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Palace door

ilekun aafin
view Palace door digital asset number 1
Maker:
Olowe of Ise, ca. 1875-ca. 1938
Yoruba peoples
Medium:
Wood, traces of pigment
Dimensions:
H x W x D: 207 x 88 x 15.9 cm (81 1/2 x 34 5/8 x 6 1/4 in.)
Type:
Architectural Element
Geography:
Ise, Ekiti region, Nigeria
Date:
ca. 1904-1910
Label Text:
Olowe of Ise is considered by many art historians and art collectors to be the most important Yoruba artist of the 20th century. Active in the first quarter of the century, he designed and carved architectural sculptures for several palaces in the Ekiti region of Yorubaland. His work first became known in Europe when an elaborately carved and painted door and lintel ensemble he had created for the palace of the Ogoga (king) of Ikere was displayed at the 1924 British Empire Exhibition in London. Considered by experts in the British Museum to be "the finest piece of West African carving that has ever reached England," the door and its lintel were acquired for that museum's collection in exchange for a British-made throne.
Olowe's innovative approach to carving the palace doors stands apart from Yoruba low relief work, which typically is flat and even. Olowe, however, carved in exceedingly high and uneven relief. The figures on this panel, the right side of a door, project in profile from the background by as much as 10 centimeters (approximately 4 inches), and the upper bodies of some figures are carved completely in the round. Instead of using static, frontal poses, Olowe turned the heads of the figures in opposition to their bodies to face the viewer. He crossed their legs to suggest walking or dancing motions.
The panel shown here commemorates an actual event. At the end of the 19th century the Arinjale (king) of Ise received the first British traveling commissioners for the Ondo Province. The left side of the door (in a private collection) depicts Major W. R. Reeve-Tucker, the first traveling commissioner, and Captain W. G. Ambrose, his successor, and their entourage of African porters, soldiers, prisoners and British missionaries.
This right panel depicts the Yoruba king and his entourage. The Arinjale, who is mounted on a horse and wears a conical crown surmounted by a bird, is seen in the second register. He is accompanied by a court messenger and a musician. Royal wives and children, guards, priests and others from the palace appear in successive registers. The decapitated female figure in the lowest register is a human sacrifice, an act committed on the rarest occasions to ensure the survival of the community. Originally three vultures pecked at the female's eyes, abdomen and feet; now only the feet of the birds remain. The faces carved on two columns along the length of the door may represent war captives or royal ancestors.
Olowe carved the palace door from iroko, an iron-hard wood highly valued in his time and still used in modern building construction and furniture making. No photograph of Olowe has been located, but his oriki, or chanted attributes, claims that he was handsome and so strong that he could carve iroko wood "as though it were as soft as a calabash."
Description:
Wood palace door carved in very high relief, with six registers, top to bottom: 1) two women with infants on their backs, female attendant; 2) male figure on horseback (king called "Arinjale") followed by two male figures, the second playing a whistle; 3) four dancing girls holding their breasts; 4) four males carrying powderkegs on their heads (one broken off); 5) four male soldiers each holding a gun (one broken off); 6) female figure lying prone, head severed and legs spread apart, remains of three pairs of feet of birds (vultures). Along the proper right side of the door are 13 paired male heads, many with beards.
Provenance:
Dr. and Mrs. Robert H. Kuhn, Los Angeles, ca. 1972 to 1988
Exhibition History:
General exhibition, National Museum of African Art, Smithsonian Institution, Washington, D.C., (deinstalled May 25, 2016)
Treasures, National Museum of African Art, Smithsonian Institution, Washington, D.C., November 17, 2004-August 15, 2005
Olowe of Ise: A Yoruba Sculptor to Kings, National Museum of African Art, Smithsonian Institution, Washington, D.C., March 15-September 7, 1998
Published References:
Eisenhofer, Stefan. 2010. African Art. Cologne: Taschen, pp. 44-45 (note wrong date, not 1925).
National Museum of African Art. 1999. Selected Works from the Collection of the National Museum of African Art. Washington, D.C.: National Museum of African Art, Smithsonian Institution, pp. 66-67, no. 41.
Ogbechie, Sylvester Okwunodu. 2012. Making History: African Collectors and the Canon of African Art. Milan: 5 Continents Editions, pp. 135, 137, no. 105.
Patton, Sharon F. 2004. Treasures: Smithsonian National Museum of African Art. Washington, D.C.: National Museum of African Art, Smithsonian Institution. Folio.
Walker, Roslyn Adele. 1998. Olowe of Ise: A Yoruba Sculptor to Kings. Washington, D.C.: National Museum of African Art, Smithsonian Institution, pp. 42-45, no. 4.
Walker, Roslyn Adele. 1998. Olowe of Ise: A Yoruba Sculptor to Kings. Exhibition brochure. Washington, D.C.: National Museum of African Art, Smithsonian Institution, no. 6.
Topic:
Commemorative
Leadership
equestrian
mother and child
musical instrument
weapon
horse
male
female
Credit Line:
Gift of Dr. and Mrs. Robert Kuhn
Object number:
88-13-1
See more items in:
National Museum of African Art Collection
Data Source:
National Museum of African Art

