This accession consists of records that document the history and activities of Heritage Preservation from its very beginnings as the National Conservation Advisory Council and the National Institute for the Conservation of Cultural Property. Among those areas documented include board meetings, workshops, the SOS! program, conservation awa...
The papers of Los Angeles Abstract Classicist painter and educator Frederick Hammersley measure 31.8 linear feet and date from circa 1860-2009, bulk 1940-2009. The papers contain biographical materials, 31 diaries, family and professional correspondence, personal business and financial records, estate records, writings, graphic design projects, teaching files, printed materials, scrapbooks, photographs, and works of art. An 2015 unprocessed addition includes a diary possibly written by Hammersley's mother, photograph albums and photographs, sketches and block prints, computer printouts, and hand painted grid color boxes used by Hammersley in teaching color theory.
Primarily exhibition catalogs for modernist art exhibitions held in New York City during the first two decades of the twentieth century. Also included are catalogs for Boston exhibitions, mainly pre-1900, and a few other locales; exhibition announcements; gallery publications; and other printed material.
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
The collection consists of 6,567 color slides taken by Dr. Marilyn Houlberg during various field studies among the Yoruba in southwest Nigeria between 1961 and circa 2005. The images depict Yoruba art and culture with a special focus on artisans, art objects, body arts, costume, festivals, hairstyles, indigenous photography, weaving and textiles. Cultural events depicted include Balufon festivals, Egungun and Gelede masquerades, social events (weddings, christenings, funerals), and religious ceremonies (initiation and animal sacrifice). Also included are various scenes of daily life, architecture, food preparation, markets, portraits and landscapes. Houlberg extensively documented Yoruba artists in the process of creating their art, including carvers Yesufu Ejigboye, Runshewe, and Lamidi Fakeye, as well as the final pieces themselves. Houlberg documentated art in situ, such as Yoruba house posts, shrines, wall art and wood doors and art objects, including Gelede masks, Ibeji (twin) and Eshu figures, Osanyin staffs, and Ogboni and Shango shrines. Manuscript and printed materials, including Houlberg's resume, thesis, and numerous published articles are also available in this collection.
These records document OMP's efforts to promote knowledge of museology and its techniques. Many of the records deal with daily operations of the office. Other records are concerned with cooperative work with international and national museum organizations, as well as topics like museum registration, conservation, public relations security, ...
This finding aid was digitized with funds generously provided by the Smithsonian Institution Women’s Committee.
These records document part of the secretarial administration of Alexander Wetmore and the whole of Leonard Carmichael's tenure. During this period the Smithsonian's capacity to carry out research in its traditional scientific disciplines was substantially strengthened. At the same time the Institution was able to invest much more effort ...
Copies of images of Caddo Indians, structures, and artifacts and excavations of Caddo sites. The collection includes copies of 19th century photographs by William S. Soule and photographs of excavations by the Arkansas Archeological Survey, circa 1972.
This finding aid was digitized with funds generously provided by the Smithsonian Institution Women's Committee.