The collection measures 0.65 cubic feet, dates from 1932 - circa 1970s, and is primarily comprised of photographs taken by M. Marvin Breckinridge Patterson during her trip with Olivia Stokes Hatch from Capetown, South Africa, to Cairo, Egypt in 1932. The photographs document the peoples of Africa in Egypt, Kenya, South Africa, Sudan, Tanganyika (now Tanzania), Uganda, Congo (Democratic Republic) and Zanzibar, including the Baila, San, Shona, Xhosa and Zulu peoples. There are also some publications and contact sheets in the collection.
Scope and Contents:
This collection includes 113 black and white photographic prints taken by M. Marvin Breckinridge Patterson during her trip with Olivia Stokes Hatch from Capetown, South Africa, to Cairo, Egypt in 1932; 3 color photographic prints taken in 1971 of mbira, pipes, and a sculpture; publications; and contact sheets. Many of the photographs from the 1932 trip were published in Olivia's African Diary: Cape Town to Cairo," (Washington, D.C.: Eastern Press, 1980).
The photographs document the peoples of Africa in Egypt, Kenya, South Africa, Sudan, Tanganyika (now Tanzania), Uganda, Congo (Democratic Republic) and Zanzibar, including the Baila, San, Shona, Xhosa and Zulu peoples. Subjects include a bride and groom at Lovedale, South Africa; dancers at the Crown Mine near Johannesburg, South Africa; flower vendors in Cape Town, South Africa; two leading elders at Amanzimtoti, South Africa; a craftsman making spears; a tanner in the Sudan; miners with their wives in Katanga (now Shaba), Belgian Congo (now Democratic Republic of the Congo); schoolboys in the Sudan; a Shona man; women lining-up to receive rations in the Belgian Congo; workers pouring gold at the Crown Mine near Johannesburg, South Africa; and a Zulu woman at a market in Durban, Natal, South Africa.
Depicted architecture includes the Queen Hatshepsut's room at Karnak, Luxor, Egypt; and the ruins of Great Zimbabwe. Images of the natural world include a mountain at Cape Town, South Africa; a park in Port Elizabeth, South Africa; and Victoria Falls, Southern Rhodesia (now Zimbabwe). Finally, there are numerous images of animals, including egrets, ostriches and wildebeests.
Photographs from the collection were published in the Boston Herald (July 31, 1933) and the Crown Colonist (August 1933).
Arrangement note:
Arranged in three series. Series 1 is arranged by country. Series 2 is arranged in chronological order.
Series 2: Publications, circa 1960s-1970s (Box 3, 4 folders)
Series 3: Contact Sheets, 1932 (Box 3, 0.2 cubic feet)
Biographical/Historical note:
Photographer, broadcaster, and filmmaker Mary Marvin Breckinridge Patterson (1905-2002), grandchild of Vice President John Cabell Breckinridge, was a photographer, broadcaster and filmmaker. Following graduation from Vassar College in 1928, Breckinridge worked for the Frontier Nursing Service (a group comprised mainly of women that provided medical services to remote areas in Appalachia), earned a pilot's license (the first woman in Maine to do so), and assisted in the office of the Democratic National Committee. In 1932 she traveled to Africa where she documented the peoples and places throughout the continent.
She enrolled in the Clarence White School of Photography in New York in 1933, taking trainings on photographic developing and printing. She then worked in the office of Democratic congresswoman, and distant relative, Isabella Selmes Greenway, but soon returned to the Clarence White School of Photography for a longer course of study. Following graduation, she began selling photographs and sometimes articles in several magazines, including LIFE, Harper's Bazar, and Town and Country. Her film credits include "She Goes to Vassar" (1931), a film that provides an overview of college life at Vassar, and "The Forgotten Frontier", a documentary about the activities of the Frontier Nursing Service, a group comprised mainly of women that provided medical services to remote areas in Appalachia.