Sunnyside [photoprint]

view Sunnyside [photoprint] digital asset number 1
Creator:
National Historic Landmark
Irving, Washington
Sleepy Hollow Restorations
Bolton, Robert, Rev
Van Tassel, Baltus
Hewitt, Arthur
Architect:
Harvey, George
Physical description:
1 photoprint: b&w ; 3 x 5 in
Type:
Projected media
Place:
United States of America, New York, Westchester County, Greenburgh, Tarrytown
New York (State)
Tarrytown
Date:
1909
03/30/1909
Topic:
Spring
Porticoes
Wisteria
Dogs
Men
Local number:
NY140004
Data Source:
Archives of American Gardens

Men Before Banquet Table [graphic]

view Men Before Banquet Table [graphic] digital asset number 1
Creator:
Sevruguin, Antoin -1933
Subject:
Sevruguin, Antoin -1933
Smith, Myron Bement 1897-1970
Islamic Archives
Physical description:
1 glass negative : b&w ; 18 cm. x 12.8 cm
Type:
Glass negatives
Place:
Asia
Iran
Date:
1880-1900
Notes:
Title and summary note are provided by Shabnam Rahimi-Golkhandan, FSg curatorial research specialist.
Antoin Sevruguin is one of the early pioneers of commercial photography in Iran. He arrived in Iran from Tbilisi, Georgia in the mid 1870s to set up shop in Ala al-Dawla street in Tehran. From the early days, Sevruguin's studio was trusted both by the Qajar court and by foreign visitors to Iran. Highly regarded for their artistic ingenuity outside Iran, Sevruguin's photographs of 'ethnic types,' architecture and landscape, and depictions of daily life of Tehran found their way into foreign travelogues, magazines and books. As such, he stands alone in a relatively large group of early Iranian photographers for being recognized and celebrated outside the boundaries of the country. Antoin Sevruguin passed away in 1933, leaving behind only a fraction of his large collection of glass negatives, which is currently in the Archives of the Freer Gallery of Art and Arthur M. Sackler Gallery.
Summary:
- Handwritten number (inked, probably by Antoin Sevruguin) reads, "1029."
- Handwritten information on slip of paper (from a 1943-1944 cash book, produced by the Bathni Brothers, Tehran) reads, "Nasr ed Din + Court." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information]
- Myron Bement Smith handwritten caption in English reads, "47.P; Box 16.8: Nasr ud Din and court." [Myron Bement Smith Collection, Subseries 2.1: Islamic Archives History, Collection Information; Box 60; Folder 44: 47 P: Antoine Sevruguin, glass negatives, Iran]
Cite as:
Myron Bement Smith Collection: Antoin Sevruguin Photographs. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington D.C. Gift of Katherine Dennis Smith, 1973-1985
Topic:
Clothing and dress
Headgear
Rites and ceremonies
Local number:
FSA A.4 2.12.GN.16.08
See more items in:
Myron Bement Smith collection 1899-1962
Myron Bement Smith Collection, Subseries 2.12: Antoin Sevruguin Photographs
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives

