Photography

The millions of photographs in the Museum's collections compose a vast mosaic of the nation's history. Photographs accompany most artifact collections. Thousands of images document engineering projects, for example, and more record the steel, petroleum, and railroad industries.

Some 150,000 images capture the history, art, and science of photography. Nineteenth-century photography, from its initial development by W. H. F. Talbot and Louis Daguerre, is especially well represented and includes cased images, paper photographs, and apparatus. Glass stereographs and news-service negatives by the Underwood & Underwood firm document life in America between the 1890s and the 1930s. The history of amateur photography and photojournalism are preserved here, along with the work of 20th-century masters such as Richard Avedon and Edward Weston. Thousands of cameras and other equipment represent the technical and business side of the field.

In "The Wizard of Oz", Dorothy's journey from Kansas to Oz is symbolized by a shift from black and white to Technicolor.
Description
In "The Wizard of Oz", Dorothy's journey from Kansas to Oz is symbolized by a shift from black and white to Technicolor. This camera was one of several used to film the Oz scenes.
Invented in 1932, the Technicolor camera recorded on three separate negatives--red, blue and green--which were then combined to develop a full-color positive print. The box encasing the camera, a "blimp," muffled the machine's sound during filming.
The Early Color Cinema Equipment Collection [COLL.PHOTOS.000039] includes equipment, media and ephemera related to color motion pictures from the birth of the cinema to the mid twentieth century. This collection is comprised of 5 motion picture cameras, 3 movie projectors, more than 34 pieces of editing and other apparatus, more than 60 pieces of early color film and two notebooks illustrating the Technicolor process.
Reproducing natural color on film had been an industry goal since the earliest days of motion picture production, but it took several decades to perfect a technology for making movies in color. Motion picture directors often toned or hand-tinted monochromatic film in the industry’s early days to add life and emotion to their productions. Though movie producers continued to use toning and tinting, these costly and inefficient processes could never produce the full range of color that movie cameras failed to record. Therefore, innovators increasingly focused on the use of color filters during capture and projection to reproduce color detail.
Danish-American inventor August Plahn built and patented a camera and projector that split motion picture images through three color lenses using 70mm film. When the film, with three images printed across its width, was projected through the same colored filters, movies’ natural color was restored. The collection includes forty five short lengths of processed film and documents related to Plahn’s work as well as one camera, three projector heads and over seventy-five pieces of apparatus used by the engineer.
While Plahn had little success marketing his inventions, the Boston-based Technicolor Corporation effectively marketed their similar technology to become the industry standard. The color cinema collection includes four Technicolor cameras as well as over twenty-five pieces of equipment related to the Technicolor process and a book of photographs illustrating Technicolor film processing in a train car.
The Society of Motion Picture Engineers, the industry’s leading trade group, donated examples of a number of other early color film technologies, including Prizma, Kelley-line screen, Krayn Screen, Naturalcolor, Multicolor and Morgana color processes.
This finding aid is one in a series documenting the PHC’s Early Cinema Collection [COLL.PHOTOS.000018]. The cinema-related objects cover the range of technological innovation and popular appeal that defined the motion picture industry during a period in which it became the premier form of mass communication in American life, roughly 1885-1930. See also finding aids for Early Sound Cinema [COLL.PHOTOS.000040], Early Cinema Equipment [COLL.PHOTOS.000037], Early Cinema Film and Ephemera [COLL.PHOTOS.000038] and the Gatewood Dunston Collection [COLL.PHOTOS.000021].