Travelling to Europe in 1939 on photojournalism assignments, Breckinridge was in Switzerland when the Nazis invaded Poland, starting World War II. She traveled to London to photograph the evacuation of English children, one of only four American photographers in England for the first months of the war. Edward Murrow hired her as the first female news broadcaster for the CBS World News Roundup to report from Europe. As the only female member of "The Murrow Boys", an elite group of only eleven broadcasters handpicked by Murrow, she broadcasted 50 reports from seven countries.
While working in Berlin, she married Foreign Service Officer Jefferson Patterson. She resigned from CBS, hoping to resume her career in photojournalism, but State Department policies restricted her ability to publish. The couple was posted in Peru, Belgium, Egypt, the Balkans and Uruguay.
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:
Photographic prints
Photographs
Publications
Citation:
M. Marvin Breckinridge Patterson collection, EEPA 1985-009, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution
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.
Collection Citation:
M. Marvin Breckinridge Patterson collection, EEPA 1985-009, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution
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.
Collection Citation:
M. Marvin Breckinridge Patterson collection, EEPA 1985-009, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution
During his trip to South Africa, Elisofon traveled from Grahamstown to Port Elisabeth and took pictures of Xhosa people on their way to weekly Sunday knobkerry fight with another group. This photograph was taken when Eliot Elisofon was on assignment for Life magazine and traveled to Africa from January 8, 1947 to end of June 1947.
Local Numbers:
Negative number 24658, R-2, 1.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "A 5 SAF. South Africa. Grahamstown-Port Elisabeth. On their way to weekly Sunday knobkerry fight with another group. 2/9/1947. EE. neg.no. 24658, R-2, 1." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
During his trip to South Africa, Elisofon traveled from Grahamstown to Port Elisabeth and took pictures of Xhosa people on their way to weekly Sunday knobkerry fight with another group. This photograph was taken when Eliot Elisofon was on assignment for Life magazine and traveled to Africa from January 8, 1947 to end of June 1947.
Local Numbers:
Negative number 24658, R-2, 2.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "A 5 SAF. South Africa. Grahamstown-Port Elisabeth. On their way to weekly Sunday knobkerry fight with another group. 2/9/1947. EE. neg.no. 24658, R-2, 2." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
During his trip to South Africa, Elisofon traveled from Grahamstown to Port Elisabeth. On his way, he took pictures of Xhosa people on their way to weekly Sunday knobkerry fight with another group. This photograph was taken when Eliot Elisofon was on assignment for Life magazine and traveled to Africa from January 8, 1947 to end of June 1947.
Local Numbers:
Negative number 24658, R-2, 11.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "D 5 Xsa. Xosa. Grahamstown-Port Elisabeth. Girl with painted red cheeks. Dressed for knobkerry fight with another group. 2/9/1947. EE. neg.no. 24658, R-2, 11." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
During his trip to South Africa, Elisofon traveled from Grahamstown to Port Elisabeth. On his way, he took pictures of Xhosa people on their way to weekly Sunday knobkerry fight with another group. This photograph was taken when Eliot Elisofon was on assignment for Life magazine and traveled to Africa from January 8, 1947 to end of June 1947.
Local Numbers:
Negative number 24658, R-2, 10.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "D 5 Xsa. Xosa. Grahamstown-Port Elisabeth. Girl with painted red cheeks. Dressed for knobkerry fight with another group. 2/9/1947. EE. neg.no. 24658, R-2, 10." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
During his trip to South Africa, Elisofon traveled from Grahamstown to Port Elisabeth. On his way, he took pictures of Xhosa people on their way to weekly Sunday knobkerry fight with another group. This photograph was taken when Eliot Elisofon was on assignment for Life magazine and traveled to Africa from January 8, 1947 to end of June 1947.
Local Numbers:
Negative number 24658, R-2, 8.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "D 5 Xsa. Xosa. Grahamstown-Port Elisabeth. Girl with painted red cheeks. Dressed for knobkerry fight with another group. 2/9/1947. EE. neg.no. 24658, R-2, 8." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
During his trip to South Africa, Elisofon traveled from Grahamstown to Port Elisabeth. On his way, he took pictures of Xhosa people on their way to weekly Sunday knobkerry fight with another group. This photograph was taken when Eliot Elisofon was on assignment for Life magazine and traveled to Africa from January 8, 1947 to end of June 1947.
