Skip to main content Smithsonian Institution

Search Results

Collections Search Center
76 documents - page 1 of 4

Eugene Irving Knez papers

Creator:
Knez, Eugene I. (Eugene Irving), 1916-2010  Search this
Names:
East China Seas Program  Search this
Korean National Museum of Anthropology  Search this
National Folk Museum of Korea  Search this
National Museum of Korea  Search this
Extent:
57.6 Linear feet
Type:
Collection descriptions
Archival materials
Place:
Korea
Tibet
Bhutan
East Asia
Nepal
Date:
circa 1920–2000, With Information Dating Back to 1481
Summary:
The Knez papers include material concerning many aspects of his career up to the time he retired from the Smithsonian. Of particular strength is the documentation of Asian exhibits, both temporary and permanent ones installed during his time at the Institution. There is also considerable material concerning specimens and collections acquired earlier. Material concerning Knez's work as a field researcher, bibliographer, and editor are also among the papers. After his retirement, Knez became involved in a study of Buddhism among the Tibetans living in India. Copies of film made for this study have been deposited in the Human Studies Film Archives. It should be noted that the papers represent only a portion of the Knez papers, for he has retained some of them.
Scope and Contents:
Knez was not a prolific writer. Though his research encompassed East and Southeast Asia, his field expeditions for collections and his charge to establish the first permanent Asian halls while at the Smithsonian limited his scientific writings to documentation required for Smithsonian exhibitions and his ongoing interest in the material culture of Sam Jong Dong and The Three Ministries, located in the Kimhae region of southeast Korea. To overcome Asian language barriers, Knez had to utilize informants, Korean scholars, and translators in order to carry out his research. The materials that he collected or were forwarded to him about Asia, however, represent an impressive body of information that researchers of Southeast Asia would want to review for general studies. Of special importance would be the information about culture around the South China Sea, and especially studies about Korean and Japanese ethnology and anthropology, the pre-colonial and colonial period, the period right after World War II, the Korean War, and changes in Korean agricultural farming life, from the early 1900s through the 1980s. A knowledge of Chinese calligraphy, Korean Hangul, and pre-World War Two Japanese (Taisho and Showa Periods) are required to understand the complete record documenting Korean history.

These papers contain detailed correspondence and memoranda, documenting Knez's professional life as a curator of anthropology at the Smithsonian Institution. Visual images, photographs, slides, videotapes, film, and sound recording as well as research information and correspondence provide a complete record of the exhibitions that Knez established at the Smithsonian. Correspondence, memoranda, and photographs provide a less complete picture of Knez's activities before his appointment as curator. There is a very strong and complete record of his activities while stationed in Korea after World War II and during the Korean War. This material includes correspondence, photographs and film footage. Knez also brought out of Korea photographs that were taken by the Japanese during the colonial period. There is also film footage taken around 1946 on Cheju Island. In addition, there are postcards and photo cards that contain a rich visual image of Korea dating back before the 1920s.

The largest series within these papers contains Knez's material culture research on Korea. This series includes field notes, interviews, transcriptions, correspondence, photographs, publications and translations about Korean history dating back to 1481, Japanese publications and translations regarding anthropomorphic and agricultural studies of Koreans and Korean agricultural life, and Knez's draft publications. There is a large series of photographs and slides documenting Asian art collections as well as Asian cultures. The Knez Papers also includes a phonograph record collection which is not dated and contains Korean and Japanese opera and folk songs. In addition, there is a collection of Confucius teachings, school books, and genealogy written in Chinese calligraphy and Hangul.

The arrangement of these papers and the file folders within the series are not always well ordered. Multiple accessions were transferred to the National Anthropological Archives. Where subject information was the same, folders were filed into existing series developed in the 1970s and 1980s. In similar fashion, individual items that were not within folders were interfiled in existing folders that contained the same information.

