, and others. Photographic material also provides examples of Liebes's design work in homes, hotels, offices, and elsewhere, and shows her work pictured in exhibitions and showrooms. Photographs of other subjects include portraits of unidentified women by Man Ray and Consuela Canaga.

Arrangement:

The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Material, circa 1934-circa 1970 (Box 1, OV 23; 0.28 linear feet)

Series 2: Correspondence, 1922-1973 (Boxes 1-2; 1.5 linear feet)

Series 3: Diaries and Calendars, 1948-1971 (Boxes 2-4; 1.5 linear feet)

Series 4: Writings, 1920-circa 1971 (Boxes 4-5; 1.05 linear feet)

Series 5: Subject Files, circa 1933-1971 (Boxes 5-13, 20, OVs 23, 59; 8.43 linear feet)

Series 6: Financial and Legal Records, circa 1935-1972 (Box 13, 20; 0.6 linear feet)

Series 7: Printed Material, 1897-1971 (Boxes 14, 20-21, OV 38; 1.1 linear feet)

Series 8: Scrapbooks, 1933-1972 (Box 21-22, 24-36; 5 linear feet)

Series 9: Artwork, circa 1920s-circa 1960s (Boxes 14, 22, OVs 23, 39, 42, RD 37; 1.24 linear feet)

Series 10: Samples, circa 1850-1855, circa 1930s-circa 1970 (Boxes 15-16; 2.0 linear feet)

Series 11: Photographic Material, circa 1875, circa 1897-circa 1970 (Boxes 17-19, 36, OVs 38, 40-41; 2.0 linear feet)

Biographical Note:

California and New York weaver, textile designer, and consultant Dorothy Wright Liebes (1899-1972) was known for distinctive textiles featuring bold color combinations and unusual textures achieved through the use of materials such as glass rods, sequins, bamboo, grass, leather, ribbon, wire, and ticker tape. Her work with companies in the synthetic fiber industry to make craft weaving compatible with man-made fabrics and machine looms, produced an innovative and exciting new aesthetic in interior design that was both functional and affordable, and made Liebes a mid-century household name.

Born Dorothy Wright in Santa Rosa, California, Liebes was the daughter of chemistry professor Frederick L. Wright and teacher Bessie Calderwood Wright. She studied art, education, and anthropology at San Jose State Teachers College and the University of California, Berkeley. During her college years, a teacher encouraged her to experiment with weaving and textile design since many of her paintings resembled textiles.

Liebes was a teacher for several years before deciding to pursue a career in textile design. She then studied weaving at Hull House in Chicago and traveled to France, Italy, Guatemala, and Mexico to learn the traditional weaving forms of those cultures. Upon her return to the United States, Liebes opened her first professional studio for weaving and textile design on Powell Street in San Francisco; Dorothy Liebes Design, Inc. was established in 1934, and eventually employed a staff of weavers. Liebes moved her studio to 545 Sutter Street in 1942.

Her first client in the industry was Goodall-Sanford Mills, with whom Liebes worked as a consultant for more than a decade. As her client base expanded, she decided to open a New York studio and maintained both studios until 1948 when she closed her San Francisco operation and relocated to New York City.

Liebes became a color and design consultant to corporations such as DuPont, Dow, and Bigelow-Sanford and tested and promoted newly developed synthetic fibers. She advised textile chemists in the development of fibers that were versatile enough to produce many different textures and worked with engineers and technicians to develop new machines that could reproduce the irregularities of hand-loomed fabrics. Liebes became a sought-after speaker by textile industry and consumer groups, and sometimes taught workshops on color and design.

Liebes's commissions included the United Nations Delegates Dining Room, the Persian Room at the Plaza Hotel and the King of Saudi Arabia's traveling royal throne room. Between 1937 and 1970, Liebes participated in more than thirty solo and group exhibitions at the San Francisco Museum of Art, Museum of Modern Art, de Young Museum, Cranbrook Museum, Detroit Institute of Art, Massachusetts Institute of Technology, Museum of Contemporary Crafts, and other venues. She received prizes and awards from institutions and corporations such as Lord and Taylor, Neiman-Marcus, the Paris Exposition, the American Institute of Decorators, the American Institute of Architects and the Architectural League. She was also awarded the Elsie de Wolfe Award and an honorary degree from Mills College in 1948.