Local Numbers:
Negative number 24658, R-2, 9.
General:
Title source: Index card based on photographer's notes.
Local Note:
Negative is missing.
Typed index card reads, "D 5 Xsa. Xosa. Grahamstown-Port Elisabeth. Girl with painted red cheeks. Dressed for knobkerry fight with another group. 2/9/1947. EE. neg.no. 24658, R-2, 9." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
During his trip to South Africa, Elisofon traveled from Grahamstown to Port Elisabeth. On his way, he took pictures of Xhosa people on their way to weekly Sunday knobkerry fight with another group. This photograph was taken when Eliot Elisofon was on assignment for Life magazine and traveled to Africa from January 8, 1947 to end of June 1947.
Local Numbers:
Negative number 24658, R-2, 7.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "D 5 Xsa. Xosa. Grahamstown-Port Elisabeth. Dressed for knobkerry fight with another group. 2/9/1947. EE. neg.no. 24658, R-2, 7." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
During his trip to South Africa, Elisofon traveled from Grahamstown to Port Elisabeth. On his way, he took pictures of Xhosa people on their way to weekly Sunday knobkerry fight with another group. This photograph was taken when Eliot Elisofon was on assignment for Life magazine and traveled to Africa from January 8, 1947 to end of June 1947.
Local Numbers:
Negative number 24658, R-2, 6.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "D 5 Xsa. Xosa. Grahamstown-Port Elisabeth. Man holding knobkerry. 2/9/1947. EE. neg.no. 24658, R-2, 6." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
During his trip to South Africa, Elisofon traveled from Grahamstown to Port Elisabeth. On his way, he took pictures of Xhosa people on their way to weekly Sunday knobkerry fight with another group. This photograph was taken when Eliot Elisofon was on assignment for Life magazine and traveled to Africa from January 8, 1947 to end of June 1947.
Local Numbers:
Negative number 24658, R-2, 4.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "D 5 Xsa. Xosa. Grahamstown-Port Elisabeth. Dressed for knobkerry fight with another group. 2/9/1947. EE. neg.no. 24658, R-2, 7." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
During his trip to South Africa, Elisofon traveled from Grahamstown to Port Elisabeth. On his way, he took pictures of Xhosa people on their way to weekly Sunday knobkerry fight with another group. This photograph was taken when Eliot Elisofon was on assignment for Life magazine and traveled to Africa from January 8, 1947 to end of June 1947.
Local Numbers:
Negative number 24658, R-2, 5.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "D 5 Xsa. Xosa. Grahamstown-Port Elisabeth. Dressed for knobkerry fight with another group. 2/9/1947. EE. neg.no. 24658, R-2, 5." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
During his trip to South Africa, Elisofon traveled from Grahamstown to Port Elisabeth. On his way, he took pictures of Xhosa people on their way to weekly Sunday knobkerry fight with another group. This photograph was taken when Eliot Elisofon was on assignment for Life magazine and traveled to Africa from January 8, 1947 to end of June 1947.
Local Numbers:
Negative number 24658, R-2, 3.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "D 5 Xsa. Xosa. Grahamstown-Port Elisabeth. Dressed for knobkerry fight with another group. 2/9/1947. EE. neg.no. 24658, R-2, 3." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
"Generally today the Xhosa favour the cone-on-cylinder dwelling (rontawuli), derived from the Afrikaans rondavel. The wall of blocks of earth, turf or stone slopes inward slightly towards the top and is capped by a conical thatch which is smoothed by a wooden legget and finally trimmed to a neat finish. The walls are smeared with dark grey clay and are often decorated with bands of white or ochre around the doorway and also around the top of the wall." [Oliver P., 1998: Encyclopedia of Vernacular Architecture of the World. The Sub-Saharan Africa, Southern Africa. Cambridge University Press]. During his trip to South Africa, Elisofon traveled from Grahamstown to Port Elisabeth, passing by Lugwijini village. This photograph was taken when Eliot Elisofon was on assignment for Life magazine and traveled to Africa from January 8, 1947 to end of June 1947.