The research series (series six), which primarily documents Knez's research activities and information he received or collected on Korea has some provenance. The material was reboxed several times, but there remains segments of information that are completely related. At other times, there is no logical relationship between one group of files and the next. Most of the folders were never dated. Therefore, it is difficult to understand the different periods in Knez's life when he worked on his Korean studies, without going through the entire series. Photographs are not always dated. Only a very small number were used in Knez's 1997 publication (where they are dated), The Modernization of Three Korean villages, 1951-1981 (Smithsonian Institution Press).

Most of the series within these papers contain different aspects of Knez's interest in Asia, and in particular, his focus on Korea. For example, correspondence regarding Knez's activities during his stay in Korea after World War II and during the Korean War will be found in series two, Subject File; photographs documenting the same time period will be found in series six, Research Projects, and series thirteen, Biographical and Autobiographical Material. And, series ten, Motion Picture Film and Sound Recordings, contain visual images of Knez's activities in Korea during 1946, 1950-1951.

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Arrangement:
The collection is arranged into fourteen (14) series:

SERIES 1.Accession Correspondence and Information and Examination and Reports of Collections, 1959-1977 and undated, with information dating back to 1893, boxes 1-4

SERIES 2.Subject File, 1937-1999 and undated, with information dating back to 1852, boxes 4-32

SERIES 3.Professional and Non-Professional Association Material, 1955-1980, with information dating back to 1896, boxes 33-36

SERIES 4.Exhibitions, 1960-1977 and undated, with information dating back to 1876, boxes 36-43

SERIES 5.Research Grants, 1963-1981 and undated, with information dating back to 1884, boxes 43-46

SERIES 6.Research Projects, 1909, 1929-2000 and undated, with information dating back to 1481, boxes 47-115

SERIES 7.Geographical and Publications Files, 1929-1977 and undated, boxes 116-139

SERIES 8.Korean and Chinese Writings, boxes 140-141

SERIES 9.Collection and Research Photographs, 1946-1977 and undated, boxes 142-161

SERIES 10.Motion Picture Film and Sound Recordings, 1946-1978 and undated, boxes 162-164

SERIES 11.Phonograph Recordings, 1959- and undated, with recordings possibly dating back to the 1940s, boxes 165-170

SERIES 12.Invitations and Greetings, box 171

SERIES 13.Biographical and Autobiographical Material, Family Photographs, and Notes, circa 1920s-1997 and undated, boxes 172-174

SERIES 14.Oversize, 1952-1971 and undated, box 175 and oversize map case drawers
Biographical / Historical:
Eugene I. Knez was born Eugene Irving Knezevich on May 12, 1916, in Clinton, Indiana, where he graduated from high school in 1935. His mother and father, Ida and Sam Knezevich, were divorced in 1932, and in 1936, his mother married Edward P. Pearson. The family moved to California where Knez enrolled in pre-medical studies at Los Angeles City College. Knez transferred to the University of New Mexico (UNM), but before completing his studies, returned to Indiana to be with his father, who was ill. There, Knez enrolled at Indiana University. Since Indiana University did not offer courses in anthropology, Knez took classes in sociology and psychology so that he could fulfill the requirements of UNM. Upon completion of his course work at Indiana University, UNM awarded Knez a B.A. in 1941.

While attending the University of New Mexico, Knez was primarily interested in the Native American Indian. During the summer of 1939 he was appointed Park Ranger-Historian in the National Park Service at Coolidge, Arizona. When he returned to Indiana to be with his father, Knez found a summer job as an assistant to a psychologist, who was testing inmates at the Indiana State Farm.

Knez was drafted as a private in the United States Army in 1941. He was promoted to sergeant in 1942 and during that same year was selected for Officer's Candidate School. Knez graduated OCS as a second lieutenant. Knez was trained and later moved into personnel classification and assignment sections in various divisions before and during World War II. In 1945, he was promoted to captain while in a combat support unit on Saipan.

