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Creator:

Missionary Catechists of Divine Providence.  Search this

Massachusetts Institute of Technology (MIT) Civil Engineering Department  Search this

Underwood and Underwood  Search this

Compiler:

National Museum of American History (U.S.). Division of Mechanical and Civil Engineering  Search this

National Museum of American History (U.S.). Division of Work and Industry  Search this

Extent:

44 Cubic feet (132 boxes)

Type:

Collection descriptions

Archival materials

Blueprints

Drawings

Lantern slides

Photographs

Date:

1758-1945, undated

Summary:

A collection of 19th and early 20th century lantern slides collected by the Division of Work and Industry, National Museum of American History, Smithsonian Institution.

Scope and Contents:

A collection of 19th and early 20th century silver gelatin dry plate lantern slides acquired by the staff of the Division of Work and Industry, National Museum of American History, Smithsonian Institution. These materials were collected for research purposes and relate to various engineering and mining subjects. The photographs document engineering activities, equipment, facilities, and projects. Activities include engineering inspection; moving an obelisk; rock drilling and riveting; tunneling; V drive ratio testing; and weighing. Photographs are also of objects including blueprints, boilers, bridges, canals, drawings, Egyptian temples, flywheel governors, and valves.

Images of corporate facilities documented include American Locomotive Company; Cooper-Bessemer Corporation; Fairbanks Morse and Company; Hamiliton; Ingersoll-Rand, Incorporated; and Nordberg Manufacturing Company. In addition, there are images of equipment such as diesels, marine diesel generator set, diesel models, and marine diesel engines. Images were created by photographers and photographic studios including L. C. Handy Photo, Washington, DC; W. H. Lawrence and B. S. Turpin; Underwood & Underwood; and the Massachusetts Institute of Technology (MIT) Civil Engineering Department. Locations include various parts of the United States, Cuba, Jamaica, Mexico, Brazil, and Africa.

Condition of the material varies widely with some fragile or broken negatives. Poor quality images also exist probably due to unstable storage environments or the processing of the slides. All slides have been digitized and moved to off-site storage to minimize handling and at the same time increase accessibility.

Collection is arranged in six series: series 1, engineering; series 2, extractive industries; series 3, chemical; series 4, equipment; series 5, railroads; series 6, locations; subseries 7, agriculture; and miscellaneous materials.

Arrangement:

Collection is arranged in eight series.