Location
Currently not on view (running boards)
date made
1937
maker
Technicolor Corporation
ID Number
PG.008166
catalog number
8166
maker number
Patent No: 2,000,058
accession number
260112
date made
1936
maker
Evans, Walker
Lange, Dorothea
ID Number
1983.0069.08
catalog number
1983.0069.08
accession number
1983.0069
Currently not on view
Location
Currently not on view
Date made
1936
maker
Lange, Dorothea
ID Number
PG.71.64.06
accession number
2003.0160
Currently not on view
Location
Currently not on view
Date made
1932
maker
Lange, Dorothea
ID Number
PG.71.64.03
accession number
2003.0160
Currently not on view
Location
Currently not on view
Date made
1938
maker
Lange, Dorothea
ID Number
PG.71.64.07
accession number
2003.0160
Currently not on view
Location
Currently not on view
Date made
1938
maker
Lange, Dorothea
ID Number
PG.71.64.04
accession number
2003.0160
From Pictorial Artistry: The Dramatization of the Beautiful in Photography"The boy at the left was dominating the conversation, emphasizing the import of his words every now and then with a wave of his apple-filled hand.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"The boy at the left was dominating the conversation, emphasizing the import of his words every now and then with a wave of his apple-filled hand. I learned that the free-for-all sailboat race was to take place here in the park lake the next day. The present problem, however, was how the dickens could they get their impish little vessel to stop sailing in circles. Change the mains’l… heavy the ballast… shorten the center-board. These were but a few of the many suggestions my eavesdropping ears overheard. Enough! Action! Camera! But I was not quick enough. The boys spied me. “look, fellers”, said one of them. “That man is going to take our picture. Will it be in the News tomorrow, Mister? Our boat is going to take first prize, you know”.
Composition:
The boys had to be carefully posed again, since the nonchalance of their natural postures had given way to a self-conscious stiffness upon seeing me. I persuaded them to resume their original positions at the water’s edge, and as their camera-consciousness disappeared once they became engrossed in the solution of their navigating problem, I then caught the interesting little chapter of boyhood comradeship you see here. There is a steelyard balance of the principle masses in the picture area. Note how the separation of the boys’ heads from the light background of the water gives clarity to the motive. Likewise the placing of the light toned sail against the dark reflection draws sufficient attention to this secondary mass to make it the logical continuing point of interest.
The boat, drifting along the eddying and distorted extremities of the reflections brings a welcome sense of motion to this area.
Technical Problems:
The delicate reflections of the clouds were introduced in the negative afterwards to give a feeling of substance and reality otherwise lacking in the lighter toned water areas. This was done with chalk on groundglass substitute. General tone balance was brought about local reduction of the negative.
Data:
Camera: 2 ¼ x 3 ¼ Makina
Lens: Anticomar
Stop: f.8
Filter: Medium yellow
Exposure: 1/25 in hand
Film: Agfa Super Plenachrome
Print: 14x17 Tuma Gas, direct"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.07
catalog number
4116.07
accession number
146001
From Pictorial Artistry: The Dramatization of the Beautiful in PhotographyChristmas! The Spell of Yuletide everywhere… enhanced a thousand-fold for me by the all-blanketing blizzard. Excitedly, the snowflakes whipped and clung to my face and camera like myriad tiny hands.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
Christmas! The Spell of Yuletide everywhere… enhanced a thousand-fold for me by the all-blanketing blizzard. Excitedly, the snowflakes whipped and clung to my face and camera like myriad tiny hands. Now and then, the sounds of the crunching footsteps made me aware of strangers passing by furtively. The park was shrouded in the mystery of this luminous night. The high ascending buildings that frame the park were lost in the far-reaching darkness. But the bright glow to the south was unmistakable. There stands the Plaza. A tiny bell tinkled… a “Santa Claus” still at his post somewhere waiting for alms. The world about me, so aloof in the snowy stillness, held a serenity that filled me with gladness… an unknown something that for me is the spirit of Christmas… so glorious, so white, on this night of nights.
Composition:
We are led into the picture field over a winding black brook, resembling one of the many strange designs of the Chinese Dragon, culminating in a mysterious glow beyond the trees. The fantastic towers in the dim distance group themselves in pyramidal fashion and lend dignity to the drama.
Technical Problems:
The buildings were not visible, but their position was known through my daytime familiarity with the setting. The feeling of snow in the air was lost, due to time exposure and had to be reintroduced by printing a texture into the image during enlarging. The icy snow settled between metal parts of the camera and on the lens which made the camera useless after one exposure.