At the end of the war Knez was assigned to Korea. This assignment began a pivotal sequence of events in his life. With his background in anthropology, Knez was placed in charge of the Army's Bureau of Culture, National Department of Education, United States Military Government in Korea headquartered in Seoul. His responsibilities included the restoration of cultural and religious activities, including museums. At the Bureau, Knez developed a sensitivity towards Korea and her people in the aftermath of Japanese colonialism. Knez undertook the restoration of Admiral Yi's large inscribed boulder and a Buddhist pagoda that had been partially dismantled by the Japanese. He established The National Museum of Anthropology (which became the National Folk Museum). In 1946 Knez sponsored an expedition to Cheju Island to collect ethnographic artifacts and record music for the Museum. During that year he also received permission to excavate two royal Silla Tombs at Kyonju with staff from the National Museum of Korea (NMK). This was the beginning of an endearing association with Korea and her people, which culminated in Knez receiving the award of The Order of Cultural Merit (gold medal) in 1995 from the Republic of Korea.

Knez was discharged from the United States Army in 1946. From 1947 to 1948, he attended Yale University as a research assistant in anthropology and worked at the Peabody Museum. He then joined the federal government and from 1949 to 1953 Knez served as a Cultural Affairs and Public Affairs officer at the American embassies in Korea and Japan. From 1949 to 1951, Knez was chief of Branch Operations, United States Information Agency, first headquartered in Seoul and then moving from Seoul to Pusan with the invasion by North Korea.

During his assignment in Korea, Knez undertook several major activities that had a profound effect on his life. With the approaching North Korean forces getting ready to invade Seoul for the second time, Kim, Chewon, director of the National Museum of Korea, approached Knez and made a personal request to help save the Museum's treasures. Though Knez was a war time member of the American Embassy he undertook the task without receiving official permission. He coordinated the movement of the Museum and Yi dynasty collections and some of the Museum staff by having them shipped by railroad boxcar from Seoul to Pusan.

During the fighting Knez began his ethnographic material culture research at Sam Jong Dong in the Kimhae region north of Pusan. When it appeared in 1951 that the United Nations was losing the war, Knez received permission to spend two months of his home leave to stay in Korea to continue his research. This study was to continue into the 1990s.

While in Pusan, Knez recommended that two dinners be held to help the morale of Korea's cultural leaders, those who were refugees from Seoul. One dinner was to be for the older generation and the second for younger Korean scholars and members of the cultural community. At the second dinner, Knez met his future bride, Choi, Jiae, a highly regarded Korean actress.

During 1951, Knez was transferred to Tokyo as Policy and Program officer for the United States Information Agency. In 1952 he was assigned as the USIA regional Public Affairs officer in Fukuoka.

In 1953, Knez left the USIA and joined the staff at Hunter College, located in the Bronx, New York, first as a lecturer and then as an instructor. While teaching at Hunter, Knez attended graduate school at Syracuse University. In 1959, he received a Doctor of Social Science Degree in anthropology from the Maxwell School of Citizenship and Public Affairs. Knez's thesis was Sam Jong Dong: A South Korean Village. During the school year 1968-1969, the Maxwell School went from awarding the D.S.Sc. degree to the Ph.D. In 1970, Knez successfully petitioned the School to have his degree changed.

In 1959, Knez was appointed Associate Curator of Anthropology at the Smithsonian Institution. He was given the responsibility for Asian ethnology and was assigned the task of establishing the first permanent Asian exhibitions in two halls at the United States National Museum (later, the National Museum of Natural History). At the time, the Asian collections available for the halls were poor or non-existent. Knez began his first of several field expeditions to augment the Museum's artifact and cultural collections. Almost all of the Asian exhibitions that he planned had to have collections taken directly from the field.

The first permanent exhibition was opened in 1961 and contained information on the South Asian World in Miniature, India and Pakistan. During the year two more exhibitions were completed, documenting India, Pakistan, and Thailand. In 1962, Knez completed fifteen more exhibitions; he completed eight in 1963 and 1964; one in 1965; and one in 1967. The themes for the exhibitions included China, Japan, Iran, Korea, Tibet, Thailand, Malaysia, Cambodia, Laos, Pakistan, India, East Africa, North Africa and the Middle East, Islam, and Buddhism.