Series 1: Engineering, undated

Subseries 1.1: Architecture and Structures, undated

Subseries 1.2: Bridges, Cantilever, undated

Subseries 1.3: Bridges, Concrete Arch and Beam, undated

Subseries 1.4: Bridges, Masonry Aqueducts, undated

Subseries 1.5: Bridges, Metal Arc, undated

Subseries 1.6: Bridges, Metal Truss, undated

Subseries 1.7: Bridges, Movable, undated

Subseries 1.8: Bridges, Suspension, undated

Subseries 1.9: Canals, undated

Subseries 1.10: Hydraulic Engineering, undated

Subseries 1.11: Machine Tools, undated

Subseries 1.12: Materials Handling, undated

Subseries 1.13: Power, undated

Subseries 1.14: Railroad Mileage Maps, undated

Subseries 1.15: Steam Boilers, undated

Subseries 1.16: Steam Turbines, undated

Subseries 1.17: Tunneling Machine Tools, undated

Series 2: Extractive Industries, undated

Subseries 2.1: Coal, undated

Subseries 2.1.1: Coke, undated

Subseries 2.1.2: Diagrams and Maps, undated

Subseries 2.1.3: General, undated

Subseries 2.1.4: General, undated

Subseries 2.1.5: Infrastructure and Laborers, undated

Subseries 2.1.6: Internation, undated

Subseries 2.1.7: International Product and Labor Statistics, undated

Subseries 2.1.8: Jack Leg Drilling, undated

Subseries 2.1.9: Lansford Breaker Fire Coal Facilities, undated

Subseries 2.1.10: Loading Machinery, undated

Subseries 2.1.11: Longhole Drilling Method, undated

Subseries 2.1.12: Machinery, undated

Subseries 2.1.13: Mines, undated

Subseries 2.1.14: Mining Communities, undated

Subseries 2.1.15: Subsidence, undated

Subseries 2.1.16: Forepoling Warden Mine, undated

Subseries 2.1.17: Montour Number 10 Mine, undated

Subseries 2.1.18: Conveyors, undated

Subseries 2.1.19: Coal Land Valuation, undated

Subseries 2.2: Iron, undated

Subseries 2.2.1: General, undated

Subseries 2.2.2: Pig Iron, undated

Subseries 2.3: Gemstones, undated

Subseries 2.3.1: Gemstones, undated

Subseries 2.4: Mining, undated

Subseries 2.4.1: Diagrams, undated

Subseries 2.4.2: Hydraulic, undated

Subseries 2.4.3: General, undated

Subseries 2.4.4: Ores and Mines, undated

Subseries 2.4.5: Processing Equipment and Infrastructure, undated

Subseries 2.4.6: Shafts, Drilling, and Loading, undated

Subseries 2.4.7: United States Bureau of Mines, undated

Subseries 2.4.8: L. E. Young, Box C, undated

Subseries 2.4.9: L. E. Young, Box D, undated

Subseries 2.4.10: L. E. Young, Box E, undated

Subseries 2.4.11: L. E. Young, Box F, undated

Subseries 2.4.12: L. E. Young, Box G, undated

Subseries 2.4.13: L. E. Young, Box I, undated

Subseries 2.5: Oil, undated

Subseries 2.5.1: Oil, undated

Subseries 2.6: Rubber, undated

Subseries 2.6.1: Coke Rubber Rails, undated

Subseries 2.6.2: General, undated

Subseries 2.6.3: General, undated

Subseries 2.6.4: General, undated

Subseries 2.7: Steel, undated

Subseries 2.7.1: Newcastle Steel Work, undated

Subseries 2.7.2: General, undated

Subseries 2.8: Timber, undated

Subseries 2.8.1: General, undated

Subseries 2.8.2: Lifts, undated

Series 3: Chemical Processing, undated

Subseries 3.1: Chemical Processes, undated

Subseries 3.2: Laboratory and Studies, undated

Subseries 3.3: Massachusetts Institute of Technology, 37A: 1-48, undated

Subseries 3.4: Massachusetts Institute of Technology, 47: 1-68, undated

Subseries 3.5: Massachusetts Institute of Technology, 52: 1-20, undated

Subseries 3.6: Massachusetts Institute of Technology, undated

Subseries 3.7: Radiation Studies, undated

Subseries 3.8: Visual Aids in Chemical Education, The Museum, undated

Series 4: Manufacturing Companies, undated

Subseries 4.1: American Bosch Company, Fuel Injection Equipment, undated

Subseries 4.2: American Locomotive Company, undated

Subseries 4.3: American Locomotive Company, undated

Subseries 4.4: Atlas Imperial Marine Diesel, undated

Subseries 4.5: Baldwin Locomotive Works, undated

Subseries 4.6: Buda, undated

Subseries 4.7: Buda Marine, undated

Subseries 4.8: Cooper-Bessenger, undated

Subseries 4.9: Cooper-Bessenger, undated

Subseries 4.10: Fairbanks Morse Marine Diesel General Set, undated

Subseries 4.11: Fairbanks Morse Marine Diesel, undated

Subseries 4.12: Fairbanks Morse Marine Diesel, undated

Subseries 4.13: Fairbanks Morse Marine Diesel, undated

Subseries 4.14: Fairbanks Morse Marine Diesel, undated

Subseries 4.15: Fairbanks Morse Marine Diesel General Set, undated

Subseries 4.16: General Motors Company, undated

Subseries 4.17: General Motors Company, undated

Subseries 4.18: General Motors Company, undated

Subseries 4.19: General Motors Company, undated

Subseries 4.20: General Motors Company, undated

Subseries 4.21: General Motors Company, undated

Subseries 4.22: General Motors Company, undated

Subseries 4.23: General Motors Company, undated

Subseries 4.24: General Motors Company, undated

Subseries 4.25: General Motors Company Miscelleaneous, undated

Subseries 4.26: Hamilton Diesel, undated

Subseries 4.27: Hamilton Diesel, undated

Subseries 4.28: Hamilton Diesel, undated

Subseries 4.29: Hamilton Diesel, undated

Subseries 4.30: Ingersoll - Rand, undated

Subseries 4.31: International Harvester Fuel Singler Plunger, undated

Subseries 4.32: Long and Alstatler Company, undated

Subseries 4.33: Miscelleaneous Manufacturing Companies, undated

Subseries 4.34: Nordberg Marine Diesel, undated

Series 5: Machinery, undated

Subseries 5.1: Blast Furnances, undated

Subseries 5.2: Construction, undated

Subseries 5.3: Construction - Brick, undated

Subseries 5.4: Construction - Cement, undated

Subseries 5.5: Diagram Miscelleaneous, undated

Subseries 5.6: Diesel Engines, undated

Subseries 5.7: Diesel Engines, General, undated

Subseries 5.8: Diesel Engines, Superior Types KNB, undated

Subseries 5.9: Diesel Installation USS Maumee, undated

Subseries 5.10: Drills, Jumbos, undated

Subseries 5.11: Engine Model D, undated

Subseries 5.12: Factories and Warehouses, undated

Subseries 5.13: Factory Machines, undated

Subseries 5.14: Flywheel Governors, undated

Subseries 5.15: Furnances General, undated

Subseries 5.16: Gas, undated

Subseries 5.17: General Engines, undated

Subseries 5.18: Governors, undated

Subseries 5.19: History of Pumps, undated

Subseries 5.20: Hoisers, undated

Subseries 5.21: Industrial Furnances, undated

Subseries 5.22: Industrial Scenes, undated

Subseries 5.23: Machines Diagrams and Sketches, undated

Subseries 5.24: Machinery Miscelleaneous, undated

Subseries 5.25: Refrigeration, undated

Subseries 5.26: Safety, undated

Subseries 5.27: Steam Engines General Information, undated

Subseries 5.28: Vacuum, undated

Series 6: Railroads and Locomotions, undated

Subseries 6.1: Charts and Graphs, undated

Subseries 6.2: Company Photographs, undated

Subseries 6.3: Drawings, undated

Subseries 6.4: Toppling Over, undated

Subseries 6.5: Interior of Train Cars, undated

Subseries 6.6: Locomotion, undated

Subseries 6.7: Locomotion Miscelleaneous, undated

Subseries 6.8: Repair Report Forms, undated

Subseries 6.9: Shop Scenes, undated

Subseries 6.10: Track Debris, undated

Subseries 6.11: Train Car Component Details, undated

Subseries 6.12: Train Yards, undated

Subseries 6.13: Underside of Locomotives, undated

Subseries 6.14: Yard Scenes, undated

Series 7: Agriculture, undated

Subseries 7.1: Bananas, undated

Subseries 7.2: Butter, undated

Subseries 7.3: Coffee, undated

Subseries 7.4: Corn, undated

Subseries 7.5: Cotton, undated

Subseries 7.6: Machinery, undated

Subseries 7.7: Onions, undated

Subseries 7.8: Potatoes, undated

Subseries 7.9: Poultry, undated

Subseries 7.10: Sugar, undated

Subseries 7.11: Tea, undated

Subseries 7.12: Tobacco, undated

Subseries 7.13: Turpentine, undated

Series 8: Landscapes and Locations, undated

Subseries 8.1: California, undated

Subseries 8.2: Canada, undated

Subseries 8.3: Colorado, undated

Subseries 8.4: General Landscapes, undated

Subseries 8.5: General Locations, undated

Subseries 8.6: Landscapes and Locations General, 186-2-36, undated

Subseries 8.7: Landscapes and Locations General, 187-18-48, undated

Subseries 8.8: New York, undated

Subseries 8.9: United States National Parks, undated

Subseries 8.10: Washington, DC, undated

Series 9: Miscellaneous, undated

Subseries 9.1: Duplicates of Navy Slides, undated

Subseries 9.2: Miscelleaneous

Subseries 9.3: Reliefs, Cravings, and Architecture, undated

Subseries 9.4: Wood Products, undated

Related Materials:

Archives Center, National Museum of American History

For related material on Canals, see the following collections:

Warshaw Collection of Business Americana Subject Categories: Canals, NMAH.AC.0060

Underwood & Underwood Glass Stereograph Collection, NMAH.AC.0143

Roland A. McCrady Photograph Collection, NMAH.AC.0710

Division of Cultural History Lantern Slides and Stereographs, NMAH.AC.0945

Niagara Falls Power Company Records, NMAH.AC.0949

Modjeski and Masters Company Records, NMAH.AC.0976

George Morison Collection, NMAH.AC.0978

Uriah A. Boyden Papers, NMAH.AC.0982

James Forgie Papers, NMAH.AC.0986

William R. Hutton Papers, NMAH.AC.0987

Snake River Irrigation Project Photograph Album, NMAH.AC.1031

Silas H. Woodard Papers, NMAH.AC.1038

Delaware, Lackawanna, and Western Railroad Records, NMAH.AC.1074

Mechanical and Civil Engineering Stereograph Cards, NMAH.AC.1090

New York State Barge Canal Photographs, NMAH.AC.1536

Lackawaxen Canal Survey Profiles, NMAH.AC.1546

Nicaragua Canal Collection, NMAH.AC.1550

For related material on Cantilever Bridges, see the following collections:

Warshaw Collection of Business Americana Subject Categories: Bridges, NMAH.AC.0060

Underwood & Underwood Glass Stereograph Collection, NMAH.AC.0143

Nathan W. Morgan Papers, NMAH.AC.0965

George Morison Collection, NMAH.AC.0978

John A. Roebling Collection, NMAH.AC.0981

Mechanical and Civil Engineering Stereograph Cards, NMAH.AC.1090

Division of Mechanical and Civil Engineering Bridges Reference Collection, NMAH.AC.1577

For related material on Concrete Arch and Beam Bridges, see the following collections:

Warshaw Collection of Business Americana Subject Categories: Bridges, NMAH.AC.0060

For related material on Hydraulic Engineering, see the following collections:

Warshaw Collection of Business Americana Subject Categories: Engineering, NMAH.AC0060

Charles Richardson Pratt Papers, NMAH.AC.0958

Rudolph Hering Collection, NMAH.AC.0989

Mechanical and Civil Engineering Glass Plate Negatives, NMAH.AC.1089

Mechanical and Civil Engineering Stereograph Cards, NMAH.AC.1090

For related material on Machine Tools, see the following collections:

Warshaw Collection of Business Americana Subject Categories: Tools, NMAH.AC.0060

Pratt & Whitney Company Scrapbook, NMAH.AC.0093

Max Holland Numerical Control Collection, NMAH.AC.0537

Southwark Foundry and Machine Company Records, NMAH.AC.1107

For related material on Materials Handling, see the following collections:

Warshaw Collection of Business Americana Subject Categories: Materials Handling, NMAH.AC.0060

James J. Childs Numerical Control Collection, NMAH.AC.0420

World War Two Bomb Damage Photographs, NMAH.AC.1535

Norton Grinding Machine Company Photograph Collection, NMAH.AC.1551

Paul Steam-Heating System Company Records, NMAH.AC.1554

For related material on Metal Arch Bridges, see the following collections:

Warshaw Collection of Business Americana Subject Categories: Bridges, NMAH.A.C0060

Division of Mechanical and Civil Engineering Bridges Reference Collection, NMAH.AC.1577

Mechanical and Civil Engineering Stereograph Cards, NMAH.AC.1090

For related material on Movable Bridges, see the following collections:

Warshaw Collection of Business Americana Subject Categories: Bridges, NMAH.AC.0060

Henry Grattan Tyrrell and Mary Maude Knox Tyrrell Papers, NMAH.AC.0948

Nathan W. Morgan Papers, NMAH.AC.0965

Division of Mechanical and Civil Engineering Bridges Reference Collection, NMAH.AC.1577

For related material on Panama Canal, see the following collections:

John Frances Little Panama Canal Scrapbook, NMAH.AC.0708

A.R. Van Tassell Photograph Album, NMAH.AC.1015

W. A. Fishbaugh Panama Canal Photograph Album, NMAH.AC.1021

W. P. Stine Panama Canal Papers, NMAH.AC.1039

Katherine Kingsford Panama Canal Photograph Album, NMAH.AC.1040

Richard Fisher Collection of Panama Canal Materials, NMAH.AC.1045

Robert Dearborn Panama Canal Glass Negatives, NMAH.AC.1111

Charles Edwards Wood Panama Canal Photograph Album, NMAH.AC.1114

Panama Canal Commission Photonegatives, 1903-circa 1939, NMAH.AC.1116

Division of Mechanical and Civil Engineering Panama Canal Collection, NMAH.AC.1569

For related material on Steam Boilers, see the following collections:

Frick Company Collection, NMAH.AC.293

Erasmus D. Leavitt Collection, NMAH.AC.0966

Edwin Rust Papers, NMAH.AC.1070

Hartford Steam Boiler Inspection and Insurance Company Records, NMAH.AC.1541

For related material on Steam Turbines, see the following collections:

Parke, Davis Research Laboratory Records, NMAH.AC.0001

Westinghouse Electric and Manufacturing Company Records, NMAH.AC.0977

Skinner Engine Company Records, NMAH.AC.1087

Mechanical and Civil Engineering Glass Plate Negatives, NMAH.AC.1089

For related material on Suspension Bridges, see the following collections:

Warshaw Collection of Business Americana Subject Categories: Bridges, NMAH.AC.0060

Underwood & Underwood Glass Stereograph Collection, NMAH.AC.0143

Nathan W. Morgan Papers, NMAH.AC.0965

Modjeski and Masters Company Records, NMAH.AC.0976

Niagara Falls Bridge Commission Records, NMAH.AC.1060

Mechanical and Civil Engineering Glass Plate Negatives, NMAH.AC.1089

Mechanical and Civil Engineering Stereograph Cards, NMAH.AC.1090

Robinson & Steinman Collection, NMAH.AC.1562

Division of Mechanical and Civil Engineering Bridges Reference Collection, NMAH.AC.1577

Provenance:

Immediate source of acquisition unknown.

Restrictions:

Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.

