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Smithsonian American Art Museum

"... in Whom I Am Well Pleased"

Smithsonian American Art Museum

"1st Sgt. Simmons" sketch in The True Story of Glory Continues

National Museum of American History

"1st Sgt. Simmon" sketch in artist's sketchbook used in the documentary The True Story of Glory Continues. This charcoal sketch depicts a soldier at arms. This is part of a set of sketches from "A Swamp Angel's Sketchbook,” which contains concepts for the film Glory.

Glory was the first film to illustrate the involvement of African American soldiers in the Civil War. The film follows the story of the 54th Massachusetts Infantry Regiment, the first African American Union regiment organized in the North during the Civil War, and culminates in the Battle at Fort Wagner.

"49 Cree Indians Traveling" ca 1850

National Anthropological Archives
The two original paintings are housed in the Department of Ethnology, Royal Ontario Museum, Toronto, Canada.

Kane traveled between 1845 and 1848 sketching. The oil paintings were probably painted ca. 1850 after his return. -- Kenneth R. Lister 10/4/81.

Artist and date supplied from catalog card for 471 B 1, line drawing after Chippewa (?) painting.

Original glass negative found (7/1971) in Bureau of American Ethnology collection.

Black and white copy glass negative

"50-50"

National Museum of American History

"7"

Smithsonian American Art Museum

"A Kiss for Cinderella"

National Portrait Gallery

"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 Love Story"

National Museum of American History
This sheet music is for the song “A Love Story,” with lyrics by Robert Henning and music by Heinz Provost. It was published by Edward Schuberth and Company in New York, New York in 1940. This song was featured in the 1939 United Artists film Intermezzo, directed by Gregory Ratoff and starred Leslie Howard and Ingrid Bergman.

"A TOKEN OF LOVE" Puzzle Bottle

Smithsonian American Art Museum

"A Wa Ka" quilt

Anacostia Community Museum

"African Commune of Bad, Relevant Artists" in Black Shades

Archives of American Art
Newsletter : 6 p. ; 28 x 22 cm. October 1971 issue of the newsletter Black Shades: A Black Art Newsletter, Vol. 1, No. 4, published in Washington, DC. Includes six typescript pages with illustrations, photocopied. Newsletter features article "African Commune of Bad, Relevant Artists."

"After Dinner B," from the series, Some Town Without a Name

Freer Gallery of Art and Arthur M. Sackler Gallery

"Aida"

National Portrait Gallery

"An Alligator in the Coal Scuttle" and "She Felt Behind the Books," Illustrations for "Little April Fool" in "Pinafores and Pantalets"

Cooper Hewitt, Smithsonian Design Museum
Design for chapter 5 of, “Pinafores and Pantalets” by Florence Choate and Elizabeth Curtis. Two drawings on one page- one on upper left-hand corner marked: First picture, An Alligator in the Coal Scuttle!; the other, lower right-hand corner marked: She Felt Behind the Books, Second Picture; Alligator faces right with curved tail at left. The little girl, back view, fumbles in bookshelf, rising on toes.
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