Field Work in Nigeria: Two young Men with Necklace and Camera in Hand

view Field Work in Nigeria: Two young Men with Necklace and Camera in Hand digital asset number 1
Creator:
Turner, Lorenzo Dow 1890-1972
Subject:
Turner, Lorenzo Dow
Physical description:
1 photographic negative : b&w; 35mm
Type:
Negatives
Place:
Africa
Nigeria
Date:
1951
Notes:
Title is provided by ACMA Archives staff based on researcher's notes.
Cite as:
Lorenzo Dow Turner papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Lois Turner Williams
Topic:
Portrait photography
Clothing and dress
Headdresses--headgear
Local number:
ACMA LDT-N-R36-1174
See more items in:
Sub-series 5.4.1: Research: Africa
Lorenzo Dow Turner papers, Series 5: Photographs ca 1890-1974
Lorenzo Dow Turner papers 1895-1972
Data Source:
Anacostia Community Museum Archives

[Photograph marked "Regal" in a scrapbook : black and white photoprint]

view [Photograph marked "Regal" in a scrapbook : black and white photoprint] digital asset number 1
Subject:
Flores Yo-yo Corporation
Duncan Yo-Yo Company
Physical description:
Silver gelatin on paper
1 item, 1.5" x 1"
Culture:
Filipino Americans 1920-1940
Type:
Photographs
Date:
1920
1940
Ca. 1920-1940
1920-1940
Notes:
In Box 27, Folder 1.
Summary:
"Regal" may be Pedro Flores, a Filipino American largely responsible for the popularity of the yo-yo in the United States beginning in the 1920s; founded Flores Yo-yo Company; photographer unidentified.
Cite as:
Duncan Family Yo-yo Collection, Archives Center, National Museum of American History
Topic:
Toys
Yo-yos
Filipino American businesspeople
Local number:
AC0807-0000004.tif (AC Scan)
See more items in:
Duncan Family Yo-yo Collection
Data Source:
Archives Center - NMAH

[Profile of Croatan man] 1911

view [Profile of Croatan man] 1911 digital asset number 1
Creator:
Gill, De Lancey W
Physical description:
glass negative
Culture:
Croatan
Lumbee Indians
Indians of North America Southern States
Type:
Photographs
Date:
1911
Cite as:
BAE GN 866 B, National Anthropological Archives, Smithsonian Institution
Local number:
BAE GN 866 B
See more items in:
Glass Negatives of Indians (Collected by the Bureau of American Ethnology) 1850s-1930s
Data Source:
National Anthropological Archives

Six Zulu Men with Spears, Eating Meal Around Metal Kettle Over Campfire Between Two Trees in Open Field n.d

view Six Zulu Men with Spears, Eating Meal Around Metal Kettle Over Campfire Between Two Trees in Open Field n.d digital asset number 1
Physical description:
1 photoprint 005 in x 004 in mounted on 005 in x 004 in
Culture:
Zulu (African people)
Type:
Photographs
Date:
nd
Cite as:
DOE Africa: So Africa: Zulu: Postcards: People 06063100, National Anthropological Archives, Smithsonian Institution
Local number:
NAA INV 06063100
See more items in:
Photograph collection ca. 1860s-1960s
Data Source:
National Anthropological Archives

Theodore M. Sullivan posing next to car

view Theodore M. Sullivan posing next to car digital asset number 1
Physical description:
1 photographic print: black and white, 3 x 4.5 in
Culture:
African American
Type:
Photographic prints
Place:
Boston (Mass.)
United States
Date:
1920
1910-1920
Cite as:
The Sullivan Family papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Savina Martin, Dominga Martin and Donna Akiba Sullivan Harper
Topic:
African American men
Automobiles
Local number:
ACMA PH2005.7002.047
See more items in:
Sullivan family papers 1860-1994 bulk 1920-1960
Data Source:
Anacostia Community Museum Archives