Local Numbers:
Negative number 24658, R-1, 9.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "T 5 SAf. South Africa. Lugwijini village. Village between Bizana and King William's town. 3/1947. EE. neg.no. 24658, R-1, 9." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
"Generally today the Xhosa favour the cone-on-cylinder dwelling (rontawuli), derived from the Afrikaans rondavel. The wall of blocks of earth, turf or stone slopes inward slightly towards the top and is capped by a conical thatch which is smoothed by a wooden legget and finally trimmed to a neat finish. The walls are smeared with dark grey clay and are often decorated with bands of white or ochre around the doorway and also around the top of the wall." [Oliver P., 1998: Encyclopedia of Vernacular Architecture of the World. The Sub-Saharan Africa, Southern Africa. Cambridge University Press]. During his trip to South Africa, Elisofon traveled from Grahamstown to Port Elisabeth. This photograph was taken when Eliot Elisofon was on assignment for Life magazine and traveled to Africa from January 8, 1947 to end of June 1947.
Local Numbers:
Negative number 24658, R-1, 8.
General:
Title source: Index card based on photographer's notes.
Local Note:
Typed index card reads, "T 5 SAf. South Africa. South of Bizana. Houses. 3/1947. EE. neg.no. 24658, R-1, 8." The card was written in 1977-79 by Archives staff using source provided by photographer.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
The collection dates from 1900 to 1997 and mostly includes images taken in South Africa. The images document the peoples of South Africa, particularly the Loved, Ndebele, San, Sotho, Xhosa, and Zulu peoples. Locations photographed include Basutoland (now Lesotho), Bechuanaland (now Botswana), Johannesburg, Natal, Pretoria, Soweto, Swaziland, Transkei, Transvaal, the Umzimkulu Valley and Zululand. Manuscript and office files include clippings, correspondence, exhibition announcements, invitations and reviews, notes, essays, receipts, and other materials that document Larrabee's career, family history, and personal life.
Scope and Contents:
The collection dates from 1900 to 1997 and mostly includes images taken in South Africa. The images document the peoples of South Africa, particularly the Lovedu, Ndebele, San, Sotho, Xhosa, and Zulu peoples. Locations photographed include Basutoland (now Lesotho), Bechuanaland (now Botswana), Johannesburg, Natal, Pretoria, Soweto, Swaziland, Transkei, Transvaal, the Umzimkulu Valley and Zululand.
Notable people photographed include Noel Coward, Gwen Ffangcon Davies, Athol Fugard, Nadine Gordimer, Norman Hackforth, Freida Lock, Ivor Novello, Alan Paton, Alexis Preller, Gerard Sekoto, and Marda Vanne.
The manuscript materials and office files are comprised of clippings, correspondence, exhibition announcements, invitations and reviews, notes, essays, receipts, and other manuscript materials that document Larrabee's career, family history, and personal life.
Arrangement:
Arranged by format into 3 series:
Series 1: Photographs, circa 1936-circa 1988
Series 2: Manuscript Materials, circa 1936-circa 1996
Series 3: Office Files, 1900-1997
Biographical/Historical note:
Photographer Constance Stuart Larrabee (1914-2000) was best known for her images taken in South Africa. Born in Cornwall, England, she was raised in Pretoria. She studied photography in London (1933-1935) and at the Bavarian State Institute for Photography in Munich (1935-1936), where she was influenced by the avant-garde work of artists at the Bauhaus. Returning to South Africa, Larrabee set up a studio and photographed many leading cultural and political figures of the period. During World War II she served as South Africa's first woman war correspondent, and in 1950 she married American Sterling Larrabee and moved to the United States.
