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!Kung Bushmen Hunting Equipment 1966

Human Studies Film Archives
Cataloging supported by Smithsonian Institution Women's Committee

Edited film shot in the Nyae-Nyae region of the Kalahari in Namibia. Shown in detail are all the pieces of the !Kung hunting kit and how each piece is made and used, from the collection of the raw materials to the final fabrication, including the preparation of poison arrows. Film is made from footage shot in conjunction with the 1952-1953 expedition supported by the Peabody Museum of Harvard University and the Smithsonian Institution.

"9888 - Two Color or Thre

Cooper Hewitt, Smithsonian Design Museum

"A La Grande Fete Aerienne"

National Air and Space Museum
A LA GRANDE FÊTE AÉRIENNE. Framed multicolor illustrated print promoting the Société de Propagande Aèrienne and an air festival. Illustration on a white background of an orange stunt plane, its wings arranged diagonally across the poster with a solid blue background and two solid white clouds. A more distant plane flys in the upper right. Below the S.P.Aé logo of wings and a roundel with an Indian chief's profile, full text in orange and red sans-serif lettering: "LA SOCIÉTÉ DE PROPAGANDE AÈRIENNE Présente Ses pilotes Ses avions A LA GRANDE FÊTE AÉRIENNE." Artist signature in upper right: Lucien Cavé. Text along the lower left border: "Editions LUCIEN CAVÉ."

Fly Now: The National Air and Space Museum Poster Collection

Throughout their history, posters have been a significant means of mass communication, often with striking visual effect. Wendy Wick Reaves, the Smithsonian Portrait Gallery Curator of Prints and Drawings, comments that "sometimes a pictorial poster is a decorative masterpiece-something I can't walk by without a jolt of aesthetic pleasure. Another might strike me as extremely clever advertising … But collectively, these 'pictures of persuasion,' as we might call them, offer a wealth of art, history, design, and popular culture for us to understand. The poster is a familiar part of our world, and we intuitively understand its role as propaganda, promotion, announcement, or advertisement."

Reaves' observations are especially relevant for the impressive array of aviation posters in the National Air and Space Museum's 1300+ artifact collection. Quite possibly the largest publicly-held collection of its kind in the United States, the National Air and Space Museum's posters focus primarily on advertising for aviation-related products and activities. Among other areas, the collection includes 19th-century ballooning exhibition posters, early 20th-century airplane exhibition and meet posters, and twentieth-century airline advertisements.

The posters in the collection represent printing technologies that include original lithography, silkscreen, photolithography, and computer-generated imagery. The collection is significant both for its aesthetic value and because it is a unique representation of the cultural, commercial and military history of aviation. The collection represents an intense interest in flight, both public and private, during a significant period of its technological and social development.

Copyright Disclosure for Orphaned Works

Whenever possible, the museum provides factual information about copyright owners and related matters in its records and other texts related to the collections. For many of the images in this collection, some of which were created for or by corporate entities that no longer exist, the museum does not own any copyrights. Therefore, it generally does not grant or deny permission to copy, distribute or otherwise use material in this collection. If identified, permission and possible fees may be required from the copyright owner independently of the museum. It is the user's obligation to determine and satisfy copyright or other use restrictions when copying, distributing or otherwise using materials found in the museum's collections. Transmission or reproduction of protected materials beyond that allowed by fair use requires the written permission of the copyright owners. Users must make their own assessments of rights in light of their intended use.

If you have any more information about an item you've seen in the Fly Now: The National Air and Space Museum Poster Collection, or if you are a copyright owner and believe we have not properly attributed your work to you or have used it without permission, we want to hear from you. Please contact pisanod@si.edu with your contact information and a link to the relevant content.

View more information about the Smithsonian's general copyright policies at http://www.si.edu/termsofuse

"A Polio Free Nigeria" - Rotary International Cap

National Museum of American History

"A Right To The City" Symposium | "Neighborhood Power: Organizing in the Aftermath of Civil Rights"

Anacostia Community Museum
Smithsonian Anacostia Community Museum presents... "A Right to the City: The Past & Future of Urban Equity" Symposium PANEL - "Neighborhood Power: Organizing in the Aftermath of Civil Rights" October 26, 2018 How have neighborhoods and communities been organizing for equity and justice in the midst of rapidly changing cities? MODERATOR Tanvi Misra, Staff Writer, CityLab — The Atlantic Panelists Amanda Huron, Associate Prof. of Interdisciplinary Social Sciences, University of District of Columbia Rosemary Ndubuizu. Assistant Prof. of Africa American Studies, Georgetown University Diane Wong, Assistant Prof. and Faculty Fellow, New York University

"A Shrine to Confucius" Exhibit

Smithsonian Institution Archives
Updated as part of the Exhibits Modernization Program.

In Hall of the Cultures of Africa and Asia, also known as Hall 7,℗ at the Museum of Natural History.

"Achille reconnu par Ulysse" (Achilles recognized by Ulysses)

Cooper Hewitt, Smithsonian Design Museum
Four scenes (two incomplete) illustrating the legend of Achilles before the battle at Troy.

(Ullysses knew Achilles was disguised as a woman at the court of Lycomedes. Ulysses entered the court as a merchant and regonized Achilles when the latter selected waepons rather than embroidery or fabric.)

In black on white.

"African Arts: Old and New" Exhibit

Smithsonian Institution Archives
See also Acc. No. 94-088, Box 2.

Updated as part of the Exhibits Modernization Program.

In Hall of the Cultures of Africa and Asia, also known as Hall 7,℗ at the Museum of Natural History.

"Anduka from Bengela"/Portrait (Front) of Anduka, Tarwani? Man Originally from Zambezi (Zambeze) River Area (in Rhodesia, British Central Africa) and (in Mozambique, East Africa); Apparently a Slave Taken from Benguela, Portuguese West Africa (Angola) 1838 Painting

National Anthropological Archives
Published: Wilkes, Charles; Narrative, 1845, Vol 1, P 62 (Head Shown Only) Crew List Shows Artist's Name, "Alfred S. Agate" (On Storeship "Relief"); Signed by Artist: A. T. A., Del

Colored pencil Watercolor painting

"Angle"

Cooper Hewitt, Smithsonian Design Museum

"Angle"

Cooper Hewitt, Smithsonian Design Museum

"Angle"

Cooper Hewitt, Smithsonian Design Museum

"Angle"

Cooper Hewitt, Smithsonian Design Museum
salad bowl #1

"Angle"

Cooper Hewitt, Smithsonian Design Museum

"Angle"

Cooper Hewitt, Smithsonian Design Museum

"Angle"

Cooper Hewitt, Smithsonian Design Museum

"Angle"

Cooper Hewitt, Smithsonian Design Museum

"Angle"

Cooper Hewitt, Smithsonian Design Museum

"Angle"

Cooper Hewitt, Smithsonian Design Museum
salad bowl #2

"Angle"

Cooper Hewitt, Smithsonian Design Museum

"Angle"

Cooper Hewitt, Smithsonian Design Museum

"Angle"

Cooper Hewitt, Smithsonian Design Museum
flat

"Angles"

Cooper Hewitt, Smithsonian Design Museum
deep
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