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:

African American women  Search this

Agriculture -- Corn  Search this

Agricultural crops -- Fields  Search this

Agricultural laborers  Search this

Agricultural machinery  Search this

Agricultural products  Search this

Architecture  Search this

Bananas -- Costa Rica  Search this

Bananas -- Jamaica  Search this

Bearings (Machinery)  Search this

Bridges  Search this

Butter  Search this

Butter -- New York  Search this

Canals  Search this

Children -- 20th century  Search this

Coal mines and mining  Search this

Coffee  Search this

Coffee industry -- Brazil  Search this

Coffee -- Jamaica  Search this

Coffee -- Mexico  Search this

Engineering  Search this

Hydraulic engineering  Search this

Laborers  Search this

Machine-tools  Search this

Maple sugar  Search this

Materials handling  Search this

Mining engineering  Search this

Onions  Search this

Poultry industry  Search this

Potatoes  Search this

Power  Search this

Railroads  Search this

Railroads -- 19th century  Search this

Railroads -- 20th century  Search this

Rubber -- Ceylon  Search this

Rubber -- Congo  Search this

Rubber plantations  Search this

Steam-boilers  Search this

Sugar  Search this

Tires  Search this

Tobacco  Search this

Tunnels  Search this

Turbines  Search this

Turpentine -- North Carolina  Search this

Water-supply  Search this

Genre/Form:

Blueprints

Drawings -- 20th century

Lantern slides

Photographs -- Lantern slides -- 19th century

Photographs -- Lantern slides -- 1900-1950

Citation:

Division of Work and Industry Lantern Slide Collection, 1886-1931, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.1013

See more items in:

Division of Work and Industry Lantern Slide Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep864c4320f-954c-462f-8434-2b79c0ed7159

EDAN-URL:

ead_collection:sova-nmah-ac-1013

Culture/People:

Eastern Band of Cherokee  Search this

Previous owner:

Davis George, Eastern Band of Cherokee  Search this

Collector:

Mark Raymond Harrington (M. R. Harrington/MRH), Non-Indian, 1882-1971  Search this

Object Name:

Child's moccasins

Media/Materials:

Hide, sinew, hide thong/babiche

Techniques:

Sewn

Dimensions:

14 x 6 x 9 cm

Object Type:

Clothing/Garments: Footwear

Native Term:

dsu dca wa tu'n

Place:

Swain County and Jackson County; North Carolina; USA

Date created:

1800-1850

Catalog Number:

1/9054

Barcode:

019054.000

See related items:

Eastern Band of Cherokee

Clothing/Garments: Footwear

Data Source:

National Museum of the American Indian

GUID:

http://n2t.net/ark:/65665/ws6063d0a1c-559f-44de-b6b5-5377ab271840

EDAN-URL:

edanmdm:NMAI_20442

Artist:

Katsushika Hokusai 葛飾北斎 (1760-1849)  Search this

Medium:

Ink and color on silk

Dimensions:

H x W (image): 71.9 × 26.9 cm (28 5/16 × 10 9/16 in)

Type:

Painting

Origin:

Japan

Date:

ca. 1814-1815

Period:

Edo period

Topic:

Edo period (1615 - 1868)  Search this

child  Search this

Japan  Search this

ukiyo-e  Search this

kakemono  Search this

Japanese Art  Search this

Charles Lang Freer collection  Search this

Credit Line:

Gift of Charles Lang Freer

Accession Number:

F1898.107

Restrictions & Rights:

CC0

Related Online Resources:

Google Cultural Institute

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/ye3cf3b4df9-3e9c-49cf-9cf9-1d4f5f44b070

EDAN-URL:

edanmdm:fsg_F1898.107

Artist:

Nishikawa Sukeyuki  Search this

Medium:

Ink and color on paper, ivory jiku

Dimensions:

H x W (overall): 28.3 x 785.2 cm (11 1/8 x 309 1/8 in)

Type:

Painting

Origin:

Japan

Date:

18th century

Period:

Edo period

Topic:

ivory  Search this

landscape  Search this

rooster  Search this

tree  Search this

seasons  Search this

Edo period (1615 - 1868)  Search this

chrysanthemum  Search this

dance  Search this

child  Search this

river  Search this

boat  Search this

Japan  Search this

Japanese Art  Search this

Credit Line:

Purchase — Charles Lang Freer Endowment

Accession Number:

F1981.30

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

Google Cultural Institute

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/ye31bb6079e-58d3-48b4-bab3-f7067d69b66e

EDAN-URL:

edanmdm:fsg_F1981.30

Artist:

Nishikawa Sukenobu 西川祐信 (1671-1751)  Search this

Medium:

Full color on paper

Dimensions:

H x W (image): 59.5 × 95.2 cm (23 7/16 × 37 1/2 in)

Type:

Painting

Origin:

Japan

Date:

late 17th-early 18th century

Period:

Edo period

Topic:

worship  Search this

Edo period (1615 - 1868)  Search this

child  Search this

Shinto  Search this

shrine  Search this

Japan  Search this

kakemono  Search this

Japanese Art  Search this

Charles Lang Freer collection  Search this

Credit Line:

Gift of Charles Lang Freer

Accession Number:

F1902.229

Restrictions & Rights:

CC0

Related Online Resources:

Google Cultural Institute

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/ye330c7f707-bbd1-4242-97e3-415a6caeb2c8

EDAN-URL:

edanmdm:fsg_F1902.229

Author:

Maynard, Thomas  Search this

Donor:

Clark, Julie  Search this

Extent:

1 Cubic foot (2 boxes)

Type:

Collection descriptions

Archival materials

Bills of sale

Deeds

Land titles

Slave bills of sale

Manuscripts

Manumission, deeds of

Place:

Maryland

Date:

undated

1710-1865

Summary:

A collection of a variety of legal documents that relate to slavery and African-Americans.

Scope and Contents:

This collection consists mainly of a wide vareity of court and legal documents such as, bills of sale, warrants, a manumission document, a certificate of free birth, and documents concerning debt, property, and legal obligations. The documents originated in four states: Alabama, the Carolina colony, Indiana, Louisiana, Maryland, New York, Pennsylvania, Tennessee, and Texas. They span the greatest portion of the era of slavery within what is now the United States. Most of the documents are from Lawrence County, Alabama and may have at one time been created or used as evidence in either an orphans court or civil court case. The documents are arranged in one series in chronological order.

Arrangement:

The collection is divided into 1 series:

Series 1: Legal Documents Concerning Slavery, 1710-1865, undated

Biographical / Historical:

Up until the Emancipation Proclamation and the subsequent victory of the Union forces in the Civil War, slaves were considered chattel, property that could be bought and sold. Slaves were a commodity that could be attached for non-payment of debt, used as collateral, given as bequests in a will, and were considered assets of a deceased's estate. As such, they engendered legal battles and the need for a variety of legal documents asserting one's freedom or manumission.

Provenance:

Bill of Sale of "one Negro girl named Nancy, about three years old, from Thomas Maynard to John Stephen Hale, for the sum of 30 pounds, Frederick County, Maryland, June 13, 1796." 2002 acquisition: "Receipt for a slave named Wilson", January 19, 1863, and two carte-de-visite portraits: W.B. Mitchell, July 1880, and Pleasant A. Mitchell, undated. Gifts of Julie Clark, 2008 addendum.

Restrictions:

Collection is open for research.

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:

Branding (Punishment)  Search this

Fugitive slaves  Search this

Slaves -- Emancipation  Search this

Slave trade -- Maryland  Search this

Slaveholders -- Maryland  Search this

Slavery -- United States -- Maryland  Search this

Genre/Form:

Bills of sale

Deeds

Land titles

Slave bills of sale

Manuscripts -- 18th century

Manumission, deeds of

Citation:

Legal Documents Concerning Slavery Collection, 1710-1865, undated, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0786

See more items in:

Legal Documents Concerning Slavery Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep87426a4aa-cb23-4756-8f7c-9b86dc7fd96a

EDAN-URL:

ead_collection:sova-nmah-ac-0786

Artist:

Cornell, Joseph  Search this

Names:

Benton, Elizabeth Cornell  Search this

Cornell, Robert  Search this

Extent:

196.8 Linear feet

186 Nitrate negatives

Type:

Collection descriptions

Archival materials

Nitrate negatives

Photographic photoprints

Photographs

Place:

New York, New York

Date:

1750-1980, bulk 1930-1972

Summary:

The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.

Scope and Contents:

The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.

Correspondence is with collectors, museums, galleries, artists, friends, family, charity organizations, admirers and those admired by Cornell, and World War II European pen pals. Discussions about the appreciation, donation, sale, purchase, and exhibition of Cornell's works are frequent, with the inclusion of shipping and loan documentation or notices of payment installments. Galleries and museums frequently request that Cornell agree to an exhibition, which he often declines, and fans request free works be mailed or affordable works be sold to them. With friends, artists, and those he admired, Cornell discussed topics that fascinate him, included bits of poetry or philosophical musings, sent clippings or a collaged letter, and occasionally discussed a project or work in process. After World War II, when so many were displaced by the war in Europe, Cornell answered ads for pen pals in the "Christian Science Monitor," often responding to requests for clothing or other goods, and sometimes exchanging many letters over several years. Family correspondence is with his mother, sisters, brother, and others, and often notes activities of the day, foods eaten, and general musings, as well as occasionally mentioning a project or artwork. Correspondents of note include Stan Brakhage, Betty Freeman, Charles Henri Ford, Allegra Kent, Yayoi Kusama, Roberto Matta, Marianne Moore, Octavio Paz, Sonia Sekula, Pavel Tchelitchew, Parker Tyler, Dorothea Tanning, and Betsy von Furstenberg, among others.

Cornell was often preoccupied with his thoughts, feelings, memories, a project or thematic "exploration," and jotted notes on seemingly any surface available. Notes and musings are on napkins, the backs of envelopes, newspaper clippings, and paper bags from record and magazine stores. Frequently, an observation would trigger a lengthy nostalgic moment, or a "feé," fairy-like child or girl, would capture his imagination and lead him to thoughts of 18th-century ballerinas and silent film stars. Cornell wrote longer diary notes, sometimes expanding on an earlier notation or emotion, and often wrote when he experienced trouble sleeping or woke early. Drafted letters to imaginary muses or admired individuals are interspersed among diaries, often revealing Cornell's yearnings to find emotional intimacy and human connection. Over time, Cornell revisited his notes and occasionally made further notations about renewed thoughts on a topic, dating the note with "revisited" or "reviewed." Notes are often written in a stream-of-consciousness style, for example, jumping from the mention of a record album or composer, to a ballerina of the same period, a note about a French poet, the memory of childhood, or an observation made earlier in the day, all in the space of a few lines. Notes about artistic processes or meanings behind works or images do occasionally emerge from the tangled, poetic notations. Notes also often provide insights into Cornell's internal emotional state and give clues about his intentions behind an artwork or a particular thematic fixation.