Antislavery Medallion

view Antislavery Medallion digital asset number 1
Maker:
Josiah Wedgwood & Sons
Physical Description:
ceramic (overall material)
metal (overall material)
refined stoneware (overall material)
Object Name:
medallion
Place Made:
United Kingdom: England, Staffordshire
Date made:
after 1787
Description:
This medallion, first made in 1787, became a popular icon in the British movement for the abolition of the slave trade in the late 18th and early 19th centuries. Staffordshire pottery manufacturer Josiah Wedgwood probably engaged sculptor Henry Webber to create the design of a kneeling slave, his hands in chains, a figure based on the cameo gemstones of antiquity. The modeler, William Hackwood, then prepared the medallion for production in Wedgwood’s black jasper against a white ground of the same ceramic paste. Above the figure the words “AM I NOT A MAN AND A BROTHER” appeal to the reason and sentiment of late-eighteenth-century men and women, disturbed by accounts of atrocities committed on the trans-Atlantic slave trade routes, and informed by abolitionist literature distributed in coffee-houses, taverns, public assembly rooms, reading societies, and private homes. The medallion expressed in material form the growing horror at the barbarous practices of the trans-Atlantic slave trade, and the premises upon which that trade thrived. Wedgwood produced the medallion for the Committee for the Abolition of the Slave trade, founded in 1787 by Thomas Clarkson, who in 1786 published his Essay on the Slavery and Commerce of the Human Species. Wedgwood was a member of the Committee – later known as the Society for the Abolition of the Slave trade - and it is likely that distribution of the medallions took place through the organization, and that Wedgwood bore the costs himself.
In America, Quaker groups were active in their opposition to the slave trade in the late seventeenth century. When British opposition emerged in the 18th century from among the non-conformist congregations - Quakers, Methodists, Baptists, and Unitarians – communication between the North American and British groups was quickly established. In 1788, Josiah Wedgwood sent a packet of his medallions to Benjamin Franklin, then president of the Pennsylvania Society for the Abolition of Slavery, with the words “It gives me great pleasure to be embarked on this occasion in the same great and good cause with you, and I ardently hope for the final completion of our wishes.” Franklin wrote to Wedgwood: "I am persuaded [the medallion] may have an Effect equal to that of the best written Pamphlet in procuring favour to those oppressed people." Neither Franklin, nor Wedgwood, lived to see those wishes fulfilled.
The medallion became the emblem for the British movement carried forward by Thomas Clarkson and William Wilberforce, leading to Parliament’s abolition of the slave trade in 1807. Men and women appropriated the cameo for personal ornament on snuff-box lids, shoe buckles, hair pins, pendants, and bracelets. By 1807, and before the abolition of slavery in all the British colonies in 1838, many versions of the kneeling slave found their way onto the surface of artifacts made in ceramic, metal, glass and fabric. The representation of the slave in the Wedgwood medallion carries several conflicting meanings. Here we see a man on his knees, pleading to his white masters, and perhaps to God at a time when many slaves took the Christian faith. The rhetorical question, “AM I NOT A MAN AND A BROTHER”, calls for pity, but at the same time demands a review of the black African’s place in the world as fellow human being, rather than a separate species, a status conferred upon them by slave owners and traders. The image of the kneeling slave is noble, but at the same time without threat; he kneels, and he is in chains. He may represent the literary figure of the “noble savage,” and at the same time draw forth in late 18th-century white men and women their sense of magnanimity. Materially, the medallion underscores the message with the figure rendered in black on a white, or in some versions a pale straw-colored background.
Against fierce opposition, and for all their contradictions, hypocrisies, and ill-informed sentiments, the British campaigners for the abolition of the trans-Atlantic slave trade, and for the abolition of slavery, were astonishingly successful in achieving their aims. Strategies like widespread petitioning, the distribution of leaflets, pamphlets, and printed images, and the production of artifacts like this medallion, established the tactics for subsequent political and social pressure groups on local, national, and now on a global scale. The printed T-shirt, badges, and mugs distributed or sold today are the descendents of the Wedgwood medallion.
Guyatt, M. “The Wedgwood Slave Medallion,” Journal of Design History, 13, no. 2 (2000): 93-105
Margolin, S. “And Freedom to the Slave”: Antislavery ceramics, 1787-1865, Ceramics in America, edited by Robert Hunter (Hanover and London: Chipstone Foundation, 2002), pp. 80-109
Myers, S. ‘Wedgwood’s Slave Medallion and its Anti-Slavery Legacy’
Walvin, J. “British Abolitionism, 1787-1838,” Transatlantic Slavery: Against Human Dignity, edited by Anthony Tibbles (London: HMSO and National Museums and Galleries on Merseyside, 1994), pp. 87-95
Subject:
Art
Clothing & Accessories
Government, Politics, and Reform
Slavery
Blacks
National Treasures exhibit
Related Publication:
Kendrick, Kathleen M. and Peter C. Liebhold. Smithsonian Treasures of American History
Publication title:
Treasures of American History online exhibition
Publication author:
National Museum of American History
Publication URL:
http://americanhistory.si.edu/treasures
Credit Line:
Lloyd E. Hawes
ID Number:
CE*68.150
Catalog number:
68.150
1987.0005.51
Accession number:
1987.0005
See more items in:
Home and Community Life: Ceramics and Glass
National Treasures exhibit
Exhibition:
Exhibit:
Data Source:
National Museum of American History, Kenneth E. Behring Center