Data:
Camera: 4x6 inches
Lens: Zeiss Tessar 7 ¼ inches
Stop: f:11
Exposure: 3 ½ minutes
Plate: Illingworth Lightning
Exhibition Print: 12x17 inches, direct enlarging
Paper: Tuma Gas, blue toned"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.01
accession number
146001
catalog number
4116.01
Edward Weston was influential in the modern photography movement beginning in the 1930s. He is well known for photographing the natural surroundings of his home on the California coast. Weston created striking works of art, some abstract, some more traditional images.
Description (Brief)
Edward Weston was influential in the modern photography movement beginning in the 1930s. He is well known for photographing the natural surroundings of his home on the California coast. Weston created striking works of art, some abstract, some more traditional images. A leader in American photography of the 20th century, Weston's prints were first exhibited at the Smithsonian in 1947. Afterwards, he remained interested in the national photography collection. At times, Weston recommended photographers to curators for collecting opportunities, and eventually donated a selection of his work and several cameras to the Photographic History Collection.
Location
Currently not on view
date made
1937
maker
Weston, Edward
ID Number
PG.004969
catalog number
4969
accession number
210054
The Early Color Cinema Equipment Collection [COLL.PHOTOS.000039] includes equipment, media and ephemera related to color motion pictures from the birth of the cinema to the mid twentieth century.
Description
The Early Color Cinema Equipment Collection [COLL.PHOTOS.000039] includes equipment, media and ephemera related to color motion pictures from the birth of the cinema to the mid twentieth century. This collection is comprised of 5 motion picture cameras, 3 movie projectors, more than 34 pieces of editing and other apparatus, more than 60 pieces of early color film and two notebooks illustrating the Technicolor process.
Reproducing natural color on film had been an industry goal since the earliest days of motion picture production, but it took several decades to perfect a technology for making movies in color. Motion picture directors often toned or hand-tinted monochromatic film in the industry’s early days to add life and emotion to their productions. Though movie producers continued to use toning and tinting, these costly and inefficient processes could never produce the full range of color that movie cameras failed to record. Therefore, innovators increasingly focused on the use of color filters during capture and projection to reproduce color detail.
Danish-American inventor August Plahn built and patented a camera and projector that split motion picture images through three color lenses using 70mm film. When the film, with three images printed across its width, was projected through the same colored filters, movies’ natural color was restored. The collection includes forty five short lengths of processed film and documents related to Plahn’s work as well as one camera, three projector heads and over seventy-five pieces of apparatus used by the engineer.
While Plahn had little success marketing his inventions, the Boston-based Technicolor Corporation effectively marketed their similar technology to become the industry standard. The color cinema collection includes four Technicolor cameras as well as over twenty-five pieces of equipment related to the Technicolor process and a book of photographs illustrating Technicolor film processing in a train car.
The Society of Motion Picture Engineers, the industry’s leading trade group, donated examples of a number of other early color film technologies, including Prizma, Kelley-line screen, Krayn Screen, Naturalcolor, Multicolor and Morgana color processes.
This finding aid is one in a series documenting the PHC’s Early Cinema Collection [COLL.PHOTOS.000018]. The cinema-related objects cover the range of technological innovation and popular appeal that defined the motion picture industry during a period in which it became the premier form of mass communication in American life, roughly 1885-1930. See also finding aids for Early Sound Cinema [COLL.PHOTOS.000040], Early Cinema Equipment [COLL.PHOTOS.000037], Early Cinema Film and Ephemera [COLL.PHOTOS.000038] and the Gatewood Dunston Collection [COLL.PHOTOS.000021].
date made
1885 - 1930
ID Number
COLL.PHOTOS.000039
From Pictorial Artistry: The Dramatization of the Beautiful in Photography"It was seven o’clock on a rainy August evening at the Austrian-Tyrolian border. Looking back through the rear window of the car I saw this magnificent view. “Picture”, I shouted to my friend at the wheel.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"It was seven o’clock on a rainy August evening at the Austrian-Tyrolian border. Looking back through the rear window of the car I saw this magnificent view. “Picture”, I shouted to my friend at the wheel. “Impossible”! was his reply. “how could you take it in this rain and darkness”? I finally persuaded him to stop and I rushed back through the drizzling rain, quickly adjusting the camera. For I had seen something he could not as he kept his eyes on the road ahead. The setting sun had broken through an opening of the clouds, sending its last glorious rays down to the peaceful earth. It was a marvelous sight lasting only a minute. The wet road, catching and reflecting the light, seemed like a river disappearing around the hillside in the distance. The burst of sunlight overhead provided a dramatic climax for our ecstatic appreciation.