From 1963 through 1973, Knez put together additional temporary exhibitions, which included themes on Korea, China, India, Japan, Bhutan, and acquisitions of Hindu and Buddhist sculpture. In 1967, Knez provided the objects and created the documentation for the United States Department of State exhibition honoring the visit of the King and Queen of Thailand. Knez developed an exhibition about Korea, which went on display between 1977 and 1979 and was coordinated by the Smithsonian Institution Traveling Exhibition Service.

Knez retired from the Smithsonian in November 1978 and was appointed Anthropologist Emeritus in 1979. Knez moved to Hawaii and developed ties with the University of Hawaii as a visiting scholar at the Center for Korean Studies. Knez continued his research on the Kimhae region, and in 1993, published his revised, The Modernization of Three Korean Villages, 1951-81: an Illustrated study of a people and their material culture.

May 12, 1916 -- Born

1935 -- Graduated High School

1941 -- Drafted, Private, United States Army B.A., University of New Mexico

1942 -- Officer's Candidate School, 2nd Lieutenant, United States Army

1945 -- Promoted to Captain, United States Army

1945-1946 -- United States Army, In charge, Bureau of Culture, National Department of Education, Seoul, Korea

1946 -- Excavation, National Museum of Korea, Royal Silla Tomb, Kyongju Ethnographic and Geographic Survey, National Folk Museum of Anthropology, Korea, Cheju Island

August 1946 -- Honorable Discharge, United States Army

1947-1948 -- Yale University, Peabody Museum, Research Assistant in Anthropology

1947 -- Study of American Indian Shaker cult, Washington State Museum, Seattle

1949 -- Changed Name from Knezevich to Knez

1949-1951 -- Wartime Center Director, United States Information Service, Pusan, Korea

1951 -- Shipment of National Museum of Korea Collections and Staff from Seoul to Pusan

1951-1952 -- Ethnographic Study of Kimhae Area, Korea, towards a dissertation

1952-1976 -- United States Army Reserve (retired as Full Colonel)

1953-1959 -- Lecturer and Instructor, Hunter College, New York

1959 -- Fellow, American Anthropological Association D.S.S.C. (later, Ph.D.) Syracuse University Anthropologist, Smithsonian Institution

1961-1962 -- Overseas Collecting Trips to Asia

1961 -- First Asian Exhibition Installation

1962 -- Letter of Appreciation, Republic of Korea

1965 -- Smithsonian Special Act (Development of Asian Collections) Award

1966 -- Member of the United States Museums Advisory Delegation Planning Meeting for the Establishment of a Korean National Science Museum Center, Seoul

1970 -- Award, Korean Village Study, Smithsonian Institution, Secretary's Fund

1971 -- Exhibition, A Korean Village: Its Changing Culture, which was later adapted as a traveling exhibition in the United States and Canada

1974 -- Exhibition, Bhutan: The Land of Dragons

1975 -- Invited Participant, Pakistan-Sind Government International Seminar

1977 -- Exhibition, Arms and Armor of Japan

1978 -- Retired, Smithsonian Institution Fellow, The Explorers Club, New York

1979 -- Anthropologist Emeritus, Smithsonian Institution Award, Himalayan Project, Tibetan Buddhism and Its Role in Society and State, National Endowment for the Humanities, which led to a publication by Knez with Franz Michael

1981 -- Award, Fulbright Senior Scholar, Korea, Council for International Exchange of Scholars

1995 -- Presentation of The Order of Culture Merit (Gold Medal), Republic of Korea
Related Materials:
The National Anthropological Archives holds Franz H. Michael and Eugene I. Knez photographs and sound recordings relating to Tibetan Buddhism in northeastern India (NAA.PhotoLot.80-13).
Separated Materials:
The motion picture film was transferred to the Human Studies Film Archives in 2002 (HSFA.2002.09).
Provenance:
Most of the papers were donated to the National Anthropological Archives by Dr. Knez in 1978. There have been additional accretions since then.
Restrictions:
The Eugene Irving Knez papers are open for research.

