Description: Opening of box containing Thomas Edison’s graphophone, deposited (sealed) at the Smithsonian Institution by Volta Laboratory in 1880-1881, MAH-44312C.
Description: [caption id="" align="aligncenter" width="413" caption="Statue of Freedom in the Smithsonian Arts and Industries Rotunda, 1890s, by Unknown photographer, Photographic print, Smithsonian Institution Archives, Record Unit 371 Box 3 Folder July 1979 and Record Unit 371 Box 2 Folder May 1976, Negative Number:MHT 16238."][/caption]
Description: Information volunteers answer telephone calls in the Great Hall of the Smithsonian Institution Building, or Castle, SIA RU000371, 78-18876-20A.
Description: [caption id="" align="aligncenter" width="285" caption="Plants stored between the greenhouse and the Office Building in the South Yard, A portion of the Smithsonian Institution Building, the "Castle," is visible in the background, 1974, by Unknown photographer, Photographic print, Smithsonian Institution Archives, Record Unit 94 Box 32 Folder 14, Negative Number:
Description: Division of Graphic Arts exhibit in Smithsonian Institution Building, or Castle, with the statue of George Washington, sculpted by Horatio Greenough, in the background, MAH-37158B.
Description: In a world drowning in images, where we swipe past photos of friends, relatives, and selves in mere seconds, a set of remarkable portraits taken in the 1910s and 1920s by Julian Papin Scott (1877-1961) deserve more considered attention. Sometimes, his subjects appear immersed in work, surrounded by microscopes, beakers, or stacks of books, as if unaware of the photographer.
Description: A daily photo highlight from Smithsonian collections. [caption id="" align="aligncenter" width="366" caption="Alfred Duane Pell Collection of Ceramics and Furniture on display in the National Gallery of Art (NGA), now the Smithsonian American Art Museum (SAAM), at the United States National Museum (USNM) building, now known as the Natural History Building (NHB), c. 1930, by
Description: Nearly two years ago, I first heard of a course on the conservation of Japanese paper co-organized by ICCROM, the cultural heritage arm of UNESCO, and the Tokyo National Research Institute for Cultural Properties (also known in Japanese as “Tobunken”). Over three weeks, the course offered a first-hand look at the traditional Japanese conservation techniques, materials, and