Composition:
Radiated. An array of dynamic lines all pointing in the direction of the leading motive, the sky, bringing the entire setting to a forceful and dramatic unity. The lower key rendering of church and house was necessary to avoid clashing with the intended center of interest.
Technical Problems:
Photographing against the light at such hours results in extreme contrast, a blocked up sky, and black silhouette-like shadows in the landscape. This, of course, is not what the eye sees. So, to produce a true to nature print, over-exposure and extensive reduction work in sky as well as additional balancing with groundglass was necessary. Seeing, remembering, imagining, then knowing the limitations of the material, and finally, the full application of technical media, are all essential to recreate a scene like the “Wet Road” on photographic paper.
Data:
Camera: Makina 2 ¼ x 3 ¼
Lens: Anticomar
Stop: f.6.3
Filter: Not needed
Exposure: 1/10 in hand
Film: Agfa Super Plenachrome
Print: 14x17 Tuma Gas"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.06
catalog number
4116.06
accession number
146001
From Pictorial Artistry: The Dramatization of the Beautiful in Photography"Way northeast, at the tip of Prince Edward’s Island I found the little harbor of Souris.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"Way northeast, at the tip of Prince Edward’s Island I found the little harbor of Souris. Here, from time to time, fishermen from New Brunswick cease their fishing in the bountiful channel of Northumberland and put into port to replenish supplies and dig for clams in the shallow waters along the shore.
After a few days, off they sail again in their sturdy weather-beaten boats… as picturesque a sight as anyone with an eye for beauty could hope to find. And I was ready… eager to get a picture of this grand fleet under sail.
There goes the first boat! See… the breeze fills the sails as she moves off. I must take it! Off I dashed to reach the most advantageous point of view, the pier-head. Luck was with me. For there I found exactly what I needed to complete the interest of my composition. Leaning against a massive weather-stained bollard was a young man gazing wistfully out to sea as he puffed his pipe.
Since everyone at Souris seemed to speak French with a peculiar dialect, I mustered the most expressive French in my modest vocabulary and said to the young man… “Regardez le batteau!” He stared at me in blank amazement. Perhaps he does not understand school-book French, thought I, much distressed. But my boat was sailing right out of the picture! So, becoming impatient at the thought of losing my picture, I resorted to action instead of words. I rushed up to the astonished young man, grasped the pipe from his hand and pushed it into his gaping mouth, adjusted his hands, feet and body position to the requirements of my composition, hasted back to my camera point of view and made the exposure.
Realizing that my rude actions called for explanation and apology, I approached the young man again and resorted to my very best French. But still the young man stared vacantly, not comprehending my words. Finally, his face wrinkled up in a bashful friendly smile and he started to speak… “Mister, me don’t speak French… can you speak English?”
Composition:
Steelyard arrangement. Man and boat are placed far apart to convey a sense of the expanse that is between them and to portray the thought trend from man to boat.
Technical Problems:
Sky, clouds and reflection of the boat on the water had to be introduced by retouching on groundglass substitute. Foreground had to be toned down by reduction. Uneven division of the three horizontal planes was achieved by taking the picture from knee height.
Data:
Camera: 2 ¼ x 3 ¼ Makina
Lens: Plaubel Anticommar
Stop: f.11
Filter: medium Yellow
Film: Agfa Super Plenachrome
Exposure: 1/25, in hand
Print: Tuma Gas, direct"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.23
catalog number
4116.23
accession number
146001
Currently not on view
Location
Currently not on view
Date made
1931-06-16
maker
Tasker, Dain L.
Tasker, Dain L.