Liebes's other notable activities included her work a director of the Decorative Arts Display for the 1939 San Francisco World's Fair, which she credited with establishing her as an authority in the field, and her work as organizer and director of "Arts and Skills," a Red Cross occupational therapy project that included training in weaving for soldiers injured in World War II. In the 1950s, she worked with the Bureau of Indian Affairs, journeying though the southwest to study Indian schools and weaving techniques.

Liebes was married to businessman Leon Liebes from 1928 until their divorce in 1940 and continued to use the name Liebes for the remainder of her life. In 1948, she married Pulitzer prize winning Associated Press special correspondent Relman "Pat" Morin.

During the last year of her life, Dorothy Liebes was semi-retired due to a heart ailment. She died in New York City on 10 September 1972.

Provenance:

Gift of the Estate of Dorothy Liebes through Relman Morin, 1972, and Ralph Higbee, 1973-1974.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

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

Occupation:

Textile designers -- California -- San Francisco  Search this

Textile designers -- New York (State) -- New York  Search this

Weavers -- California -- San Francisco  Search this

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

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

Topic:

Women artists  Search this

Women textile designers  Search this

Genre/Form:

Sound recordings

Scrapbooks

Diaries

Drawings

Interviews

Citation:

Dorothy Liebes papers, circa 1850-1973. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of the Dorothy Liebes papers was provided by the Terra Foundation for American Art. Funding for the digitization of the collection was provided by the Coby Foundation.

Identifier:

AAA.liebdoro

See more items in:

Dorothy Liebes papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9512b8d71-3c95-4e72-96be-0af0437f2a5f

EDAN-URL:

ead_collection:sova-aaa-liebdoro

Collection Creator:

Junkin, Hattie Meyers, 1896-1985  Search this

Container:

Box 7, Folder 8

Type:

Archival materials

Text

Collection Restrictions:

No restrictions on access

Collection Rights:

Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.

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Hattie Meyers Junkin Papers

Hattie Meyers Junkin Papers / Series 5: George "Buck" Weaver materials

Archival Repository:

National Air and Space Museum Archives

GUID:

https://n2t.net/ark:/65665/pg2a5d88809-3942-422c-8b3e-e94806d33b80

EDAN-URL:

ead_component:sova-nasm-xxxx-0171-ref175

Collector:

Blenkle, Victor A., Dr., 1900-1978 (physician)  Search this

Names:

Adamson, Glenn  Search this

Collection Creator:

National Philatelic Collection, Smithsonian Institution.  Search this

Blenkle, Victor A., Dr., 1900-1978 (physician)  Search this

Extent:

1 Item (color, 3.5" x 5.5".)

Culture:

Indians of North America -- New Mexico -- 1900-1910  Search this

Type:

Archival materials

Postcards

Picture postcards

Place:

New Mexico -- 1900-1910

Southwest

Scope and Contents:

Color illustration from the "New Mexico: Postcard booklet" (BL381). It depicts two women sitting on the ground working on a rug.

General:

Series 1, Box 10, U.S.A.--New Mexico---General Mountain Views.

Collection Restrictions:

The collection is open for research use.

Collection 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.

Occupation:

Weavers  Search this

Topic:

Rural women -- 1900-1910  Search this

Tourist trade -- 1900-1910  Search this

Rugs  Search this

Genre/Form:

Postcards

Picture postcards -- 1890-1910

Collection Citation:

Victor A. Blenkle Postcard Collection, c. 1880-c. 1970, Archives Center, National Museum of American History, Smithsonian Institution,

See more items in:

Victor A. Blenkle Postcard Collection

Victor A. Blenkle Postcard Collection / Series 1: Geographical Locations within United States / New Mexico - General Mountain Views

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep87b1de84d-f4a6-470f-9f1f-e5ceed3c1da4