Financial materials document Cornell's professional and personal business activities, including the sale of artworks, annual expenses for supplies and household incidentals, payments and schedules for personal assistants, receipts for donations to charities and nonprofits, and tax documents. There is also information about who worked as assistants, or "helpers," in his later years and where Cornell purchased art supplies. Additionally, specific details are documented through receipts and invoices, such as what kind of paint he purchased. Estate records include preparations made for Cornell's artworks after his death, and clippings about other deceased artist's estates show that he thought often about such arrangements in his later years.

Exhibition files highlight several select solo exhibitions for Cornell, as well as preparations and planning for the "Robert Cornell: Memorial Exhibition" in honor of his brother in 1966. Also included are several early exhibition catalogs and announcements, including "Surréalisme" (January 9-29, 1932) and "Exhibition of Objects (Bibloquet) by Joseph Cornell" (December 6-31, 1939) at the Julien Levy Gallery, and "Romantic Museum: Portraits of Women, Constructions and Arrangements by Joseph Cornell" (December 1946) at the Hugo Gallery.

Film projects and collected film materials consist of files related to Cornell's various experimental film projects: "Aviary," "Cappuccino," "Centuries of June," "Fable for Fountains," "Nymphlight," "Serafina's Garden," and unrealized film scenario "Monsieur Phot." Files include film-making notes, correspondence, and photographs. Cornell's interest in film also led him to collect film-related materials, such as film stills, film posters, and screening programs. Scattered correspondence documents the interest other institutions and individuals had in purchasing and viewing his collection. Though most of his collected film stills and movie posters were donated to the Anthology Film Archives, film stills from "Escape Me Never" (1935) and "The Passion of Joan of Arc" (1928) are still within the collection, as well as film-screening programs for Cornell's collection of films.

Writing and design projects document Cornell's work authoring articles and designing issues of specialty dance magazine "Dance Index," and his layouts for popular magazines like "Good Housekeeping," "House and Garden," and "Mademoiselle." Other writing projects include brochures dedicated to opera singers Maria Malibran and Giulia Grisi, "Maria" and "Bel Canto Pet." Materials used for these brochures, such as copper photo engraving plates, are also found. Design work includes a series of Christmas cards created with The Museum of Modern Art as well as traced patterns ("textile tracings") and design clippings from Cornell's time working as a "textile designer" for Traphagen Commercial Textile Studio.

Cornell acquired troves of source material from bookstalls, antique stores, sporting good and department stores, hardware stores, and magazine and record shops. He kept boxes and files of material on admired individuals, such as actresses, artists, dancers, and singers, as well as on art projects or thematic "explorations." Files are on general topics such as American history, scientific phenomena, animals, plants, and humankind, as well as on series of artworks, such as "Castles," "Homage to the Romantic Ballet," and "Medici Slot Machines." Focused "exploration" projects include "Celestial Theatre," "Colombier," "GC 44," and "Switzerland," among others. Materials include photographs, photostats, maps, book fragments, autographed letters, notes, collage clippings and cutouts, collected prints and engravings, box and collage fragments, and scattered artifacts.

Collected ephemera includes large amounts of blank postcards and greeting cards, stamps, collected bus and train tickets, food labels and packaging, decals, and other materials. Artifacts are three-dimensional collected objects and source objects, which include found objects from the streets, dried flowers, and pieces of nature gathered from walks around his neighborhood. Cornell may have gathered materials because they inspired a memory or nostalgic feeling, or because they fit with a bin of other similar objects to select from for an artwork in progress.

Photographs found within the collection are of Cornell at work and as a child with family. Also found are assorted personal and family photographs, photographs of Cornell's attic and garage storage, and photographs of his Utopia Parkway house. Photographs of artwork include few installation photographs, in addition to photographs of Cornell's boxes and collages. Collected photographic materials include vintage photographs, such as tintypes, a cyanotype, stereoscopic glass slides, albumen prints, cabinet cards, and cartes-de-visite. Cornell also collected cased photographs, such as daguerreotypes, ambrotypes, and one opalotype. Negatives and photostats were often produced from various prints and even other photographs and used in Cornell's boxes and collages. Images are of men and women, actors, authors, dancers, performers, well-known men and women, royalty, places, and artwork. Photographs of note include those by Hans Namuth of Willem and Lisa de Kooning and of Edward Hopper's bedroom; photographs by Henri Cartier-Bresson; a photograph by Julia Margaret Cameron; photographs by Brassai; and a photogravure by Alfred Stieglitz from "Camerawork."

Also found in the collection are works of art by others, including a sketch by Pavel Tchelitchew, as well as artwork by Cornell, such as unfinished collages, Rorschach drawings or ink blots, and childhood artwork. Printed material includes assorted bulletins, flyers, exhibition materials for other artists, journals, and sent printed membership and charity materials. Magazines, including "View," are also included, and often have annotations by Cornell or a note to "cut" or "review" with page numbers. A large amount of magazine and newspaper clippings are in the collection, sometimes collected with a group of like material by Cornell, and at other times simply gathered in heaps. Occasional annotations are also found on the clippings.

Cornell's personal library and book collection includes over 2500 titles, ranging from fiction, poetry, and cinema, to history, science, and travel. Notable among the titles are "Baedeker's" travel guides that Cornell often sourced for his "Hotel" box series, as well as an influential publication by Max Ernst, "La Femme 100 têtes," which includes a typed letter and exhibition flyer tucked within. Books often have annotations, some fairly extensive, by Cornell, and assorted collected items, notes, and correspondence tucked between pages. Pages were often cut by Cornell, either to make photostats and use in a box, or to file with other thematic "explorations." A wide range of authors and topics provide insight into Cornell's interests and to ideas behind artwork and diary notes. Cornell's collection of record albums includes over 145 records. These contain inserted notes and clippings and are often referenced in diary notes Cornell made, noting a recent album or song listened to while at work in his studio.

The papers of Cornell's mother, Helen Storms Cornell, and his brother, Robert Cornell, are also included in the collection. Both lived with Cornell his whole life, spending the most time with him at their home at 3708 Utopia Parkway. Financial materials document shared responsibilities for billing, utilities, household fixes and chores, and expenditures, and Helen kept detailed financial records in a series of ledgers. Robert notes when he borrowed money from Cornell, or when he means to pay Cornell back for the purchase of a typewriter. Activities documented in diaries also occasionally cross paths with Cornell, noting his visitors or an exchange of letters continued after introductions through Cornell. Personal activities, such as Robert's interest in his train collection and his drawing projects and cartoon series, are also documented.

Arrangement:

The Joseph Cornell Study Center Collection is arranged into 15 series:

Series 1: Biographical Material, 1917-1972 (Boxes 1, 98, OV118; 0.9 linear feet)

Series 2: Correspondence, 1813, 1934-circa 1973 (Boxes 1-8, 86; 6.5 linear feet)

Series 3: Diaries and Notes, 1940-1976 (Boxes 8-10, 98-99, 135, OV108, OV119; 3.5 linear feet)

Series 4: Personal Business and Estate Records, 1950-1978 (Boxes 10-14; 4.1 linear feet)

Series 5: Exhibition Files, 1932-1973 (Box 14; 0.3 linear feet)

Series 6: Film Projects and Collected Film Materials, circa 1924-1972 (Boxes 14-16, 100, 133; 1.6 linear feet)

Series 7: Writing and Design Projects, circa 1910s, 1936-1962 (Boxes 16-18, 86, 100, 131-132, OV109-OV111, OV120-OV122; 3.6 linear feet)

Series 8: Source Material, 1750-circa 1911, 1926-1972 (Boxes 19-49, 86-92, 96, 100-105, 126-130, 132-137, OV112-OV115, OV125; 42.2 linear feet)

Series 9: Artifacts and Ephemera, 1768, circa 1839-1972 (Boxes 49-52; 3.2 linear feet)

Series 10: Photographic Material, circa 1800s-1972 (Boxes 52-56, 80-86, 93, 106, 128, 133, OV116, OV123-OV124; 7.5 linear feet)

Series 11: Artwork, circa 1810-1972 (Boxes 56-57, 107, OV117; 1.2 linear feet)

Series 12: Printed Material, 1855-1972 (Boxes 57-76, 94-96, 107; 16 linear feet)

Series 13: Book Collection and Personal Library, 1722-1980 (99.8 linear feet)

Series 14: Record Album Collection, circa 1925-1974 (3.2 linear feet)

Series 15: Cornell Family Papers, 1910-1980 (Boxes 77-79, 97, 107; 3.2 linear feet)

Biographical / Historical:

Joseph Cornell (1903-1972) was a self-taught assemblage and collage artist, and filmmaker, active in New York City. He was born in Nyack, New York on December 24, 1903, and died of heart failure at his home in Queens, New York on December 29, 1972. The oldest of four children, he was born Joseph I. Cornell to his mother, Helen Storms Cornell (1882-1966), and his father, Joseph I. Cornell (1875-1917). Cornell had two younger sisters, Elizabeth ("Betty") Cornell Benton (1905-2000) and Helen ("Sissy") Cornell Jagger (1906-2001), as well as one brother, Robert Cornell (1910-1965), who had cerebral palsy.

Cornell attended the Phillips Academy, a preparatory boarding school in Andover, Massachusetts, beginning shortly after his father's death in 1917. He attended for four years but did not receive a diploma, and soon began work as a textile salesman for the William Whitman Company in Manhattan. His work took him, by foot, through the city, visiting secondhand bookshops on Fourth Avenue, browsing music stores and magazine shops, and catching early shows at the Metropolitan Opera House. He would occasionally wait outside the stage doors for favorite singers and dancers to emerge, requesting signatures on photographs or bits of costumes.

Around 1926, Cornell joined the Christian Science Church, joined by his brother Robert shortly thereafter, and both continued to be lifelong members. Cornell kept a number of books in his personal library on Christian Science teachings and regularly subscribed to "The Christian Science Monitor."