ID Number
PG.66.65.071P1
accession number
264476
catalog number
66.65.71P.1
Currently not on view
Location
Currently not on view
date made
1938
maker
Feininger, Andreas
ID Number
1990.0160.011
accession number
1990.0160
catalog number
1990.0160.011
Currently not on view
Location
Currently not on view
date made
ca 1934
ID Number
PG.71.038.01
catalog number
71.038.01
accession number
296423
From Pictorial Artistry: The Dramatization of the Beautiful in Photography"Five p.m. a winter evening. The sun is about to set but still desperately tries to penetrate the heavy atmosphere.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"Five p.m. a winter evening. The sun is about to set but still desperately tries to penetrate the heavy atmosphere. The thick blue haze seems to creep between the man-made canyons partly obscuring the great buildings until they appear like colossal ghosts with multitudes of black eyes. Above tower the spires of a dream city, only visible in outline leaving to your imagination the details of the thousands of windows and lofts, where millions of people struggle for their existence.
Composition:
Pyramidal. From the almost invisible dusky blue foreground, the buildings mass one higher than the other, until we reach the horizon line with its graceful, cathedral-like towers, bathed in an impenetrable veil of a bright orange hue, interrupted by purple etched clouds. The tower on the right side is of great importance in the balance of the composition, permitting the group of tall towers to be placed off center to the left.
Technical Problems:
The exposure was made against the light source itself. The sky, as a result, received over exposure which had to be corrected with local reduction. Separation between some of the buildings had to be provided for by groundglass work. Texture was printed in during enlarging to give a more decided feeling of thick haze.
Data:
Camera: 5x7 Eastman View
Lens: Zeiss Tessar
Stop: f.8
Film: Agfa, Supersensative Plenachrome
Exposure: 3 seconds
Print: Defender Velour Black"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.10
catalog number
4116.10
accession number
146001
Currently not on view
Location
Currently not on view
Date made
1937
inventor
Pemberton-Billing, Noel
maker
LeCoultre Co.
LeCoultre Co.
ID Number
PG.71.38.03
accession number
296423
catalog number
71.038.03
Currently not on view
Location
Currently not on view
Date made
1931
maker
Lange, Dorothea
ID Number
PG.71.64.02
accession number
2003.0160
From Pictorial Artistry: The Dramatization of the Beautiful in Photography"Good by father! Goody bye brother! Come home soon.It is along the shores of the St.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"Good by father! Goody bye brother! Come home soon.
It is along the shores of the St. Lawrence stream where its width measures twenty miles or more, but the fishing is usually carried on close to shore and no big boats are needed. The little girl does not know where they are going—she is deep in thought—Oh yes, they will bring big fish and plenty of them in large barrels packed with salt to be sent to the United States. So she told me in French. And so I posed her to convey the story of “Good Bye”.
Composition:
Steelyard—arranged to impress by its simplicity. The rock in the middle distance was left to detract from the monotonous horizon line. The tone scale is left in grey shades to add to the sad mood of the setting.
Technical Problems:
The fishermen were coming in with their catch. Dozens of their relatives rushed to their aid to carry away the fish in baskets. There were too many people to make a picture, therefore posing had to be done. I told the two girls and the fishermen the story of “Good Bye” and with a little practise [sic] of rowing in and out, it worked.
There were more rocks in the water, taking away from the simplicity. They were removed by retouching. Irregular grain was introduced into the print to suggest atmosphere.
Data:
Camera: 2 ¼ x 3 ¼ Makina
Lens: Plaubel Anticomar
Stop: f.8
Filter: Light Yellow
Exposure: 1/50 in hand
Film: Agfa Super Plenachrome
Print: 14x17 Tuma Gas, direct"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.34
catalog number
4116.34
accession number
146001
From Pictorial Artistry: The Dramatization of the Beautiful in Photography"The excitement was over, the horses and plow reached the crest of the hill and were going homeward, the close of the day. The animals tired, the farmer worn out, the clouds and the world rush on.