EDAN-URL:

ead_component:sova-nmah-ac-0200-ref2179

Publisher:

Teich, Curt, 1877-1974  Search this

Collection Creator:

National Philatelic Collection, Smithsonian Institution.  Search this

Blenkle, Victor A., Dr., 1900-1978 (physician)  Search this

Extent:

1 Item (postcard book, color, 3.5" x 5.5".)

Culture:

Mexicans  Search this

Indians of North America -- New Mexico  Search this

Type:

Archival materials

Postcards

Photomechanical prints

Place:

New Mexico

Ranchos de Taos (N.M.)

Scope and Contents:

Postcard booklet of sites in New Mexico, plus front and back cover illustrations. Most views are mountain scenes and buildings. The cover illustration (shown here) depicts the Old Mission Church in Ranchos de Taos, New Mexico with women, children and men in Southwestern Indian style dress. Subjects include Raton Pass, Taos Indian Pueblo, Hermit's Peak (Las Vegas, N.M.), Starvation Peak on the Santa Fe Trail, Old San Miguel Mission (Santa Fe), "oldest house in America, Santa Fe," sunset on the Rio Grande, Albuquerque, and Palace of the Governors, Santa Fe. The cover and back illustrations (the latter shows Navajo Indian women weaving) are reproductions of paintings, while the postcards appear to be reproductions of hand-painted photographs.

Local Numbers:

BL318 (Image No., cover illustration, not in Archives Center file)

General:

Series 1, Box 10, U.S.A.--New Mexico--General Mountain Views.

Collection Restrictions:

The collection is open for research use.

Collection 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.

Topic:

Weaving  Search this

Churches -- Catholic -- Architecture  Search this

Mountains -- New Mexico  Search this

Pueblos  Search this

Tourism -- New Mexico  Search this

Genre/Form:

Postcards

Photomechanical prints

Collection Citation:

Victor A. Blenkle Postcard Collection, c. 1880-c. 1970, Archives Center, National Museum of American History, Smithsonian Institution,

See more items in:

Victor A. Blenkle Postcard Collection

Victor A. Blenkle Postcard Collection / Series 1: Geographical Locations within United States / New Mexico - General Mountain Views

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep81aa6c102-779d-46f4-9286-16c046784151

EDAN-URL:

ead_component:sova-nmah-ac-0200-ref2213

Collector:

Blenkle, Victor A., Dr., 1900-1978 (physician)  Search this

Collection Creator:

National Philatelic Collection, Smithsonian Institution.  Search this

Blenkle, Victor A., Dr., 1900-1978 (physician)  Search this

Extent:

1 Item (color, 3-1/2" x 5-1/2".)

Culture:

Mexicans  Search this

Type:

Archival materials

Postcards

Picture postcards

Place:

New Mexico

Southwest

Scope and Contents:

Color illustration taken from the "New Mexico: Postcard Booklet" (BL381): two women sitting on the ground working on a rug with emblematic Southwestern designs. Behind the women are rugs hanging on a clothes line. The exterior of the booklet on one side shows two women sitting and weaving.

Collection Restrictions:

The collection is open for research use.

Collection 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.

Topic:

Indians of North America -- New Mexico  Search this

Rural women  Search this

Tourism  Search this

Rugs  Search this

Genre/Form:

Postcards -- 1900-1920

Picture postcards -- 1900-1920

Collection Citation:

Victor A. Blenkle Postcard Collection, c. 1880-c. 1970, Archives Center, National Museum of American History, Smithsonian Institution,

See more items in:

Victor A. Blenkle Postcard Collection

Victor A. Blenkle Postcard Collection / Series 1: Geographical Locations within United States / New Mexico - Pueblos and Indians

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8d0f28d51-33c5-4045-8a63-12aa8e9e96f4

EDAN-URL:

ead_component:sova-nmah-ac-0200-ref2307

Creator:

Smithsonian Institution. Festival of American Folklife. New Mexico Program 1992 Washington, D.C.  Search this