Larrabee began photographing the peoples of South Africa in the late 1930s. She published extensively, including a portfolio produced for the book Cry, the Beloved Country, by Alan Paton (New York: C. Scribner's Sons, 1948). Her work has appeared in exhibits throughout the world, including the following: The Lovedu in Pretoria, 1947; The Family of Man (Museum of Modern Art, 1955); Tribal Photographs (Corcoran Art Gallery, 1984; and Go Well, My Child (National Museum of African Art, Smithsonian Institution, 1986).
Constance Stuart Larrabee collection (COR0011-MS):
Collection held at the George Washington University Archives and Special Collections. Includes artifacts, correspondence, exhibition files, photographs, negatives, and publication files of Constance Stuart Larrabee, photographer and South Africa's first woman war correspondent. A bulk of the materials document Larrabee's time in Europe as a correspondent and photographer during World War II.
Provenance:
Donated by Constance Stuart Larabee in 1986 and 1998.
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.
The collection includes (1,305) 35mm color slides, (325) 35mm color negatives, (331) photographic prints, (3) DVDs and manuscript materials. The images were produced between circa 1970s and 1999 and most depict the Ndebele peoples of South Africa in their kraals (homesteads) making bricks, thatching roofs, and performing other daily activities; architecture, especially homes with painted murals, churches, and schools; and ornamental objects, including leg rings, neck rings, maces, Nyoga (Snake), Pepetu, Jocolo, Linaga, Nguba, Ghabi, Breast Plates, and Scotch. While the majority of the photos document the Ndebele, there are also images of Venda, Zulu, Xhosa, Swazi, Sotho, Tsonga/Shangaan and Tswana peoples. Ceremonies including the Domba Initiation Dance, a Zulu wedding, and a Swazi Reed Dance are also represented. The photos were primarily taken in South Africa, including in Mpumalanga, Limpopo Province, Delmas, Loskop, and Nebo. Some of the photographs were taken by Zamie Liknaitzky and Norman Priebatsch.
The collection's manuscript materials date from 1977 to 2011 and include exhibition announcements and catalogs, publications, including articles and clippings, correspondence, and research notes. Many of the photos in catalogues were taken by Berna Jersich. The collection also contains three DVDs, Dungamanzi: Stirring Waters, Tsonga and Shangaan Art from Southern Africa, and two that document the exhibition l'Afrique: A Tribute to Maria-Stein-Lessing and Leopold Spiegel (Museum Africa, 2009), which was curated by Knight.
Arrangement:
This collection is arranged according to format and is comprised of 5 series:
Series 1: Slides, circa 1977-circa 1983 (1305 items)
Series 2: Negatives, 1970-1999 (325 items)
Series 3: Photographic Prints, circa 1970s-circa 2000s (331 items, Boxes 1-2)
Series 4: DVDs, circa 2007-2009 (3 items, Box 2)
Series 5: Manuscript Materials, 1974-2011 (19 folders, Box 2)
Biographical / Historical:
Natalie Knight:
Art gallery owner, collector, curator, researcher, writer and art critic Natalie Knight was born in Johannesburg, South Africa and earned a Diploma of Law (1957) and Bachelor of Arts (1974) from the University of Witwatersrand, Johannesburg (Wits). After practicing as a lawyer for a short time, she moved her professional focus to art. She founded the Natalie Knight Gallery in Hyde Park (1981-1995), with the opening show Whatever Happened to Pop Art? which featured works by Warhol, Dine, Hamilton and Hockney. In 2007, along with Nessa Leibhammer, Knight curated Dungamanzi/Stirring Waters (Tsonga and Shangaan Art from Southern Africa) at JAG 2007 and l'Afrique: A Tribute to Maria-Stein-Lessing and Leopold Spiegel at Museum Africa in 2009. From December 2008 through 2012, Knight served as Art Curator for the West Campus at Wits University. In 2013 Knight curated the exhibition We Love Mandela: Art Inspired by Madiba, which previewed at the Peacemaker's Museum in Sandton to celebrate Mandela's 95th birthday (July 18, 2013), and (in October 2013) at the South African Embassy in Trafalgar Square, London. In 2014, she received the Lifetime Achievement Award in the Arts and Culture section from CEO Magazines "Most Influential Women in Business and Government". In 2017 Knight published her Art-O-Biography, The Big Picture, which documents the major events of her professional career.
