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NMAH Photographic History Collection

Smithsonian Staff

#nmahphc

The Photographic History Collection (PHC) represents the history of the medium of photography. The PHC holds the work of over 2000 identified photographers and studios, about 200,000 photographs, about 15,000 cameras, pieces of apparatus, studio equipment and sensitized materials. The scope of the collection spans from daguerreotypes to digital and includes unidentified to well-known photographers, international and United States-centered objects, and familiar and experimental photographic formats.

The Photographic History Collection, now at the Smithsonian's National Museum of American History, was founded in 1896. The PHC was established by Thomas Smillie, the Smithsonian's first official photographer. Smillie established two photography collections ---the PHC and the Photo Lab which is now part of the Smithsonian Institution Archives, and he ran them simultaneously until his death in 1917. 

The PHC uses the Smithsonian Learning Lab as a place to offer a view into the collection's rich and diverse holdings. What is presented here online is not the entire Photographic History Collection. This digital space is a work in progress. We started publishing to the Learning Lab in February 2020 and are adding and improving as quickly as we can.

How to use the Smithsonian Learning Lab to discover PHC collections. 

  • To see a list of photographer and maker names, go here [link to come].
  • In the Learning Lab, the PHC's collections are organized into four groups: Photographer, Format/Process, Subject, and Cameras and Apparatus.
  • The Learning Lab collection only contains objects that have images attached to digital records. There may be additional objects and record information found at collections.si.edu.
  • The Learning Lab collection may only contain a sampling of images if the collection is substantial. Additional materials may be found at collections.si.edu.
  • Email us if you are looking for something specific.
  • Tip, use the tool that allows the user to see the collections alphabetically.

Collection Staff:  Shannon Thomas Perich, Curator

Contact: nmahphotohistory@si.edu

General Keywords: history of photography, photographic history, photographer, photographers, portraits, landscapes, cameras, photographic equipment, studio equipment, fine art photography, experimental photography, digital photography, patent models, photographic studio, ephemera, documents, cinema history, early motion picture, photojournalism, amateur photography, photography exhibitions, commercial photography

Photographic keywords: daguerreotype, calotype, salted paper print, gelatin silver print, tintype, ferrotype, ambrotype, collodion on glass, glass plate negative, platinum print, platinum-palladium print, photographs on fabric, cyanotype, cased images, ivorytype, stereoview, waxed paper negative, hologram, lenticular, Kromograms, press print, photo jewelry, stanhope, micro photography

Additional research resources: In December 2019, research resources that had been held in the division were distributed to other Smithsonian units. The "Personality Files" that contained biographies, obituaries, exhibition announcements, and such were absorbed by the Smithsonian Library NPG/AA branch; the list of subjects can be found here [link to come]. The "Archives Reference Files" that contained information about companies, products, and occasionally processes, were absorbed into the trade literature collection at the National Museum of American History branch of the Smithsonian Library. The Science Service images and files, the divisions's exhibition history files, personal files, correspondence files, and more can be found at the Smithsonian Archives.

NMAH Photographic History Collection's collections

 

Photographer: Baughman, J. Ross #nmahphc

<p>The J. Ross Baughman collection in the Photographic History Collection at the National Museum of American History includes some 290 photographs, his Pulitzer prize, five contact sheets, an album, two books, and cameras.  The photographs include various subjects such as his time in the Middle East, an unpublished series entitled <em>Beautified,</em> as well as, prints from Baughman's image assignments for <em>Life</em> magazine during the 1980s , including a story about two gay fathers.<br></p> <p>Some of Baughman's cameras are seen the PHC's Learning Lab collection, <em>Leicas</em>.</p> <p>Objects from Baughman's career and professional experiences can be found in two other National Museum of American History Collections (accessions 2010.0228 and 2010.0229).</p> <p>For additional materials, search collections.si.edu.</p> <p>Keywords: photojournalist, photojournalism, Rhodesia, Pulitzer Prize, undercover work,  journalism, photography and danger, newspapers, print culture, picture magazines, print journalism, freelance photographer, controversy, contemporary politics, international affairs, protest, community activism, AIDS, gay family life, military, mercenaries<br></p> <p><br></p> <p><br></p> <p><br></p> <p><br></p>
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Subject: Self Portraits and Selfies #nmahphc