After living in several rental houses in Bayside, New York, Cornell's mother purchased a house for the family in 1929 in Flushing, Queens. Cornell, along with his mother and brother, would live at 3708 Utopia Parkway, for the rest of their lives. His two sisters soon married and moved away, eventually settling in Westhampton, Long Island and in the poultry-farming business.

With no formal art training to speak of, Cornell's first work was a Max Ernst-inspired collage, "Untitled (Schooner)," created in 1931. He was especially inspired by Ernst's collage novel, "La Femme 100 têtes," published in 1929. French artist Odilon Redon was also among the few artists Cornell named as an influence on his art. His first sculptural works were small, cardboard pill boxes with bits of ephemera, costume adornments, and nature hidden inside. Cornell also created a series of glass bell jar works, placing small trinkets and Victorian-era-like compositions within. It was these early collages and bell jar works that were included in Cornell's debut exhibition, "Surréalisme" (January 9-29, 1932), a group show at the Julien Levy Gallery. Cornell designed the announcement for the show and exhibited alongside Max Ernst, Man Ray, Pierre Roy, Pablo Picasso, Marcel Duchamp, Eugène Atget, George Platt Lynes, Jean Cocteau, and Salvador Dalí. Months later, Cornell was invited to have his first solo show, "Objects by Joseph Cornell: Minutiae, Glass Bells, Shadow Boxes, Coups d'Oeil, Jouets Surréalistes" (November 26-December 30, 1932), also at the Julien Levy Gallery.

In 1932, after eleven years of work, Cornell was laid off from the William Whitman Company due to the Great Depression. Soon after, he took on more responsibility in the church, working part-time as an attendant in the Christian Science Reading Room in Great Neck, New York. Beginning in 1933, he taught Sunday school classes for three years and in 1935, became the Sunday school librarian. However, his religious activities and artistic ventures continued to remain separate.

In the early 1930s, Cornell progressed from movie lover to filmmaker. When Julien Levy began his New York Film Society in 1933, holding screenings of various experimental films in the gallery, Cornell began buying and collecting films and film stills in earnest. He set up a 16-millimeter projector in his home to screen favorites, such as those by Georges Méliès, D.W. Griffith, and Louis Feuillade. His collection quickly grew to over 2,500 film stills and several hundred films, and included silent era films, such as nature documentaries, goofy newsreels, travelogues, early cartoons, and slapstick comedies, as well as several feature films. In 1933, Cornell wrote a screenplay, or "scenario," entitled "Monsieur Phot." Between 1935 and 1937, Cornell also occasionally created publicity photomontages for Universal and Columbia studios. Of the nearly thirty films Cornell created, periods of activity can generally be separated into two areas: collage films of the late 1930s, consisting of combined elements from films in his own collection, and films he directed in the 1950s, which were collaborations with other filmmakers set in New York City. "Rose Hobart," Cornell's most celebrated collage film, was created and shown in the Julien Levy Gallery in 1936 and includes clipped footage from "East of Borneo." Later films were directed and filmed with cinematographers Stan Brakhage, Rudy Burckhardt, and Larry Jordan.

In 1934, Cornell began a job at the Traphagen Commercial Textile Studio as a "textile designer," a job he held for six years. Continuing to work at his kitchen table in the evenings, Cornell completed his first assemblage box construction, "Untitled (Soap Bubble Set)," in 1936. It was first exhibited at The Museum of Modern Art's show, "Fantastic Art, Dada and Surrealism" (December 9, 1936-January 17, 1937). This work was also the first to be acquired by a museum, purchased for $60.00 by the Wadsworth Atheneum in Massachusetts in 1938. Cornell's European debut was also in 1938, as one of three Americans represented in the "Exposition Internationale du Surréalisme" (January 17-Febuary 24, 1938) at the Galerie Beaux-Arts in Paris, alongside Man Ray and Anne Clark.

At the end of 1939, Cornell began corresponding with poet Charles Henri Ford, founder of avant-garde magazine "View," Pavel Tchelitchew, and Parker Tyler. After his "Soap Bubble Sets," this period saw the development of Cornell's homages to singers and actresses, including "Untitled (Fortune-Telling Parrot for Carmen Miranda)," the destroyed "Garbo (Greta Garbo in the Legendary Film 'The Crystal Mask,' c. 1845)," and "Dressing Room for Gilles." He also began using photostats of art reproduction prints, as with the print of Jean Antoine-Watteau's painting, "Pierrot" (circa 1719), used in his "Gilles" box.

In the 1940s, the Romantic ballet emerged as Cornell's new topic of interest. Through his friend Pavel Tchelitchew, Cornell was introduced to the School of American Ballet and New York City Ballet founders, Lincoln Kirstein and George Balanchine. Cornell collected dance memorabilia and had a great love of the Romantic ballet. His favorite dancers were primarily ballerinas of the nineteenth century, including Fanny Cerrito, Marie Taglioni, Fanny Elssler, Lucille Grahn, and Carlotta Grisi. Cornell's "Homage to the Romantic Ballet" works largely took the shape of jewel-box style wooden boxes with glass overlays and included bits of velvet, tulle, sequins, crystals, and chiffon, occasionally collected from dancers themselves. His most well-known work of this series is "Taglioni's Jewel Casket" (1940). Cornell also admired several living ballet dancers, including Tamara Toumanova, Zizi Jeanmaire, and Allegra Kent, who would all make their way into Cornell's box works and/or collages. Collecting for the "exploration," "Portrait of Ondine," Cornell's cased portfolio dedication to Fanny Cerrito and her role in the ballet "Ondine," began in the 1940s, though not completed until around 1960.

In late 1940, Cornell quit his job at Traphagen to concentrate on freelance commercial magazine design and editorial work during the day and his artwork at night. That same year, Charles Henri Ford started "View" magazine to promote Surrealists and Neo-Romantics in New York City and often asked Cornell to contribute. Published in the December 1941-January 1942 issue, one of his early contributions was a collage dedication to stage actress Hedy Lamarr: "Enchanted Wanderer: Excerpt from a Journey Album for Hedy Lamarr" (1941). Along with writing the accompanying text, he created a photomontage of Lamarr with her face overlaying the painted portrait of a Renaissance boy by Italian painter Giorgione. Peggy Guggenheim, at the advice of Marcel Duchamp, purchased multiple Cornell works prior to opening her new gallery, Art of This Century. Cornell also befriended Roberto Matta Echaurren, another Surrealist living in exile, who introduced him to Robert Motherwell.

After deciding to fully dedicate his time to his art in early 1940, he set up a studio in his basement. Complete with floor-to-ceiling wooden shelving, he kept his large collection of boxed source material stacked with handwritten labels in cardboard boxes. Themed folders of materials such as "Stamps" or "Maps" were kept in stacks and works in progress and finished works were stored in the basement, garage, and attic. Entering a renewed period of productivity, Cornell embarked on many new and important box projects in 1942. One of the first boxes created in his new basement studio, and the first of the "Penny Arcade" or "Medici Slot Machine" series, was "Medici Slot Machine" (1942), which includes a photostat of "Portrait of Marquess Massimiliano Stampa" (1557) by Sofonisba Anguissola. Another work from this time is the first of his "Castle" or "Palace" series, "Setting for a Fairy Tale" (1942), which uses a photostat of a French building from Jacques Androuet du Cerceau's book, "Les Plus excellents bastiments de France" (1576). "Untitled (Pharmacy)" (circa 1942) was the first of his "Pharmacy" series and included twenty-two apothecary jars. Cornell tended to work in series and created thirteen "Palace" boxes between 1942 and 1951, and ultimately created six "Pharmacy" works.

In 1943, Cornell began working at an electronics company, the Allied Control Company, Inc., to do his part to contribute to the defense effort during the war. He also sent correspondence and care packages to displaced Europeans, who listed their needs in "The Christian Science Monitor." Influenced by World War II, one of his strongest works to emerge in 1943 was "Habitat Group for a Shooting Gallery." Another notable work to come out of this period, "The Crystal Cage (Portrait of Berenice)," was an excerpt from one of his album "explorations" that was published in the January 1943 issue of "View."

Cornell left his job at Allied Control in 1944, but soon began working at the Garden Centre in Flushing, owned by a fellow Christian Scientist. Cornell was often nostalgic for this time in his life, devoting an entire "exploration" of material fondly remembered as "GC 44." He rode a bicycle to work and enjoyed collecting trips gathering dried grasses, driftwood, shells, and other relics of nature on the same bicycle as he rode through the streets of Queens. During this time, he continued to tend to his projects for "Dance Index," a magazine founded in 1942 by Lincoln Kirstein, but taken over by Donald Windham in 1944. Cornell designed several covers for the magazine and was given control of the entire summer 1944 issue, which he devoted to the Romantic ballet. He also devoted a special 1945 issue to Hans Christian Andersen, making great use of the New York Public Library Picture Collection.

Throughout the 1940s, Cornell continued to support himself with commercial design work for magazines like "Vogue," "Good Housekeeping," "Harper's Bazaar," "Town & Country," and "Mademoiselle." In 1946, after thirteen years at the Julien Levy Gallery, he joined the Hugo Gallery. In December 1946, Cornell's solo exhibition, "Romantic Museum at the Hugo Gallery: Portraits of Women by Joseph Cornell," celebrated his favorite movie stars, singers, and ballet dancers, and included his work created for the show, "Untitled (Penny Arcade Portrait of Lauren Bacall)." Cornell's "Greta Garbo" box, as well as "Souvenir for Singleton," an homage to Jennifer Jones and her role in the film "Love Letters," were also included in the show. In late 1948, his West Coast debut was in the exhibition, "Objects by Joseph Cornell," held at the Copley Gallery. The end of the 1940s saw the final issue of "View" magazine in 1947, the closure of the Julien Levy Gallery in April 1949, and Cornell's departure from the Hugo Gallery after his last show in November 1949.