Portrait of Theodore M. Sullivan

view Portrait of Theodore M. Sullivan digital asset number 1
Physical description:
1 photographic print: black and white, 6 x 4 in
Culture:
African American
Type:
Photographic prints
Place:
Boston (Mass.)
United States
Date:
1925
Cite as:
The Sullivan Family papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Savina Martin, Dominga Martin and Donna Akiba Sullivan Harper
Topic:
African American men
Portraits
Local number:
ACMA PH2005.7002.048
See more items in:
Sullivan family papers 1860-1994 bulk 1920-1960
Data Source:
Anacostia Community Museum Archives

Portrait of Lewis Sullivan

view Portrait of Lewis Sullivan digital asset number 1
Physical description:
1 photographic print: black and white, 6 x 4 in
Culture:
African American
Type:
Photographic prints
Place:
Boston (Mass.)
United States
Date:
1942
Cite as:
The Sullivan Family papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Savina Martin, Dominga Martin and Donna Akiba Sullivan Harper
Topic:
African American men
Portraits
Local number:
ACMA PH2005.7002.044
See more items in:
Sullivan family papers 1860-1994 bulk 1920-1960
Data Source:
Anacostia Community Museum Archives

Portrait of Earle L. Sullivan

view Portrait of Earle L. Sullivan digital asset number 1
Physical description:
1 photographic print: black and white, 6 x 4 in
Culture:
African American
Type:
Photographic prints
Place:
Boston (Mass.)
United States
Date:
1942
Cite as:
The Sullivan Family papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Savina Martin, Dominga Martin and Donna Akiba Sullivan Harper
Topic:
African American men
Portraits
Local number:
ACMA PH2005.7002.041
See more items in:
Sullivan family papers 1860-1994 bulk 1920-1960
Data Source:
Anacostia Community Museum Archives