<p>This is a sampling of photographic self-portraits. <br></p> <p>Professional and amateur photographers have been turning the camera on themselves since photography started.  There are a number of strategies and tools that professional and amateur photographers have used, including mirrors, cable releases, timing devices, and simply turning the camera around at arm's length.  Cell phones now allow almost effortless self-portraits, known as "selfies."  <br></p> <p>Keywords: self-portrait, self portrait, selfie, bulb release, string release, timed portrait, cable release, reflection in mirror</p> <p>For additional images, search at collections.si.edu.</p>
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Cameras and Apparatus: Leica Cameras #nmahphc

<p>This is a selection of Leica cameras from Photographic History Collection (PHC) at the National Museum of American History (NMAH). The PHC holds  has a significant collection of Leica cameras, lenses, and accessories totaling more than 200 items including over 25 cameras from the 1920s to the 2000s. This Learning Lab collection includes a pdf finding aid for Leica cameras.  Included in the PHC are cameras used by photojournalists Carl Mydans and J. Ross Baughman.<br></p> <p>For additional collections, search collections.si.edu.</p> <p><span class="fontstyle0">Keywords: Leica, Barnack, 35mm, photography, camera<br></span></p> <p><span class="fontstyle0">From the finding aid written by Anthony Brooks:<br>Leica Cameras have a unique position in the history of 35mm film photography. The Leica was not the first still camera taking 35mm film. It was not even the first commercially successful 35mm camera, but it set the gold standard for all other 35mm cameras and turned 35mm cameras from toys into serious professional tools.</span></p> <p><span class="fontstyle0">The 35mm film gauge was first introduced in 1892 by Kodak for use by Thomas Edison to make movie films. Edison quickly settled on a standard frame size (18 x 24mm) with four sprocket holes per frame. This movie standard has remained unchanged. The growth of the movie industry in the early twentieth century required large quantities of 35mm film. 1000 feet of 35mm movie film creates less than 20 minutes of movie images. Soon there was interest in using this film for still photography and after 1910, the first 35mm cameras appeared. Most of the early 35mm camera designs used the single frame 18x24mm format and many used lengths of film capable of taking a hundred or more exposures. The quality of photographs from this small format was often disappointing and the number of exposures was a deterrent to amateur photographers. A contemporary small Kodak vest pocket camera took larger negatives on an eight exposure roll and produced better quality prints. </span>The majority of early 35mm cameras were not commercially successful and are rare today. One exception was the American made Ansco Memo introduced in 1926 that for a few years had a dedicated following. However, the introduction of the Leica 35mm camera was to dramatically change the status of 35mm photography. </p> <p><span class="fontstyle0">The Leica was designed by Oscar Barnack, an employee of the Leitz Optical Company based in Wetzlar, Germany. Barnack may have conceived the first Leica for test exposures in the 18x24mm single frame format. Test exposures were often taken to check the lighting set-up for movies and portraits. However, at some point Barnack decided to design a 35mm camera for photography in its own right. In order to improve<br>image quality Barnack used two single frames and thus the standard 35mm film frame was born. The PHC contains many significant items that represent the history of Leica cameras.</span> </p> <p></p> <p><br></p> <p><br></p> <p></p>
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Photographer: Salomon, Erich #nmahphc