Marriock, Barbara (recorder)  Search this

McCauley, John (recorder)  Search this

Performer:

Martinez, Consuelo, 1948-  Search this

Lucero, Helen R., 1943-  Search this

Sheche, Thelma, 1928-  Search this

Jones, Rodney  Search this

Dorn, Vodra, 1957-  Search this

Dorn, William, 1952-  Search this

Collection Creator:

Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this

Extent:

compact audio cassette

1 Sound cassette (analog.)

Culture:

Indians of North America  Search this

Americans  Search this

Zuni  Search this

Type:

Archival materials

Sound cassettes

Place:

United States

Washington (D.C.)

New Mexico

Mora (N.M.)

Zuni (N.M.)

Albuquerque (N.M.)

Date:

1992 June 28

Track Information:

101 Ways of Healing / Consuelo Martinez, Helen R. Lucero, Thelma Sheche.

102 Gospel Traditions / Rodney Jones, Vodra Dorn, William Dorn. Piano.

Local Numbers:

FP-1992-CT-0140

Date/Time and Place of an Event Note:

Recorded in: Washington (D.C.), United States, June 28, 1992.

Restrictions:

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

Collection Rights:

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

Topic:

American Indian  Search this

Gospel music  Search this

Piano  Search this

Herbs -- Theraputic use  Search this

African Americans  Search this

Collection Citation:

Smithsonian Folklife Festival records: 1992 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.SFF.1992, Item FP-1992-CT-0140

See more items in:

Smithsonian Folklife Festival records: 1992 Festival of American Folklife

Smithsonian Folklife Festival records: 1992 Festival of American Folklife / Series 4: New Mexico / Audio

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk57d643ead-a399-4ee3-aec1-d6a9c647d19c

EDAN-URL:

ead_component:sova-cfch-sff-1992-ref688

Interviewee:

Scott, Joyce J., 1948-  Search this

Interviewer:

Silberman, Robert B. (Robert Bruce), 1950-  Search this

Creator:

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

Names:

Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this

Extent:

61 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

2009 July 22

Scope and Contents:

An interview of Joyce J. Scott conducted 2009 July 22, by Robert Silberman, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at Scott's home and studio, in Baltimore, Maryland.

Scott talks about her childhood in Baltimore; childhood visits to the Baltimore Museum of Art and Walters Art Gallery; her parents' lives growing up in the segregated South; her artist mother, who was her first bead-teacher; craft traditions in her family, including pottery and quilting; quilting as storytelling, "diaries" for preliterate people; improvisational craft; Three Generation Quilt; Fifty .; undergraduate studies at Maryland Institute College of Art; travels after graduation in Mexico, Central , and South America; graduate studies in craft in Mexico; decision at age 23 to become a studio artist, and partnership with her mother; theater work with Robert Sherman and in New York and in Baltimore; theater work with Kay Lawal in Thunder Thigh Revue; studies at Haystack Mountain School of Crafts, Deer Isle, ME, where she learned traditional Navajo weaving, and learned the peyote stitch for beadwork, a seminal technique for her career; her book Fearless Beadwork: Improvisational Peyote Stitch: handwriting & drawings from hell. Rochester, NY: Visual Studies Workshop, 1994; working in different mediums; What You Mean Jungle Music? [1988]; working for recognition of beadwork as a sculptural medium; politics, social commentary, and humor in her work; series Day after Rape; her working processes; Rodney King's Head Was Squashed Like a Watermelon; working in monoprints; working in glass (flameworking, lampworking), including at Pilchuck Glass School, Stanwood, WA, Tacoma [WA] Museum of Glass, UrbanGlass, New York, NY, Haystack Mountain; retrospective exhibition, "Joyce Scott Kickin' It With the Old Masters" at the Baltimore Museum of Art, 2000; series Africa in Unexpected Places; installation work, including in "Images Concealed," San Francisco, 1995, and Believe I've Been Sanctified, Charleston, SC, 1991; small-scale work; influence of her upbringing in the Pentecostal church; Buddha Gives Basketball to the Ghetto [1991] and the importance of spirituality in her work; travels in South America, Africa, and Europe; the complementarity of performance/theater work and visual art; performance pieces: Generic Interference, Genetic Engineering, Virtual Reality, and Walk a Mile in My Drawers; Lips mosaic at Reagan National Airport, Washington, D.C.; teaching workshops at Haystack, Penland School of Crafts, Penland, NC, the Oregon School of Arts and Craft, Portland; artist-in-residency at Pilchuck; gallery affiliations, and usefulness of the gallery system, which allows her to work as a studio artist; the importance of galleries as a free venue open to ordinary people; luxuriating in beauty. She recalls Betty Woodman, Dr. Leslie King-Hammond, Lowery Sims, Fritz Dreisbach, Anthony Corradetti, Antony Gormley, Ann Hamilton, David Hammons, Mary Jane Jacob, Cesar Pelli, Susan Cummins, and Helen Drutt English.