Sam Polite [Gullah informant] repairing a fish net on St. Helena Island, S.C

view Sam Polite [Gullah informant] repairing a fish net on St. Helena Island, S.C digital asset number 1
Creator:
Turner, Lorenzo Dow 1890-1972
Physical description:
1 photographic print: black and white, 3.5 x 2.5 in
Culture:
African American
Gullahs
Type:
Photographic prints
Place:
United States of America, South Carolina, Frogmore
South Carolina
United States
Date:
1931
1931-1933
Summary:
Lorenzo Dow Turner took this image while doing research in the Sea Islands off the coast of South Carolina and Georgia between 1931 and 1933.
Cite as:
Lorenzo Dow Turner papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Lois Turner Williams
Topic:
African American men
Local number:
ACMA PH2003.7064.305
See more items in:
Lorenzo Dow Turner papers 1895-1972
Data Source:
Anacostia Community Museum Archives

Gullah man riding a bull

view Gullah man riding a bull digital asset number 1
Creator:
Turner, Lorenzo Dow 1890-1972
Physical description:
1 photographic print: black and white, 3.5 x 2.5 in
Culture:
African American
Gullahs
Type:
Photographic prints
Place:
United States
Date:
1931
1931-1933
Summary:
Lorenzo Dow Turner took this image while doing research in the Sea Islands off the coast of South Carolina and Georgia between 1931 and 1933.
Cite as:
Lorenzo Dow Turner papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Lois Turner Williams
Topic:
African American men
Local number:
ACMA PH2003.7064.316
See more items in:
Lorenzo Dow Turner papers 1895-1972
Data Source:
Anacostia Community Museum Archives

Gullah man standing by tree

view Gullah man standing by tree digital asset number 1
Creator:
Turner, Lorenzo Dow 1890-1972
Physical description:
1 photographic print: black and white, 3.5 x 2.5 in
Culture:
African American
Gullahs
Type:
Photographic prints
Place:
United States
Date:
1931
1931-1933
Summary:
Lorenzo Dow Turner took this image while doing research in the Sea Islands off the coast of South Carolina and Georgia between 1931 and 1933.
Cite as:
Lorenzo Dow Turner papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Lois Turner Williams
Topic:
African American men
Local number:
ACMA PH2003.7064.317
See more items in:
Lorenzo Dow Turner papers 1895-1972
Data Source:
Anacostia Community Museum Archives

White Woman and Man with American Indian Students in Formal Dress 1898

view White Woman and Man with American Indian Students in Formal Dress 1898 digital asset number 1
Creator:
Choate, John N of Carlisle, Pennsylvania
Physical description:
1 gelatin glass negative 008 in x 010 in
Type:
Photographs
Date:
1898
Cite as:
Photo Lot 81-12 06827500, National Anthropological Archives, Smithsonian Institution
Local number:
NAA INV 06827500
See more items in:
John N. Choate photographs of Carlisle Indian School circa 1879-1902
Data Source:
National Anthropological Archives

Ales Hrdlicka photograph collection relating to the Panama-California Exposition, 1912-1917