Description
From Pictorial Artistry: The Dramatization of the Beautiful in Photography
"The excitement was over, the horses and plow reached the crest of the hill and were going homeward, the close of the day. The animals tired, the farmer worn out, the clouds and the world rush on. “The Last Furrow.”
The excited people in the road took it good naturedly and went off happily. “Good bye, farmer”, I called to him. “I’ll send you a picture soon”. And I did.
Composition:
“Onward” and “The Last Furrow” are good representations of the steelyard composition. The opposing moods, as explained in the story of “Onward” express the utmost drama in picture making and it can be well seen that in after treatment, many things had to be done to carry out the thought and impression of the unusual settings. Whereas “Onward” represents more the modern treatment and idea of power, angle and action, “The Last Furrow” reminds one of the more lyrical and peaceful conception one finds in paintings of the past. It must be left to the taste and emotional reaction of the beholder as to preference. Both pictures show clearly the creative work possible and that Photography differs from the other Arts only in the medium used.
Technical Problems:
The sky in either picture needed emphasis and extra clouds in places in order to carry on the respective movements. Photographing almost dead into the sun at 4 p.m. left the film practically without detail in the shadows. So, retouching became an important factor. Reduction of sky in both films was also needed for lack of filter effectiveness. In “Onward”, the hill in front of the horses was raised to lead upward, and in the “Last Furrow” it was etched off to lead downward.
Data: For “The Last Furrow” and “Onward”
Camera: Linhof 9x12cm
Lens: Zeiss Tessar
Stop: f.8
Filter: Medium Yellow
Film: Agfa Superpan
Exposure: 1/200, in hand
Print: Tuma Gas, direct"
by Adolf Fassbender, 1937
Location
Currently not on view
date made
before 1937
maker
Fassbender, Adolf
ID Number
PG.004116.16
catalog number
4116.16
accession number
146001
Mounted gelatin silver print of Edward Weston's Artichoke Halved, 1930. The photograph was printed by Edward's son Cole Weston from his father's original negative.Edward Weston was influential in the modern photography movement beginning in the 1930s.
Description (Brief)
Mounted gelatin silver print of Edward Weston's Artichoke Halved, 1930. The photograph was printed by Edward's son Cole Weston from his father's original negative.
Edward Weston was influential in the modern photography movement beginning in the 1930s. He is well known for photographing the natural surroundings of his home on the California coast. Weston created striking works of art, some abstract, some more traditional images. A leader in American photography of the 20th century, Weston's prints were first exhibited at the Smithsonian in 1947. Afterwards, he remained interested in the national photography collection. At times, Weston recommended photographers to curators for collecting opportunities, and eventually donated a selection of his work and several cameras to the Photographic History Collection.
Location
Currently not on view
date made
1930
maker - negative
Weston, Edward
maker - print
Weston, Cole
ID Number
PG.69.137.16
catalog number
69.137.16
accession number
288850
Silver gelatin, mounted. Close-up, focus on light colored branch lying on rocks. Background hazy, unfocused view of lake. Signed, ink (recto: bottom right). Verso: Adams stamp, handwritten title, top center.
Description (Brief)
Silver gelatin, mounted. Close-up, focus on light colored branch lying on rocks. Background hazy, unfocused view of lake. Signed, ink (recto: bottom right). Verso: Adams stamp, handwritten title, top center. "RSN 82532R29" handwritten, pencil, bottom right center.
Description
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.
The collection in the Photographic History Collection consists of twenty-five photographs, all printed in or about 1968. All are gelatin silver, mounted, labeled and signed in ink by the photographer. The photographs include some of his most well-known images, but also portraits and objects. The selection of images was made in collaboration between the collecting curator and Adams.
print made
ca 1968
negative made
ca 1936
maker
Adams, Ansel
ID Number
PG.69.117.04
catalog number
69.117.4
accession number
282326
Currently not on view
Location
Currently not on view
date made
1933
maker
Bull, Clarence
ID Number
2013.0327.1494
catalog number
2013.0327.1494
accession number
2013.0327
Currently not on view
Location
Currently not on view
Date made
1937
maker
Lange, Dorothea
ID Number
PG.71.64.08
accession number
2003.0160

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