In late 1949, Cornell joined the Charles Egan Gallery, known primarily for showing Abstract Expressionists. At this time, Cornell was working on a new series of boxes known as his "Aviary" works, most of which include a white-painted box with cutouts of birds mounted on wood. Though he had worked on bird-related boxes before, including an "Owl" series in the mid-1940s, his "Fortune Telling Parrot" (1939), and "Object 1941" (1941), these newer works were stripped of French elements and left "clean and abstract" by design. His first show at the Egan Gallery, "Aviary by Joseph Cornell" (December 7, 1949-January 7, 1950), included twenty-six "Aviary" works, nearly all created in 1949. Donald Windham agreed to write the foreword for the exhibition catalog, a single folded sheet, and Cornell gave him one of the boxes in the show, "Cockatoo: Keepsake Parakeet," in appreciation. Through the Egan Gallery, Cornell became friends with a new group of artists, including Franz Kline, Jack Tworkov, and Willem de Kooning. Cornell also held two screenings of a selection of his collected films at Subjects of the Artist, an art school founded by Robert Motherwell, Mark Rothko, David Hare, and William Baziotes.

In 1950, Cornell's second show at the Egan Gallery, "Night Songs and Other New Work" (December 1, 1950-January 13, 1951), introduced his new "Observatory" series. These works are largely defined by stark, whitewashed spaces with astronomical charts and constellations replacing colorful birds. The Museum of Modern Art purchased its first Cornell work from this show in early 1951, "Central Park Carrousel, in Memoriam" (1950).

For three months in 1951, Cornell was beset by various ailments and had trouble finding the energy to create new work. He worried more for his aging mother and the health of his brother. After a monthlong vacation with his sisters in Westhampton, he returned with renewed interest in Emily Dickinson's poetry. His whitewashed boxes took on a new form in his newest "Dovecote" series, using grids and circular cutouts. The works then transformed into homages to Dickinson, notably "Toward the Blue Peninsula: For Emily Dickinson" (circa 1953), and then to his "Hotel" series. Cornell's "Hotel" boxes include photostats of vintage European ads for hotels collected from vintage travel guides, especially "Baedeker's," adhered to the back walls of the boxes. Another new series of work, his "Juan Gris" series, was dedicated to Cubist artist Juan Gris. Between 1953 and the mid-1960s, Cornell created at least fifteen "Juan Gris" boxes, which often include a cutout of a white cockatoo in a Cubist-collage habitat. Cornell's third and last show at Egan Gallery, "Night Voyage" (February 10-March 28, 1953), included some of these newest works. After leaving Egan Gallery, his work was introduced to Chicago collectors in a solo show at the Frumkin Gallery, "Joseph Cornell: 10 Years of His Art" (April 10-May 7, 1953), which included nearly thirty pieces. Cornell's first museum retrospective was this same show held at the Walker Art Center in Minneapolis (July 12-August 30, 1953).

As New York City continued to change, Cornell grew more nostalgic for the city he had explored since the 1920s. The impending closure of the Third Avenue El train prompted him to dream up a film project to capture its last days, resulting in "Gnir Rednow," a reworking of Stan Brakhage's 1955, "Wonder Ring." During this time, Cornell joined the Stable Gallery, run by Eleanor Ward, interacting often with Robert Rauschenberg, Cy Twombly, and Joan Mitchell, remaining there until the end of the 1950s. His astronomy-themed exhibition, "Winter Night Skies" (December 12, 1955-January 13, 1956), included his "Night Skies" series of work with celestial chart fragments, Greek mythological figures, and paint-splattered "windows" representative of star-filled night skies. In 1956, he became aware of ballerina Allegra Kent, and began a series of work devoted to her, the first of which was "Via Parmigianino (Villa Allegra)" (1956), which included a photostat of a painting by Parmigianino, "The Madonna of the Long Neck" (circa 1540). In late 1957, after two years, Cornell had his last show at Stable Gallery, "Joseph Cornell: Selected Works" (December 2-31, 1957), consisting of a series of "Sand Fountain" boxes and "Space Object" or "Celestial Navigation" works. The "Sand Fountain" boxes included different colors of sand meant to flow within, often from the tops into cordial glasses. His "Celestial Navigations" included galaxy-like compositions set within the boxes, with rolling, painted cork balls, metal rings, and constellation charts, sometimes hovering over cordial glasses or clay pipes. This last Stable Gallery show earned him his first published profile, written by Howard Griffin for the December 1957 issue of "Art News." Also in 1957, he won the Kohnstamm Prize for Construction at the Art Institute of Chicago's 62rd Annual Exhibition of Paintings and Sculpture.

Towards the end of the 1950s, Cornell spent less time creating new bodies of work, and focused more on revisiting previous series and reviewing piles of collected source material. In 1959, Cornell returned to making collages, frequently sourcing popular magazines. In December 1959, Cornell was awarded $1,500 for his "Orion" collage, entered in the Art Institute of Chicago's "63rd American Exhibition of Painting and Sculpture." Also in December, he was offered a show at Bennington College in Vermont, which he titled, "Bonitas Solstitialis: Selected Works by Joseph Cornell and an exploration of the Colombier" (November 20-December 15, 1959). The show included one of his newest "explorations" of collected material related to "colombier," or pigeon houses.

By 1962, Cornell was working diligently on new collages, using Masonite boards and colorful magazine clippings. He also began creating collages using nude images interspersed with constellation clippings or hazy blue dyes. As in previous decades and art movements, Cornell became acquainted with new artists, spending less time in the city and more time hosting visitors at his Utopia Parkway home. Visitors included artists Walter De Maria, Robert Whitman, Andy Warhol, James Rosenquist, and Robert Indiana. Tony Curtis also became a frequent visitor and friend, introduced by Richard Feigen in 1964. The early 1960s was also the first time Cornell put out an advertisement for assistants in the "Long Island Star-Journal," employing a number of young men and women who helped organize clippings and run errands. Cornell also met Joyce Hunter, a young runaway waitress at a city coffee shop, who would occupy his thoughts and diary notes for the next several years. When she was murdered at the end of 1964, Cornell paid for her funeral. He went on to make several "Penny Arcade" collages in memoriam to her, including, "Penny Arcade (re-autumnal)" (1964).

In 1964, Cornell began friendships with several women including artist Carolee Schneeman, who was his first assistant in the early 1960s. He also met artist Yayoi Kusama through art dealer Gertrude Stein. After becoming friends, she visited him often and they exchanged letters and notes. As he did with other artist friends, Cornell supported her by purchasing several of her early watercolor paintings, and they stayed connected until his death in 1972.

Cornell's life greatly changed in 1965 with the death of his brother, Robert. By this time, his mother lived with his sister in Long Island, and Cornell was alone in the Utopia Parkway house for the first time. He exchanged frequent letters and phone calls with his mother and devoted much time to thinking about Robert and Joyce, often aligning them in his diary notations. Cornell also created a series of collages dedicated to his brother's memory, incorporating photostats of Robert's hundreds of drawings into Cornell's work, as with the later collage, "The Heart on the Sleeve" (1972). Cornell's "Time Transfixed" series of collages were also dedications to Robert's memory, referencing Magritte and Robert's love of trains. He mounted an exhibition, "Robert Cornell: Memorial Exhibition" (January 4-29, 1966), at the Robert Schoelkopf Gallery, where he showed Robert's artwork alongside his newly created collage dedications.

After Robert's death, Cornell relied more heavily on assistants, going through many part-time "helpers." In October 1966, Cornell's mother died, adding her to his constant thoughts and diaries. Though he was still grieving, he was given two major retrospectives in 1967. The first was at the Pasadena Art Museum, put on by James Demetrion and Walter Hopps, "An Exhibiton of Works by Joseph Cornell" (January 9-February 11, 1967). The second retrospective was at the Guggenheim Museum just three months later, "Joseph Cornell" (May 4-June 35, 1967), organized by Diane Waldman. After these shows, he was highlighted in the December 15, 1967 issue of "Life" in the article, "The Enigmatic Bachelor of Utopia Parkway."

In 1968, Cornell was given an "award of merit," which included a medal and $1,000, by the American Academy and Institute of Arts and Letters. He was also given a medal and $1,000 by the Brandeis University Creative Arts Awards in the painting category, along with an exhibition. Days later, "The New York Times" announced Cornell the winner, along with Donald Judd, of India's first Triennale of Contemporary World Art. The Brandeis exhibition, "Boxes and Collages by Joseph Cornell" (May 20-June 23, 1968), was organized by William Seitz and concentrated on Cornell's more recent 1960s collages. Cornell was also included in the Metropolitan Museum of Art's hundredth anniversary show, "New York Painting and Sculpture: 1940 to 1970" (October 18, 1969-February 1, 1970), where twenty-two of Cornell's boxes were shown in their own gallery. At the end of 1970, Cornell was given a solo show at the Metropolitan, "Collages by Joseph Cornell" (December 10, 1970-January 24, 1971), which included forty-five of his newest collages.

Now preferring to stay closer to his home in Flushing, Cornell was more interested in sharing his art with young adults and children, than an adult audience. He hosted a group of high school students, sponsored by the Metropolitan Museum of Art's education department, at his home in conjunction with his collage show (1970-1971). He also showed his work in the art department of Queens College of the City University of New York. Cornell still hosted visitors on occasion, having Yoko Ono and John Lennon at his home at least once. Leila Hadley, Betsy von Furstenberg, and Anne Jackson also made frequent visits. With his deteriorating health, Cornell worried about what would happen to his work after his death and hired lawyer Harry Torczyner to help him plan his estate and get his affairs in order.