Biographical / Historical:

Joyce J. Scott (1948- ) is a visual and performance artist and educator who lives and works in Baltimore, Maryland.

General:

Originally recorded on 4 memory cards. Reformatted in 2010 as 4 digital wav files. Duration is 3 hr., 11 min.

Provenance:

This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Restrictions:

This transcript is open for research. Access to the entire recording is restricted. Contact Reference Services for more information.

Occupation:

Sculptors -- Maryland -- Baltimore  Search this

Performance artists -- Maryland -- Baltimore  Search this

Quiltmakers -- Maryland -- Baltimore  Search this

Jewelers -- Maryland -- Baltimore  Search this

Educators -- Maryland -- Baltimore  Search this

Topic:

Women artists  Search this

Women sculptors  Search this

Women jewelers  Search this

African American artists  Search this

Women jewelers  Search this

African American quiltmakers  Search this

African American sculptors  Search this

African American educators  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for this interview was provided by the Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America.

Identifier:

AAA.scott09

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e43800a6-9a2b-4379-b1cc-daffdb8fe6f9

EDAN-URL:

ead_collection:sova-aaa-scott09

Creator:

Farber, Joseph C., 1903-  Search this

Names:

National Museum of Natural History (U.S.) -- Exhibitions.  Search this

National Museum of Natural History (U.S.). Department of Anthropology  Search this

Gorman, R. C. (Rudolph Carl), 1932-2005  Search this

Extent:

6,000 Contact prints (circa 6000 contact prints (proof sheets))

6,000 Acetate negatives (circa)

8 Color transparencies

1,000 Items (circa 1000 enlarged prints: silver gelatin (some mounted for exhibition))

Culture:

Arctic peoples  Search this

Pikuni Blackfeet (Piegan)  Search this

Onondaga  Search this

Taos Indians  Search this

Quinault  Search this

Tlingit  Search this

Akimel O'odham (Pima)  Search this

Tewa Pueblos  Search this

Indians of North America -- Great Plains  Search this

Indians of North America -- Southwest, New  Search this

Anishinaabe (Chippewa/Ojibwa)  Search this

Diné (Navajo)  Search this

Eskimos  Search this

Sioux  Search this

Lummi  Search this

Haida  Search this

Indians of North America -- Plateau  Search this

Kootenai (Kutenai)  Search this

Kiowa  Search this

Mojave (Mohave)  Search this

Miccosukee Seminole (Mikasuki)  Search this

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

Indians of North America -- Northeast  Search this

Niitsitapii (Blackfoot/Blackfeet)  Search this

Chehalis  Search this

Apache  Search this

Athapascan Indians  Search this

Cocopa  Search this

Niuam (Comanche)  Search this

Cherokee  Search this

Indians of North America -- Southern States  Search this

Tsitsistas/Suhtai (Cheyenne)  Search this

Pueblo  Search this

Acoma Pueblo  Search this

Type:

Collection descriptions

Archival materials

Contact prints

Acetate negatives

Color transparencies

Photographs

Place:

North Carolina

New York

New Mexico

Montana

South Dakota

Oklahoma

Arizona

California

Florida

Minnesota

Alaska

Alberta

Washington (State)

Barrow, Point (Alaska)

Yuma County (Ariz.)