Access to the Eugene Irving Knez papers requires an appointment.
Rights:
Contact the repository for terms of use.
Topic:
Village life -- Korea  Search this
Language and languages -- Documentation  Search this
Citation:
Eugene Irving Knez papers, National Anthropological Archives, Smithsonian Institution
Identifier:
NAA.1980-22
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw35632d487-40c6-4e14-9b21-bab85debd8dd
EDAN-URL:
ead_collection:sova-naa-1980-22

Robinson and Via Family Papers

Collector:
Robinson, Franklin A., Jr., 1959- (actor)  Search this
Creator:
Quinn, Terry (photographer)  Search this
Conner, Mary Robinson, 1930-2009  Search this
Names:
Capital Transit Company (Washington, D.C.)  Search this
Serenity Farm, Inc.  Search this
Howes, Grace Bourne, ?-1976  Search this
Robinson, Adina Theresa, 1963-  Search this
Robinson, Amanda Baden, 1849-1940  Search this
Robinson, Elizabeth Bourne, 1892-1976  Search this
Robinson, Frank A., 1883-1970  Search this
Robinson, Franklin A., 1841-1905  Search this
Robinson, Franklin A., Sr., 1932-2023  Search this
Robinson, Martha Walls, 1807-1897  Search this
Robinson, Robert David, 1962-  Search this
Robinson, Robert Henry, 1851-1937  Search this
Robinson, Thomas Wells, 1803-1869  Search this
Townshend, Martha Robinson, 1880-1961  Search this
Via, Adina Mae, 1937-1966  Search this
Via, Ida Virginia Woods, 1914-2010  Search this
Via, Robert Delano, 1933-  Search this
Via, Robert Milton, 1906-1983  Search this
Extent:
33 Cubic feet (99 boxes, 3 map-size folders)
Type:
Collection descriptions
Archival materials
Motion pictures (visual works)
Correspondence
Photographs
Postcards
Baby books
Phonograph records
Postcard albums
Ephemera
School yearbooks
Diaries
Albums
Housebooks
Snapshots
Home movies
Family papers
Scrapbooks
Funeral registers
Architectural drawings
Place:
Maryland -- Family farms
Washington (D.C.)
Prince George's County (Md.)
Arizona -- Motion pictures
Benedict (Md.)
Charles County (Md.) -- Family farms
Calvert County (Md.) -- Family farms
California -- Motion pictures
Bahamas -- Motion pictures
Yosemite National Park (Calif.)
Puerto Rico -- Motion pictures
Washington -- motion pictures
Oregon -- Motion pictures
Disneyland (California)
Brandywine (Md.)
St. Thomas, V.I. -- Motion pictures
Florida -- Motion pictures
United States of America -- Maryland -- Carroll County -- Westminster
United States of America -- Maryland -- Carroll County -- Marston
United States of America -- Maryland -- Carroll County -- New Windsor
Date:
1838-2023, undated
bulk 1872-1985
Summary:
Papers documenting the farming and family life of the Robinson family of Prince George's County and after 1975, Charles County, Maryland. Papers documenting the farming and family of the Via family of Greene County, Virginia, Washington, D.C., Prince George's by 1949, and Calvert Counties by 1956, Maryland.
Scope and Contents:
An extensive and comprehensive collection of papers relating to family, farming, and the Southern Maryland tobacco culture, the Robinson and Via Family Papers cover many aspects of family and farm life. The papers are particularly important in regard to the tobacco culture that defined Southern Maryland for generations. The papers concern two distinct family groups, the Robinson and Via families who are connected through the marriage of Franklin A. Robinson and Adina Mae Via. The papers consist of material generated by the Robinson and Via families in their personal and working lives and as farm owners and operators.