<p>The Erich Salomon Collection consists of two groups of gelatin silver prints from 1927-1943, totaling 140 prints. There is some duplication between the groups. Accession 2002.0258 was acquired in 1965 from Salomon’s son, Peter Hunter. These prints were made from Salomon’s original negatives. Accession 2002.0259 was acquired in 1965 from Magnum Photos. Subjects in the collection are mainly photographs of politicians, diplomats, business magnates, royalty; European and American.<br></p> <p>Keywords: photojournalism, journalism, visual culture, print history, media history, Holocaust victim<br><br></p> <p>Dr. Erich Salomon (1886-1944) was born to a prominent Jewish family in Berlin, Germany. He became a lawyer before the outbreak of World War I but was drafted into service. When he returned, his family had lost its fortune and he needed to work. Salomon became interested in photography and soon specialized in taking photographs where cameras were not allowed and without his subject’s knowledge.</p> <p>Salomon became famous in 1928 when his photographs from the Johann Hein murder trial in Coburg, Germany were published in the Berliner Illustrirte newspaper [see images PG*008164.42 and PG*008164.47]. From that point, Salomon became a freelance photographer, gaining admittance to even the most secure meetings and banquets. Salomon was labeled the first “candid cameraman” and called himself a bildjournalist, still the German word for “photojournalist.”</p> <p>Salomon first used the common journalist’s camera – a 13 x 18 cm Contessa Nettel – but it was too cumbersome for his purposes. He soon switched to the Ermanox, a small plate-loaded camera perfect for photographing in low lighting. Salomon mastered the technique and used it until 1932 when he traded it for the Leica.</p> <p>In 1933 Adolf Hitler came to power in Germany. As Jews, Salomon and his family were forced to flee to Holland, his wife’s homeland, for protection. Based in The Hague, he had greater access to the political conferences but he also began taking photographs of cultural events, such as concerts. Salomon traveled to Britain and the United States as well. In 1943, while on the verge of immigrating to America, Salomon, his wife and one son were forced to go into hiding when the Nazis overtook Holland. They were eventually deported and died at the Auschwitz labor camp in July 1944.</p> <p>Salomon’s images survive to this day because of his foresight. In order to keep the negatives safe he hid them in three separate places in Holland during the war. The first group was placed in the Dutch Parliament library. The second, he buried in the chicken coup at a friend’s home. This group was critically damaged by the dampness, though many of the plates are still printable. The third was in the custody of son Peter Hunter. In 1952, the collection was consolidated in Amsterdam. Beginning in the 1950s, there were a number of exhibitions of his work, including a 1958 traveling exhibition which was acquired by the Smithsonian.</p> <p>For more images by Erich Salomon search collections.si.edu.</p> <p><br></p>
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Photographer: Adams, Ansel #nmahphc

<h2> The Ansel Adams collection in the Photographic History Collection consists of twenty-five photographs, all printed about 1968. All are gelatin silver, mounted, labeled and signed in ink by the photographer. The photographs include many of his most well-known images. The selection of images was made in collaboration between the collecting curator and Adams. The date range of the collection is 1923-1962.<br></h2> <p>For additional images, search collections.si.edu.</p> <p>Keywords: <em>f</em>-64 group, modernism, straight photography, gelatin silver print, Yosemite National Park, the American West, trees, landscape photography, seascape, portraiture<br></p> <p>The first twelve photographs in the collection were purchased from Adams in December 1968.  The other thirteen photographs were given to the Smithsonian from Adams in December 1968.  </p> <p>Ansel Adams (1902-1984) is one of the most well-known twentieth century photographers. His contributions to the field of photography include his innovation and teaching of the Zone System. The quality of his photographs set the standard by which many straight photographs are judged. </p> <p>The works in the collection were used in a Smithsonian exhibition titled, "American Masters," January 26, 1974-September 1, 1975, in the Hall of Photography, National Museum of American History.  The "American Masters" exhibition included recently acquired work by Adams, Lisette Model, Laszlo Moholy-Nagy, Minor White, Aaron Siskind, Harry Callahan, Jerry Uelsmann, Lee Friedlander, Wynn Bullock, Gyorgy Kepes, Paul Caponigro, and Diane Arbus.  Adams had two previous SI exhibitions, one in 1931, and a traveling exhibition in 1956.  There is no documentation stating whether any of these photographs were used in the exhibitions. </p> <p> </p> <p><br></p>
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Photographer: Connell, Will #nmahphc