Taos (N.M.)

Date:

circa 1970-1975

Scope and Contents note:

Photographs made as part of Joseph C. Farber's project to document modern NAtive American everyday life. Represented tribes include the Acoma, Apache, Blackfoot, Chehalis, Cherokee, Cheyenne, Chippewa, Cocopa, Dakota, Eskimo, Haida, Kiowa, Kutenai, Lummi, Mohave, Mohawk, Navaho, Northern Athabascan, Onandaga, Pima, Pueblo, Quinalt, Seminole, Taos, Tlingit, and Zuni. Subject coverage is broad and varies from tribe to tribe. Included are portraits, as well as totem poles, carving, weaving, pottery, painitng, landscapes, boats and canoes, ceremonial regalia, camps, classes and vocational training, homes and traditional dwellings, construction projects, rodeos and powwows, dances, industries (including lumber), herding and ranching, agriculture, stores and storefronts, cliff dwellings, parades, crab cleaning, fishing, games, health care, legal processes, music, office work, sewing, vending, and a funeral. There are also photographs of R. C. Gorman (and a letter from Gorman to Farber) and Fritz Shoulder (some in color).

Farber's travels included Alaska (Point Barrow, Dead Horse, Glacier Bay, Haines, Hoona, Hydaberg, Ketchikan, Mount McKinley, Prudhoe Bay, Saxman, and Sitka); Alberta (Blackfeet Reservation); Arizona (Canyon de Chelly, Cocopa Reservation, Flagstaff, Kayenta, Monument Valley, Pima Reservation, Quechan Reservation, Mojave Reservation, and Yuma); California (Alcatraz, Oakland, and San Francisco); Florida (Big Cypress Reservation; Miccosukee Reservation); Minnesota (Minneapolis and Nett Lake); Montana (Northern Cheyenne Reservation); New Mexico (Acoma, Gallup, Navajo Forest, Picuris, Puye, San Ildefonso, Santa Clara, Santa Fe, Taos, San Ildefonso, Santa Clara, and Tesuque); New York (New York City and Onandaga Reservation); North Carolina (Cherokee Reservation); Oklahoma (Anadarko, Apache, Lawton, Stilwell, and Tahlequah); South Dakota (Rosebud and Wounded Knee); and Washington (Lummi Reservation, Nisqually River, Puyallup River, and Quinalt Reservation).

Biographical/Historical note:

Joseph C. Farber (1903-1994) was a successful New York businessman and professional photographer. He studied with Edward Steichen at the New York Camera Club in the 1920s. The prints in this collection resulted from a five-year project that involved travelling to Native communities throughout the United States to document modern Native American life. The project resulted in a book, Native Americans: 500 Years After (1975), as well as exhibits, including one in the National Museum of Natural History in 1976-1977.

Local Call Number(s):

NAA Photo Lot 78-1, NAA ACC 95-3

Location of Other Archival Materials:

Farber's photographs, previously located in Photo Lot 95-3 have been relocated and merged with Photo Lot 78-1. These photographs were also made by Joseph C. Farber and form part of this collection.

The National Museum of American History Archives Center holds the Joseph Farber Papers and Photographs, circa 1962-1990.

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Photographs published in Farber's books still under copyright. Reproduction permission from artist's estate.

Topic:

Dwellings  Search this

Vocational education  Search this

Canoes and canoeing  Search this

Boats and boating  Search this

Dance  Search this

Powwows  Search this

Rodeos  Search this

Building  Search this

handicrafts  Search this

Totem poles  Search this

Agriculture  Search this

Livestock  Search this

Genre/Form:

Photographs

Citation:

Photo Lot 78-1, Joseph C. Farber photographs of Native American life, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.PhotoLot.78-1

See more items in:

Joseph C. Farber photographs of Native American life

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw381bc3276-6acf-4c9a-ac8c-9b59ad173f56

EDAN-URL:

ead_collection:sova-naa-photolot-78-1