In 1972, Cornell had a show at the Cooper Union, a college in New York, specifically for children. He displayed his boxes and collages at child-height and had cherry soda and brownies at the opening reception on February 10. He then held a show at the Albright-Knox Art Gallery in Buffalo, also for children: "Children's Preview of the Exhibition of Joseph Cornell – Collages and Boxes (April 18-June 17, 1972). In the winter of 1972, at the request of the Phoenix House drug treatment and prevention program, Cornell contributed to a charity project compiling limited-edition lithographic prints for a portfolio, which included artists like David Hockney, James Rosenquist, and Ellsworth Kelly.

On December 29, 1972, a week after turning sixty-nine, Cornell died of heart failure at his home. He was cremated and interred near the graves of his mother, father, and brother, overlooking the Hudson River in Nyack, New York.

Works Cited:

1. Hartigan, Lynda Roscoe. "Joseph Cornell: Navigating the Imagination." New Haven, Connecticut and London: Yale University Press, 2007. Exhibition Catalog.

2. McShine, Kynaston. "Joseph Cornell." New York: Museum of Modern Art, 1980.

3. San Francisco Cinematheque and The San Francisco Museum of Modern Art. "Joseph Cornell: Films." 2007. Exhibition Program. (Presented in conjunction with SFMOMA's exhibition of "Joseph Cornell: Navigating the Imagination").

4. Schaffner, Ingrid and Lisa Jacobs. "Julien Levy: Portrait of an Art Gallery." Cambridge, Massachusetts and London: The MIT Press, 1998.

5. Solomon, Deborah. "Utopia Parkway: The Life and Work of Joseph Cornell." New York: Farrar, Straus and Giroux, 1997.

Separated Materials:

The Smithsonian Archives of American Art houses the Joseph Cornell papers, 1804-1986, bulk 1939-1972.

Provenance:

The Joseph Cornell Study Center collection was donated to the Smithsonian American Art Museum by Joseph Cornell's sister and brother-in-law, Elizabeth Cornell Benton and John A. Benton, in 1978, which prompted the creation of the Joseph Cornell Study Center. Additional materials were donated in installments by the artist's estate, the Joseph and Robert Cornell Memorial Foundation, from 1985 to 1997. Elizabeth and John A. Benton originally donated 66 linear feet of three-dimensional and non-textual source material and 50 linear feet of books to the Smithsonian Archives of American Art, which were subsequently transferred to the Smithsonian American Art Museum's Joseph Cornell Study Center in 1994 and 1995.

Restrictions:

Access to the collection requires an advanced appointment. Contact collection staff at least two weeks prior to preferred date, at AmericanArtCornellStudy@si.edu.

Series 9: Artifacts and Ephemera, Series 13: Personal Library and Book Collection, and Series 14: Record Album Collection, are still undergoing processing and preservation and may not be available for research use. Record albums are unavailable for playback. Contact collection staff for full lists of publications and record albums.

Rights:

Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.

Occupation:

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

Topic:

Art, Modern -- 20th century -- United States  Search this

Assemblage (Art)  Search this

Assemblage artists -- New York (State) -- New York  Search this

Found objects (Art)  Search this

Works of art  Search this

Celebrities  Search this

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

Genre/Form:

Photographic photoprints -- Silver gelatin -- 1900-1950

Photographs -- 1860-1870 -- Black-and-white photoprints -- Silver albumen -- Cartes-de-visite

Photographs -- Daguerreotypes -- 1840-1860

Citation:

Joseph Cornell Study Center, Smithsonian American Art Museum.

Sponsor:

Funding for the processing of this collection was generously provided by the Joseph and Robert Cornell Memorial Foundation.

Identifier:

SAAM.JCSC.1

See more items in:

Joseph Cornell Study Center Collection

Archival Repository:

Smithsonian American Art Museum, Research and Scholars Center

GUID:

https://n2t.net/ark:/65665/ih7d97fc249-474d-41bf-953d-5305df1e4c06

EDAN-URL:

ead_collection:sova-saam-jcsc-1

Medium:

Stoneware with clear, colorless glaze; gold lacquer repairs

Dimensions:

H x Diam: 8.4 × 7.1 cm (3 5/16 × 2 13/16 in)

Style:

Satsuma ware, White Satsuma type

Type:

Vessel

Origin:

Kagoshima prefecture, Japan

Date:

19th century

Period:

Edo period

Topic:

iridescence  Search this

ceramic  Search this

Satsuma ware, White Satsuma type  Search this

playing  Search this

Edo period (1615 - 1868)  Search this

child  Search this

tea  Search this

Japan  Search this

stoneware  Search this

Japanese Art  Search this

lacquer repair  Search this

Charles Lang Freer collection  Search this

Credit Line:

Gift of Charles Lang Freer

Accession Number:

F1899.86

Restrictions & Rights:

Usage conditions apply

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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/ye3a9c1947e-79b8-4336-9dd5-0f6e735bfdff

EDAN-URL:

edanmdm:fsg_F1899.86

Artist:

Torii Kiyonobu 鳥居清信 (1664-1729)  Search this

Medium:

Wood

Dimensions:

H x W x D: 58.1 x 30.8 x 2.5 cm (22 7/8 x 12 1/8 x 1 in)

Type:

Tool and Equipment

Origin:

Japan

Date:

1664-1729

Period:

Edo period

Topic:

wood  Search this

Edo period (1615 - 1868)  Search this

child  Search this

man  Search this

cat  Search this

Japan  Search this

Japanese Art  Search this

Charles Lang Freer collection  Search this

Credit Line:

Gift of Charles Lang Freer

Accession Number:

F1904.345a-b

Restrictions & Rights:

CC0

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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/ye3673b201f-ece1-424e-9288-1c0d3438c25c

EDAN-URL:

edanmdm:fsg_F1904.345a-b

Artist:

Style of Ogata Korin 尾形光琳 (1658-1716)  Search this

Medium:

Lacquer on wood, gold, gold leaf, lead, mother of pearl

Dimensions:

H x W x D: 5.7 x 4.8 x 1.7 cm (2 1/4 x 1 7/8 x 11/16 in)

Type:

Container

Origin:

Japan

Date:

early 18th century

Period:

Edo period

Topic:

lacquer  Search this

Edo period (1615 - 1868)  Search this

chrysanthemum  Search this

child  Search this

medicine  Search this

writing  Search this

Japan  Search this

Japanese Art  Search this

maki-e  Search this

Credit Line:

Purchase — Charles Lang Freer Endowment

Accession Number:

F1944.28

Restrictions & Rights:

Usage conditions apply

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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/ye31d41aab0-87e7-4a22-b5df-b945d3aa4928

EDAN-URL:

edanmdm:fsg_F1944.28

Artist:

Najaf Ali  Search this

Medium:

Watercolor, gold-colored pigments, and lacquer on pasteboard

Dimensions:

H x W x D: 3.9 × 4 × 22.6 cm (1 9/16 × 1 9/16 × 8 7/8 in)

Type:

Container

Origin:

Iran

Date:

ca. 1825-50

Period:

Qajar period

Topic:

lacquer  Search this

Qajar period (1779 - 1925)  Search this

Iran  Search this

Arts of the Islamic World  Search this

calligraphy  Search this

Ezzat-Malek Soudavar collection  Search this

Credit Line:

Gift of A. Soudavar in memory of his mother Ezzat-Malek Soudavar

Accession Number:

S2014.17.40a-b

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/ye3abbda5ea-1103-4c20-a039-1d28d6334d68

EDAN-URL:

edanmdm:fsg_S2014.17.40a-b

Artist:

Attributable to the circle of Najaf Ali  Search this

Medium:

Watercolor, gold-colored pigments, and lacquer on pasteboard

Dimensions:

H x W x D: 4.2 × 4.2 × 23.1 cm (1 5/8 × 1 5/8 × 9 1/8 in)

Type:

Container

Origin:

Iran

Date:

ca. 1825-50

Period:

Qajar period

Topic:

lacquer  Search this

Virgin Mary  Search this

Qajar period (1779 - 1925)  Search this

Iran  Search this

Arts of the Islamic World  Search this

calligraphy  Search this

Ezzat-Malek Soudavar collection  Search this

Credit Line:

Gift of A. Soudavar in memory of his mother Ezzat-Malek Soudavar

Accession Number:

S2014.17.57a-b

Restrictions & Rights:

Usage conditions apply

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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/ye3a37bfea0-21e4-4679-9f18-f125afecbb00

EDAN-URL:

edanmdm:fsg_S2014.17.57a-b

Artist:

Fresquis, Pedro  Search this

Depicted:

Our Lady of Carmel  Search this

Maker:

Fresquis, Pedro  Search this

Physical Description:

wood, cottonwood (overall material)

tempera (overall material)

gesso (overall ]material)

Measurements:

overall: 10 in x 7 1/4 in x 1/2 in; 25.4 cm x 18.415 cm x 1.27 cm

Object Name:

Retablo

Object Type:

Paintings

Place made:

United States: New Mexico

Date made:

ca 1820

Subject:

Christianity  Search this

Roman Catholicism  Search this

Virgin and Child  Search this

Credit Line:

Mrs. William C. F. Robards

ID Number:

CL.67.0808

Catalog number:

67.0808

Accession number:

269937

See more items in:

Home and Community Life: Religion

Religion

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a7-2d05-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_906004

Artist:

James Deveaux, 12 Sep 1812 - 28 Apr 1844  Search this

James Bowman, 1793 - 1842  Search this

Sitter:

Thomas Taylor, 1743 - 1833  Search this

Unidentified Child  Search this

Medium:

Oil on canvas

Dimensions:

71.1 × 58.4cm (28 × 23")

Type:

Painting

Date:

c. 1830

Topic:

Exterior  Search this

Equipment\Smoking Implements\Pipe  Search this

Thomas Taylor: Male  Search this

Thomas Taylor: Military and Intelligence\Army\Officer\Colonel  Search this

Thomas Taylor: Politics and Government\State Legislator\South Carolina  Search this