<p>This is a selection of photographs by Will Connell from his series, <em>In Pictures</em>, from the Photographic History Collection. <br></p> <p>For additional collections, search collections.si.edu.</p> <p>Keywords: satire, humor, critique, Hollywood, manipulated photography, composite photography, surrealism</p> <p>Will Connell (1898-1961) was an influential photographer, teacher, and author in Southern California known for his often-satirical “modern pictorialist” style, commercial photography work, and mentorship of a generation of photographers. The National Museum of American History’s Photographic History collection received a donation of 11 prints of various subjects from Connell’s wife in 1963. This donation was followed by another, from Connell’s son, in 1977, comprised of the 49 prints published in <em>In Pictures</em>. Connell was born in McPherson, Kansas, but moved to California soon after. </p> <p>As a young man in Los Angeles, Connell came into contact with the thriving California camera clubs of the 1910s and 1920s, and more importantly, the burgeoning Hollywood film industry. After a brief stint in the U.S. Army Signal Corps at the end of the first World War, Connell worked a variety of odd jobs while experimenting in amateur photography. </p> <p>Several motion picture studios hired Connell to photograph actors and actresses in the 1920s and 1930s, and he soon became a professional. Connell’s glamour shots of stars such as Myrna Loy, as well as his growing body of art photography, reveal pictorialist influence, and his work was often exhibited at salons and exhibitions throughout the United States. </p> <p>In the 1930s, Connell began working as a photographer for magazines including the <em>Saturday Evening Post</em>, <em>Colliers</em>, <em>Time</em>, and <em>Vogue</em>, started teaching photography at Art Center College, and continued work at the Los Angeles studio he opened in 1925. Connell spent the rest of his life in Los Angeles, teaching, judging work, producing commercial work, and writing, notably, his "Counsel by Connell" column in <em>US Camera</em>, which he authored for 15 years. </p> <p>His first book, <em>In Pictures</em>, was published in 1937. Now considered a classic work of satire, the book featured montaged, often surreal images that mocked the Hollywood studio system and a public enamored with the motion picture industry. The photographs were published alongside a fictional account of a meeting of Hollywood moguls, written by several of Connell’s friends in the business. While the images appear to be a marked departure from Connell’s earlier soft-focus pictorialism, the sharp, poignant photographs nevertheless retain that movement’s emphasis on composition and communication of a message. <em>In Pictures</em> also pays homage to the film industry where the photographer cut his teeth – many of the images feature close-ups, characteristic stage lighting, and influence of the glamour of Hollywood’s Golden Age. Connell, in his work and teaching until his death in 1961, is cited as an influence on an entire generation of photographers, including Dr. Dain Tasker (COLL.PHOTOS.000031). </p> <p>Connell's  1949 book <em>About Photography</em> outlined an artistic philosophy that stressed a straight-forward, communicative style of photography and expressed the author’s belief that even the most commercial work can have artistic merit. A 1963 monograph in US Camera featured fond remembrances from friends Ansel Adams and Dorothea Lange, among others, who praised Connell for his warm personality and unique work. </p>
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Photographer: Horenstein, Henry #nmahphc