view Ales Hrdlicka photograph collection relating to the Panama-California Exposition, 1912-1917 digital asset number 1
Creator:
Hrdlička, Aleš 1869-1943
Subject:
United States National Museum
Royal College of Surgeons in London
American Museum of Natural History
Panama-California Exposition (1915-1916 : San Diego, Calif.)
Physical description:
circa 595 negatives : glass and nitrate
Culture:
Mongols depicted
Teton Indians depicted
Hopi Indians depicted
Jicarilla Indians depicted
Navajo Indians depicted
Osage Indians depicted
Pueblo Indians depicted
Omaha Indians depicted
Indians of North America Great Plains
Indians of North America Southwest, New
Type:
Photographs
Collection descriptions
Date:
1912
1912-1917
Notes:
Ales Hrdlicka (1869-1943) was born in Czechoslovakia and came to the United States at the age of thirteen. Originally trained in medicine, he developed an interest in physical anthropology while working with the New York State hospitals and researching with the Department of Anthropology in the Pathological Institute of the New York State hospitals. Hrdlicka joined the Hyde Expeditions to the American Southwest and made his own expeditions to study physical characteristics of Southwest tribes. In 1903, he was appointed head of the United States National Museum's newly formed Division of Physical Anthropology.
In 1912, Hrdlicka planned and directed seven expeditions, gathering information that helped him prepare physical anthropology exhibits for the Panama-California Exposition at San Diego, California (1915). For use in the exposition, he hired sculptor Frank Micka to make busts of people from around the world. While in the field making casts, Micka also took front and profile photographs of subjects. Hrdlicka made his own trip to photograph the people in Urga, Mongolia, making 360 images of Mongolians and some Tibetans for use in the exposition.
Summary:
The bulk of the collection consists of photographs commissioned by Ales Hrdlicka for the Panama-California Exposition in San Diego, collected 1912-1914. They include front and profile portraits of Mongols in Urga, Mongolia, as well as Apache, Teton, Hopi, Navajo, Omaha, Osage, and Pueblo Indians. There are some full-length portraits of Apaches and views of Southwest Indian dwellings, activities, and a dance. Additionally, there are some images of United States National Museum exhibits and items from the USNM, American Museum of Natural History, and the Royal College of Surgeons in London, some of which were made by Hrdlicka in 1917.
Cite as:
Photo lot 73-26B, Ales Hrdlicka photograph collection relating to the Panama-California Exposition, National Anthropological Archives, Smithsonian Institution
Topic:
Physical anthropology
Local number:
NAA Photo Lot 73-26B
Data Source:
National Anthropological Archives
Additional Online Media:

[Glenwood Green Acres] [slide]: the major domo garden coordinator tending his plot

view [Glenwood Green Acres] [slide]: the major domo garden coordinator tending his plot digital asset number 1
Photographer:
Beckoff, Ira
Physical description:
1 slide: col. 35 mm
Type:
Projected media
Place:
United States of America, Pennsylvania, Philadelphia County, Philadelphia
Pennsylvania
Philadelphia
Glenwood Green Acres (Philadelphia, Pennsylvania)
Date:
1996
1996 Aug
Topic:
Gardens
Community gardens
Urban gardens
Vegetable gardening
Men
Houses
Gardeners
Trees
Utility poles
Local number:
PA353006
Data Source:
Archives of American Gardens

224 Jinriki, ca. 1880 - 1890. [graphic]

view 224 Jinriki, ca. 1880 - 1890. [graphic] digital asset number 1
Collector:
Rosin, Henry D Dr
Rosin, Nancy
Physical description:
1 photographic print : hand coloring ; image 19.4 x 24.3 cm., on mount 20.7 x 25.7 cm
Type:
Photographs
Photographic prints
Place:
Japan
Asia
Date:
ca 1880 - 1890
Ca. 1880 - 1890
19th century
Notes:
Title taken from print.
The photographer's original identification number, 224, and original title, Jinriki, are printed in the bottom right corner.
Summary:
Two young women, one with an umbrella, are seated in a jinriki-sha (rickshaw) pulled by a jinriki (rickshaw driver). An assistant brings up the rear of the jinriki-sha. Outdoor setting in leafy area.
Photographer unidentified.
Cite as:
Henry and Nancy Rosin Collection of Early Photography of Japan. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Partial purchase and gift of Henry and Nancy Rosin, 1999-2001
Topic:
Photography
Rickshaw men
Rickshaws
Transportation
Women
Local number:
FSA A1999.35 004
See more items in:
Henry and Nancy Rosin Collection of Early Photography of Japan 1860 - ca. 1900
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives

Rude Implements. (Paleo Type)

view Rude Implements. (Paleo Type) digital asset number 1
Donor Name:
George B. Frazar
Object Type:
Biface
Place:
Arlington, Middlesex County, Massachusetts, United States, North America
Accession Date:
1892
Specimen Count:
15
Record Last Modified:
9 Feb 2016
Topic:
Archaeology
Accession Number:
026569
USNM Number:
A149593-0
See more items in:
Anthropology
Data Source:
NMNH - Anthropology Dept.
Additional Online Media:

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