The papers are especially strong in 20th century material. They consist of various types of farm records: account books, bills, receipts, tenant farming agreements, ephemera, land rental and purchase agreements, insurance policies, photographs and 8mm and 16mm films of farming practices and procedures, equipment and landscapes, related to the farming of tobacco, small grains, and livestock. The personal records include diaries, letters both personal and business, greeting cards, newspaper clippings, scrapbooks, high school yearbooks, baby books, house plans, recipe books, photographs and 8mm films of birthdays, holidays, weddings, baptisms, family occasions, and family travel, oral histories, and funeral ephemera including photographs, and transcription discs. Of particular interest are the "Serenity Farm Tobacco Production Photographs" documenting the crop year 1999-2000 and the films detailing agricultural practices. There is a memorandum book for Black Walnut Thicket, 1885-1901, the Baden farm in Baden, Prince George's County.

This collection includes a comprehensive range of 8mm and 16mm films and photographs documenting farming practices and landscapes as well as family gatherings, birthdays, holidays, and vacations. The researcher is alerted to the fact that in some cases with the memorandum and account books, books printed for a given year were often saved and used for subsequent years, some were dated, some were not.

The collection is divided into seven series arranged by subject and most often chronologically at folder level within each series.
Arrangement:
The collection is divided into seven series:

Series 1: Ferndale Farm (Potomac Landing), Prince George's County, Maryland, 1861-1973, undated

Subseries 1.1: Farm papers, bill, and receipts, and publications, 1861-1973, undated

Subseries 1.2: Farm papers, bill, and receipts, 1945-1960, undated

Subseries 1.3: Farm papers, bills, and receipts, 1960-1965, undated

Series 2: Robinson Family, 1845-2017, undated

Subseries 2.1: Family Papers and Publications, 1845-1993, undated

Subseries 2.2: Townshend, Martha Robinson, 1896-1961, undated

Subseries 2.3: Robinson, Frank A., 1899-1970, undated

Subseries 2.4: Robinson, Elizabeth Bourne, 1841-1976, undated

Subseries 2.5: Conner, Mary Robinson, 1938-1985, undated

Subseries 2.6: Robinson, Franklin A., 1932-1997, undated

Subseries 2.6.1: Farming, 1948-1976, undated

Subseries 2.6.2: Financial, 1948-1988, undated

Subseries 2.6.3: 4-H and Future Farmers of America (FFA), 1945-1954, undated

Subseries 2.6.4: Travel, 1959-1970, undated

Subseries 2.7: Robinson, Jr., Franklin A., 1959-2001, undated

Series 3: Serenity Farm, Charles County, Maryland, 1962-2000, undated

Series 4: Via Farm, Calvert County, Maryland, 1954-1987, undated

Series 5: Via Family, 1932-2010, undated

Subseries 5.1: Family papers, 1941-1983, undated

Subseries 5.2: Via, Robert M., 1933-1987, undated

Subseries 5.3: Via, Ida Virginia, 1928-2010, undated

Subseries 5.4: Via, Robert D., 1933-1988, undated

Subseries 5.5: Robinson, Adina Via, 1937-1966, undated

Series 6: Photographs, Photographic Slides, and Photographic Negatives, 1860-2000, undated

Subseries 6.1: Photographs, 1872-2000, undated

Subseries 6.2: Photographic negatives, 1927--2000, undated

Subseries 6.3: Photographic Slides, 1955-1979, undated

Series 7: AudioVisual, 1943-1988
Biographical / Historical:
Robinson Family

The Robinson family is thought to be of Scottish origin and appear in the records of Prince George's County, Maryland by the early 18th century. The line has been definitively traced to James Robinson (?-1849). James' father was probably Benjamin Robinson (?-1810), of Prince George's County, Maryland. (Will Book TT1, pg. 15, Records of Prince George's County, Maryland, Maryland State Archives (MSA))

James Robinson and Sarah Wynn were issued a marriage license on February 28, 1802 in Prince George's County, Maryland. (Marriage Records of Prince George's County, Maryland) Eleven children lived to maturity (not listed in birth order); Thomas Wells (1803-1869), Ann, Priscilla, James Monroe, Benjamin (1813-1882), John C. (1819-1895), Mary Sophia, Thomas Stanley (1800-1874), Alfred, Sarah Ann, Matilda, and Rebecca Maria.