<p>This an assortment of photographs by Henry Horenstein from over 150 photographs in the Photographic History Collection. Most are gelatin silver prints, but also, cibachrome, and chromogenic prints.<br></p> <p>A portfolio of photographs created by Horenstein's Rhode Island School of Design (RISD) Professional Practices class in 2010, includes a work by Horenstein (accession 2012.0122). A student work by Horenstein is included in a RISD Photographic Education Society Portfolio from 1971  (accession 2004.3040) along with a work by his professor, Harry Callahan.</p> <p>Keywords: country music, horse racing, gambling, baseball stadium, burlesque, animals, honky-tonk, documentary photography, baseball, music, performers, fans, backstage, Grand Ole Opry, blue grass performer, musical instruments, guitar, slide guitar, harmonica, photojournalism, bars, music park, jukebox</p> <p>Henry Horenstein (1948-) trained in history in the late 1960s at the University of Chicago and with the British historian EP Thompson. Coming of age at time when the new social history focused attention upon anonymous people, the working class and the role of culture, Horenstein took those lessons and applied them to his photography. He earned an MFA in photography from the Rhode Island School of Design (RISD) in 1973. While at RISD Horenstein studied with noted photographers Harry Callahan and Aaron Siskind. It was actually Callahan who encouraged Horenstein to pursue his passions for photography and country music. Since then, Horenstein has made a career of chronicling a series of subcultures including horse-racing and gambling, baseball stadiums, and burlesque performers, as well as being noted for his photographs of animals. His works are found in books, record covers, magazine publications, museum collections, and gallery walls.</p> <p>Horenstein is a professor at RISD. In addition to teaching classes, he is an active photographer always working on photographic and publishing projects. Horenstein is well-published, with over 25 books that either feature his photography or are widely used photography text books. He wrote the first darkroom textbooks, Basic Phtography and Beyond Basic Photgraphy. In Fall 2003, his book Honky-Tonk was published, containing an afterword written by NMAH curator Charlie McGovern. In 2006, NMAH featured the exhibition, Honky-Tonk: Country Music Photographs by Henry Horenstein, 1972-1981.<br><br>The collection consists of subjects such as fans and performers at outdoor music parks, in the parking lot, and performers on stage. Print sizes vary between 8 X 10 and 11X 14. The two 16 X 20 prints are a view of a crowd seen from backstage with JD Crowe & The South in sillouette, and “Bartender,” Wanda Lohnman leaning on the bar at Tootsies Orchid Lounge.<br><br>List of Performers and Venues Depicted in the Collection:<br><br>Venues: Fred’s Lounge in Mamou, LA; The Lonestar Ranch, Reed’s Ferry, NH; Hillbilly Ranch, Boston, MA; Tootsie’s Orchid Lounge in Nashville, TN; The Grand Ole Opry at the Ryman Theater, Nashville, TN.<br><br>Performers: Abshire Nathan; Acuff, Roy; Akeman, David “Stringbean”; Bailey, Deford; Bare, Bobby; Bird, Billy; Blake, Norman; Blue Sky Boys; Brown, Clarence "Gatemouth"; Burns, Jethro; Butler, Carl and Pearl; Carter, Anita;  Carter, Mother Maybelle and Helen Carter; Cash, Tommy; Clements, Vassar; Cline, Curly ; y; Cooper, Carol Lee; Cooper, Stoney and Wilma Lee; Crook Brothers; Curless, Dick; Dickens, Little Jimmy; Flatt, Lester; Floyd, Hamonica Frank; Harkreader, Fiddlin' Sid; Harris, Emmy Lou ; Holcomb, Roscoe; Holy Modal Rounders; Hughes Family Show; Jackson, Stonewall; JD Crowe & the New South; Jennings, Waylon; Johnson Mountain Boys; Jones, George; Jones, Grandpa and Ramona; Kirby, Brother Oswald; Lewis, Jerry Lee; Lilly Brothers; Lilly Family; Lynn, Loretta; Magaha, Mac; Martin, Jimmy; McCoury, Del; Monroe, Bill;  Lester Flatt; Monroe, Bill and Roland White; Monroe, Bill and the Bluegrass Boys; Monroe, Charlie; Moody, ; Clyde; Nixon, Charlie; Osborne Brothers; Parton, Dolly; Parton, Dolly and Porter Wagoner; Pearl, Minnie (Sarah Ophelia Colley) and Peewee King; Riley, Jeannie C.; Ritter, Woodward Maurice “Tex”; Seeger, Pete; Shepherd, Jean; Skaggs, Ricky; Smith, Connie; Snow, Hank; Snow, Rev. Jimmy Rodgers; Stanley, Ralph; Tubb, Ernest; Tubb, Justin; Turner, Grant; Turner, Spyder; Val, Joe; Wagoner, Porter; Warren, Paul; Watson, Arthel Lane “Doc”; Watson, Merle; Wells, Muriel Deason “Kitty”; Whitley, Keith; Williams, Hank Jr.; Wright, Johnny</p>
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Photographer: Keppler, Victor #nmahphc

<p>The Victor Keppler collection at the NMAH Photographic History Collection consists of 84 color carbro prints, four bromide prints, two dye transfer prints, 23 silver gelatin prints, two transparencies, and various additional ephemera.<br></p> <p>For additional materials search, collections.si.edu.</p> <p>Keywords: color carbro pigment prints, <em>Eighth Art</em>, color photography, advertising, <em>Saturday Evening Post</em>, Camel cigarettes, Seagram's 7, calendar, ice skaters, food, ice cream, strawberry shortcake, meat, shellfish, portraiture, travel photography, print culture, Christmas cards</p> <p>Victor Keppler produced the first color photographic cover of two jumping ice skaters for the <em>Saturday Evening Post</em> issued March 6, 1937. He was instrumental in working with print publications to match RGB color of photography to CMYK inks for publication printing. <em>Wine and Cheese </em>was an award winning photograph.</p>
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Photographer: Walker, Diana #nmahphc