Thomas Taylor: Natural Resource Occupations\Agriculturist\Landowner  Search this

Thomas Taylor: Military and Intelligence\Militia\Militiaman\Revolutionary War  Search this

Portrait  Search this

Credit Line:

Owner: Private collection

Object number:

PC991968

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm4e3ad35c8-88b0-4e2c-8dde-5c877a95fc19

EDAN-URL:

edanmdm:npg_PC991968

Artist:

Kano Hogai 狩野芳崖 (1828-1888)  Search this

Medium:

Ink, color and gold on silk

Dimensions:

H x W (image): 163.9 × 84.6 cm (64 1/2 × 33 5/16 in)

Type:

Painting

Origin:

Japan

Date:

1883

Period:

Meiji era

Topic:

Buddhism  Search this

bodhisattva  Search this

Meiji era (1868 - 1912)  Search this

child  Search this

cloud  Search this

Kannon  Search this

Japan  Search this

halo  Search this

kundika  Search this

kakemono  Search this

Japanese Art  Search this

Charles Lang Freer collection  Search this

Credit Line:

Gift of Charles Lang Freer

Accession Number:

F1902.225

Restrictions & Rights:

Usage conditions apply

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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/ye32b78a81e-d396-41e2-87f3-9c5ad68e8ae1

EDAN-URL:

edanmdm:fsg_F1902.225

Collector:

George Eastman House  Search this

Photographer:

Alvord, Kellogg, & Campbell  Search this

Bell & Bro. (Washington, D.C.)  Search this

Boorne & May  Search this

Boyd and Braas  Search this

Caswell & Davy  Search this

Central Pacific Railroad Company  Search this

Continent Stereoscopic Company  Search this

E. & H.T. Anthony (Firm)  Search this

Henry L. Shepard & Co.  Search this

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

Keystone View Company  Search this

Kilburn Brothers  Search this

Liberty Brand Stereo Views  Search this

Littleton View Co.  Search this

Lovejoy & Foster  Search this

Underwood & Underwood  Search this

Whitney & Zimmerman  Search this

Wilson & Havens  Search this

Woodward Stereoscopic Co. (Rochester, N.Y.)  Search this

Barker, George, 1844-1894  Search this

Beaman, E. O. (Elias Olcott), 1837-1876  Search this

Bennett, G. C., 1846-1915  Search this

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

Bierstadt, Charles, 1819-1903  Search this

Bonine, Elias A., 1843-1916  Search this

Brown, William Henry, 1844-1886  Search this

Brubaker, Christian B. (of Marquette, Michigan)  Search this

Buehman, Henry, 1851-1912  Search this

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

Chase, D. B. (Dana B.)  Search this

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

Conklin, E (Enoch)  Search this

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

Goff, O. S. (Orlando Scott), 1843-1917  Search this

Harris, George H.  Search this

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

Ingersoll, T. W. (Truman Ward), 1862-1922  Search this

Jackson, William Henry, 1843-1942  Search this

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

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

Jones, James  Search this

Kent, J. H.  Search this

Lingley, B. L.  Search this

Morrow, Stanley J.  Search this

Muybridge, Eadweard, 1830-1904  Search this

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

Pratt, D. C.  Search this

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

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

Smillie, T. W. (Thomas William), 1843-1917  Search this

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

Watkins, Carleton E., 1829-1916  Search this

Zimmerman, Charles A., 1844-1909  Search this

Depicted:

Smithsonian Institution  Search this

Douglass, Frederick, 1817?-1895  Search this

Logan, John Alexander, 1826-1886  Search this

Names:

Barnard, George N., 1819-1902  Search this

Publisher:

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

Extent:

248 Negatives (photographic) (circa, 35mm)

248 Copy prints (circa)

Culture:

Kiowa  Search this

Tsitsistas/Suhtai (Cheyenne)  Search this

Tuscarora  Search this

Tsuu T'ina (Sarcee)  Search this

Hunkpapa Lakota (Hunkpapa Sioux)  Search this

Anishinaabe (Chippewa/Ojibwa)  Search this

Ho-Chunk (Winnebago)  Search this

Taos Pueblo  Search this

Duwamish (Dwamish)  Search this

Kickapoo  Search this

Modoc  Search this

Apache  Search this

Indians of North America -- Great Plains  Search this

Ute  Search this

Hopi Pueblo  Search this

A:shiwi (Zuni)  Search this

Inunaina (Arapaho)  Search this

Niuam (Comanche)  Search this

Sihasapa Lakota (Blackfoot Sioux)  Search this

Paiute  Search this

Indians of North America -- Plateau  Search this

Chiricahua Apache  Search this

Diné (Navajo)  Search this

Sioux  Search this

Indians of North America -- Southwest, New  Search this

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

Indians of North America -- Subarctic  Search this

Indians of North America -- Great Basin  Search this

Type:

Collection descriptions

Archival materials

Negatives (photographic)

Copy prints

Place:

Yosemite National Park (Calif.)

Washington (D.C.)

Florida

Yellowstone National Park

Colorado

Date:

mid-19th - early 20th century

Scope and Contents note:

Copies of photogaphs selected from the George Eastman House collection by Bureau of American Ethnology archivist Margaret Blaker in 1962. Many of the photographs are individual or group portraits of American Indians and some highlight pottery, baskets, and cradleboards. There are also images of American Indian dwellings, including tipis and hogans; pueblos; dances; and an encampment during the Modoc War and Plains Indian prisoners at Fort Marion, Florida (1870s).

Expedition photos in the collection were made on T. O. Selfridgeʹs Darien Expedition (1870-1871), the Wheeler surveys (1871-1874), and the Hayden Geological Survey (1871). The collection also includes portraits of Frederick Douglass, Sitting Bull, and John A. Logan; and images from Buffalo Bill's Wild West Show; Company F of New York's 140th Volunteer Infantry; and the Smithsonian in Washington, DC.

Local Call Number(s):

NAA Photo Lot R79

Reproduction Note:

Copy negatives made by George Eastman House, 1962.

Copy prints made by the Smithsonian, 1962-1963.

Location of Other Archival Materials:

The National Anthropological Archives holds vintage prints for many of the photographs copied in this collection, including in Photo lot 4501, Photo Lot 4605, and Photo Lot 90-1.

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

The images were acquired for reference purposes and cannot be reproduced. Copies may be obtained from George Eastman House, International Museum of Photography and Film.

Topic:

Pottery  Search this

Dwellings  Search this

Soldiers  Search this

Baskets  Search this

Dance  Search this

Indians of North America -- Northeast  Search this

Citation:

Photo lot R79, George Eastman House copies of photographs of Native Americans, National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.PhotoLot.R79

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw34d853ca2-263a-4eec-b717-8d8b034db61f

EDAN-URL:

ead_collection:sova-naa-photolot-r79

Company Name:

P. W. Casler & Co.  Search this

Notes content:

adjustable child's chair from high chair to baby chair on wheels

Includes:

Trade catalog

Black and white images

Physical description:

4 pieces; 1 box

Language:

English

Type of material:

Trade catalogs

Trade literature

Place:

Little Falls, New York, United States

Date:

1800s

Topic (Romaine term):

Furniture and furnishings  Search this

Topic:

Furniture industry and trade  Search this

House furnishings  Search this

Interior decoration  Search this

Record ID:

SILNMAHTL_45552

Collection:

Smithsonian Libraries Trade Literature Collections

Data source:

Smithsonian Libraries

EDAN-URL:

edanmdm:SILNMAHTL_45552

Artist:

Utagawa Kuniyoshi 歌川国芳 (1798-1861)  Search this

Publisher:

Minatoya Kohei (Kinsendo) 湊屋小兵衛 (active ca. 1841–1862)  Search this

Medium:

Ink and color on paper

Dimensions:

H x W (overall): 36.6 x 12.5 cm (14 7/16 x 4 15/16 in)

Type:

Print

Origin:

Japan

Date:

ca. 1840

Period:

Edo period

Topic:

rooster  Search this

Edo period (1615 - 1868)  Search this

child  Search this

Japan  Search this

ukiyo-e  Search this

Japanese Art  Search this

Anne van Biema collection  Search this

Eastern zodiac  Search this

Credit Line:

The Anne van Biema Collection

Accession Number:

S2004.3.168.10

Restrictions & Rights:

Usage conditions apply

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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/ye3ead2d09d-eab2-4973-a381-dd63922dcd97

EDAN-URL:

edanmdm:fsg_S2004.3.168.10

Author:

Jones, Norrece T. 1953-  Search this

Physical description:

viii, 331 p. : ill. ; 24 cm

Type:

Books

Place:

South Carolina

Date:

1989

C1989

19th century

Topic:

Slavery--Condition of slaves  Search this

Slaves--History  Search this

Plantation life--History  Search this

Race relations  Search this

Call number:

E445.S7 J66 1989X

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_414271

Designer:

Felice Giani, Italian, 1758–1823  Search this

Medium:

Pen and brown ink, brown wash, over black chalk on white heavy wove paper

Dimensions:

30.6 x 22.9 cm (12 1/16 x 9 in.)

Type:

figures

Sketchbook folio

Object Name:

Sketchbook folio

Place:

Italy

Made in:

Italy

Date:

1821–22

Credit Line:

Museum purchase through gift of various donors

Accession Number:

1901-39-3554-1

Restrictions & Rights:

CC0

See more items in:

Cooper Hewitt, Smithsonian Design Museum Collection

Drawings, Prints, and Graphic Design Department

Data Source:

Cooper Hewitt, Smithsonian Design Museum

GUID:

http://n2t.net/ark:/65665/kq4606f7c53-bf62-4535-a5d1-49b38eadf820

EDAN-URL:

edanmdm:chndm_1901-39-3554-1