James worked as a farm manager for Benjamin Oden near Upper Marlborough, Prince George's County. (Oden Papers, Maryland Historical Society) The Robinsons and their children, moved to Wood County, Virginia (now West Virginia) by April 18, 1818 where James acted as Oden's land agent (Deed Book 6, pg. 123, Land Records of Wood County, West Virginia). They brought with them three enslaved described in the above reference as, "Kate a woman 45 years of age very black; Colonel a boy aged 8 years yellow complexion: and George a boy aged six years of a dark brown complexion." They settled on part of what was known as the "Burnt Mill" tract in the general area where the Hughes River meets the Little Kanawha River. (Deed Book 9, pg. 110 and Deed Book 14, pg. 40, Land Records of Wood County)

Thomas Wells Robinson may not have accompanied his family to Virginia as he has a presence in Prince George's County prior to 1822 and was employed as a farm manager for Benjamin Oden at least until 1832. He married Elizabeth J. Richards on December 15, 1829 (Robinson Family Bible). They had nine children; Richard Thomas (1831 1906), Rebecca Maria (1832-1895), Mary Wynn (1834-1916), James George (1835-1883), Virlinda Victoria (1837-1838), Elizabeth Ann (1839-1916), Sarah Ann Sophia (1840-1874), Franklin Alexander (1841-1905) and John Alfred (1843); seven lived to maturity. (Robinson Family Bible) Elizabeth died on August 17, 1843 from complications in childbirth. She was buried in the graveyard of Page's Chapel (later known as St. Thomas Episcopal Church), Croom, Prince George's County. In 1843, Thomas purchased the plantation of Dr. Benjamin B. Hodges for $10,000 or approximately $15 an acre. Hodges was a brother-in-law of Benjamin Oden. The deed dated September 7, 1843 describes the parcel as containing, "Six hundred and twenty nine acres of land more or less and constitute that plantation or Estate of the said Benjamin Oden heretofore commonly called "Brown's Quarter Place" being the Land tracts and parcels of land sold by the said Benjamin Oden to the said Benjamin B. Hodges and by deed bearing date the tenth day of December eighteen hundred and thirty five and recorded in Liber AB no. 10 folio 162 also one of the land Records of the County aforesaid". (JBB no. 3 pgs. 312 314, Land Records of Prince George's County) The land was level to rolling bordered on the north by a tributary of Piscataway Creek and generally termed "white oak land". Underlying the whole property was a large strata of gravel and sand. The entire parcel went by the name, Potomac Landing.

Thomas supplemented his land holdings with later purchases. With the exception of twenty acres purchased from Sarah Talbert in 1844, (JBB no. 3 pg. 475, Land Records of Prince George's County) and the purchase of lot #3 consisting of 195 acres, part of the estate of John Townshend in 1856, these purchases were not contiguous to Potomac Landing. By the time of his death in 1869 these non-contiguous parcels had been sold. Thomas sold eighty-six acres of Potomac Landing and Jeffries to Edward Eversfield in October of 1843. (JBB no. 3, pg. 198, Land Records of Prince George's County) On January 13, 1846 Thomas married the widow Martha Ann Walls, daughter of George and Martha Naylor Walls. They had two sons; Benjamin Wells (1848-1849) and Robert Henry (1851-1937).