<p>The Diana Walker collection at the NMAH Photographic History Department consists of 140 photographs reflecting her career as a photojournalist.  These include her tenure as a TIME Magazine photographer at the White House from 1984-2004, as well as other assignments.<br></p> <p>Copyright Diana Walker.</p> <p>For more images, search collections.si.edu.</p> <p>Keywords: photojournalist, women photographers, First Ladies, FLOTUS, President of the United States, POTUS, Vice-President of the United States, VPOTUS, Secretary of State, Senator, campaign photography, reportage, portraiture, journalism, photographs of the military, laughing, heads of state</p>
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Photographer: Mather, Margarethe #nmahphc

<p>The Margarethe Mather NMAH Photographic History Collection consists of five platinum print photographs from the 1920s. Photographer Margrethe Mather was a model and source of inspiration for Edward Weston and an established pictorialist and a pioneering modernist in her own right.<br></p> <p>For additional images, search collections.si.edu.</p> <p>Keywords: women photographers, Pictorialism, platinum photography, palladium photography, Pierrot<em></em></p>
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Photographer: Noggle, Anne #nmahphc

<p>This is a collection of four panorama photographs by photographer Anne Noggle made in the 1960s of a kitchen, a cafe lunch counter, a row of mailboxes, and a neighborhood street corner.  <br></p> <p>Keywords: women, aging, panoramic photo, panorama photography, neighborhood, mailboxes</p> <p><br></p> <p>Anne Noggle was born in 1922 in Evanston, IL and spent her formative years living there with her mother and sister—two women who would become important characters in Noggle’s photography. </p> <p>Prior to her photography career, Noggle led a markedly different life.  In 1940, with her student pilot license in hand, Anne Noggle became a pilot and eventually a flight instructor as a Women’s Air Force Service Pilot (WASP) in World War II.  At the conclusion of the war, Anne taught flying, joined an aerial circus, and worked as a crop duster.  Art grabbed Noggle’s attention while she was on active duty in the air force in the late 1940s and early 1950s.  Stationed in Paris, she spent much of her free time at the Louvre.  Forced into early retirement due to emphysema caused by crop dusting, Noggle registered for college as an art history major at the University of New Mexico in 1959.  She was thirty-eight years old. </p> <p>Anne Noggle’s early photographs utilize the 35mm Panon camera.  Most of these 140° photographs are of an aging woman and her surroundings.  In Janice Zita Grover’s introduction to <em>Silver Lining:  Photographs by Anne Noggle</em>, she writes, about the panoramic format, that it is characteristic “to distort space in such a way that subjects distant from the lens appear flattened against deep space; between this effect and the necessity for reading the image side to side, the format gets as close as the still camera can to the implied narrative unfolding of a panoramic opening shot in a film . Noggle’s Panon images of her mother’s circle in Santa Fe have exactly these qualities, as if a newly landed observer…were scrutinizing these women, their curious rites and settings, for the first time.” </p> <p>By the early 1970s, however, Noggle moved on to wide-angle portraits featuring herself, her mother, sister, and her mother’s friends.  It is for these photographs that Noggle is most known.  Her interest in women and the aging process is exemplified by self-portraits of Noggle’s own face-lifts and images of her aging body. </p> <p>Noggle has been granted two NEA grants and a Guggenheim Fellowship.</p> <p>Major holdings of Anne Noggle’s work can be found at:  the Northlight Gallery at Arizona State University, the Museum of Contemporary Photography, University of New Mexico—University Art Museum, and the Museum of New Mexico Photographic Archives.  In Washington, DC, American Art has one photograph from Noggle’s <em>Agnes</em> series of two women playing croquet.</p> <p><br></p>
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Photographer: Muray, Nickolas #nmahphc

<p>The Nickolas Muray collection at the NMAH Photographic History Department includes  six bromide and forty-six color-carbro photographs. They range in subject from commercial photography to portraits of famous individuals spanning from the 1920s through the early 1960s.<br></p> <p> Additional photographs by Muray can be found in the Learning Lab collection containing stills of Hollywood movie stars.<br></p> <p>For additional collections, search collections.si.edu.</p> <p>Keywords: advertising photography, dance photography, performance photography, magazine work, color carbro photography, color photography, platinum photography, dancers, dance photography, food photography</p>
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