Suzanne Priebatsch:
A graduate of Smith College (B.A., 1971) and Harvard University (Masters in Theological Studies, 1974), Priebatsch has held such varying positions as volunteer teacher at Clarke School for the Deaf (1967-1971), Assistant Art Librarian at Yale University (Summer 1969), Director of the Hillel Program at Simmons College and Wheelock College (1972-1974), Education Programming and Public Relations Assistant at Johannesburg Art Gallery (1974-1975), Projects Officer at the Art Institute, South Africa (1975-1976), freelance writer, lecturer at University of Witwatersrand, Johannesburg, and Partner of the Economic Planning Group, Boston. She began an investment management career in 1986 and has worked at Smith Barney, now Morgan Stanley, for three decades. She is currently a Senior Vice President, with the title of Senior Investment Management Consultant, at Morgan Stanley.
Natalie Knight and Suzanne Priebatsch earned funding to research Ndebele art in South Africa from the Smithsonian Institution in 1976. Their collaboration produced an exhibition and audiovisual program, Designs of the Ndebele, for the Smithsonian Institution Traveling Exhibition Service (SITES), which toured the United States from 1979 to 1981. Additionally, Knight and Priebatsch have published numerous books and articles, including Ndebele Images (1983), which accompanied the exhibition at the Natalie Knight Gallery, Johannesburg, 1983, Art of the Ndebele: Evolution of a Cultural Identity (Atlanta International Museum, 1998), which was produced for the exhibition at Atlanta International Museum, 1998, and two articles in African Arts: "Traditional Ndebele Beadwork" (1978) and "Ndebele Figurative Art" (1979). Knight and Priebatsch have placed examples of Ndebele and Tsonga/Shangaan art and artifacts in major museums around the world.
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.
Natalie Knight and Suzanne Priebatsch Collection, EEPA 2012-010, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution
Ugubhu -- musical bow: Instrumental solo. Siqom' abant' abahle (antiphonal song). Babulal' imvan' engenacala (religious song). Unomagundwane (traditional narrative song)--Umtshingo -- transverse flute: Instrumental solo--Umakhweyana -- musical bow: Gugu lami (topical song). Maye, maye babo! (love song). Wogijime, lashona (topical song). Izinkomo (topical song)--Ngibambeni (Zulu love song accompanied by ugubhu bow)--Helele! Yisliphi leliyana? (a young girl's song)--Three solos on the Swazi makhweyane bow--Ingcagca (Swazi topical song)--Ngindzindze (Swazi topical song)--Two solos on the Xhosa umrubhe friction-mouth-bow--Kalobelo (Swazi)--Ngiyamesab' uLangwenya (Swazi)--Solo on the jews-harp (Xhosa)--Elukhalweni (Swazi)--Lutsandvo luphelile (Swazi)--Solo on the Xhosa isigankuri resonated bow--Ye Make uLangwenya (Swazi).
Local Numbers:
FW-ASCH-LP-3886
Koninklijk.3
Publication, Distribution, Etc. (Imprint):
Koninklijk 1969
General:
Instrumental music and vocal music sung in Zulu, Swazi and Xhosa. Title on side 1: Zulu-, Zwazi- en Xhosamusiek. Title on side 2: Musique Zulu-, Swazi et Xhosa. Notes (in English and Flemish with summaries in French and German) by David Rycroft bound separately (54 p. : ill., map, music). Production notes: "The recordings were made in 1964 during a research project under the auspices of the School of Oriental & African Studies, University of London."--Booklet, p.
Restrictions:
Restrictions on access. No duplication allowed listening and viewing for research purposes only.
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:
Moses and Frances Asch Collection, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