In addition to his sons, Thomas owned enslaved. The number varied from six in 1849 (JBB 6, folio 186, Land Records of Prince Georges' County) to eleven as noted in the census for 1850, and finally six as noted in the census of 1860. The 1867 Maryland Slave Statistics noted that, "at the time of the adoption of the Constitution of Maryland, in the year 1864, . . ." Thomas owned six enslaved, their names and ages being; Isaac Franklin age 31, Alfred West age 19, Susan West age 17, Margaret Franklin age 14, Fannie Franklin age 12, and Peter Franklin age 9. All were noted as being in good physical condition. (Prince Georges' County Slave Statistics 1867 1869, C 1307 1, MdHR:6198, page 185, MSA)

Thomas's financial problems began in the mid-1800s when Deeds of Trust appear in the county records securing outstanding loans. In 1856 and 1857 Thomas joined with others as bondsman for his son, Richard who was serving as "Collector of the State and County Taxes" for the 4th collection district, making he and the other signatories liable for any uncollected taxes. This, coupled with poor investments, led to his almost being "sold out" in 1859-1860 by J.W. & E. Reynolds of Baltimore to pay his debts. He executed three drafts on Penn & Mitchell, also of Baltimore, to pay off J.W. & E. Reynolds. (Equity Case #597, Prince Georges' County) Thomas was in poor health and his son James managed the farm in 1857 and 1858, and again from 1861 to October of 1862 (Equity Case #873, Prince Georges' County)

In October of 1862 Thomas' two sons, James and Franklin, traveled to Richmond to join the Confederate States Army. James enrolled in the 5th Battalion, Local Defense Arsenal and Franklin enrolled in the 5th Virginia Infantry, the Stonewall Brigade. (CSA Military Records, National Archives) James visited home frequently but was captured by the Union Army in St. Mary's County, Maryland on May 15, 1864 and spent the remainder of the war in Point Lookout Prison Camp. He was released on May 14, 1865. Franklin was not able to visit home at all during the war but survived to return home in 1865. In 1865, Thomas surveyed a parcel of 172 acres for his daughter Rebecca Maria. Rebecca had married her second cousin, William B. Robertson, on November 18, 1855. He made a gift of fifty acres, and Rebecca agreed to purchase the remainder. The Robertsons named this parcel Holly Grove. In Equity Case #849 (1872) filed after Thomas' death, his widow Martha and Samuel H. Berry, as executrix and executor, sought to recover payment for this land. At that time, William B. Robertson described this 172 acres of Potomac Landing: "There was no fences on the line which separated this land from the old gentleman's land, but he was to put a fence on it which he agreed to do before we agreed to come there. The land was thin, unimproved, with gullies and scrubby pine. If witness had been a judge of land he would not have given five dollars for it. All the improvements were one comfortable quarter the other indifferent with a poor oak shingle roof, worn out which made it not tenantable." Further along in his testimony, William gave an account of a conversation, "In a few days my father in law Thos. W. Robinson came to Washington and told me there his children had returned from the South, his two sons, that his debts were small and he was a happy man." Rebecca and William built a house on the property, a side-hall, double parlor plan that most likely her brother James was builder. They also built accompanying farm structures. (Records of Prince George's County, Maryland, Equity Case #849, MSA)

Thomas' son, Franklin, managed the farm after the War. In December 1868 Thomas entered into a sharecropping agreement with Edward Hanson, an African-American. After about a year-long illness, on May 16, 1869, Thomas died, deeply in debt. He was buried beside Elizabeth in the graveyard at St. Thomas' Church. He named as executrix his wife, Martha, and his friend and lawyer, Samuel H. Berry, as executor. His will divided the farm into thirds, one third going to his wife and their son Robert Henry, one third to his son James, and one third to his son Franklin. The land was surveyed according to the will. His personal property was sold but not enough profit was realized to pay off his creditors. The Commissioners of Prince George's County sued the estate on behalf of Thomas' creditors. The outcome was that in 1876 the property was sold at public auction. The Notice of Sale dated September 1, 1876 in the local county newspaper, The Prince Georgian, describes the farm as, "containing 514 2/3 acres More or less. The Improvements consist of a SMALL DWELLING, Three Barns, Stabling, and other necessary outbuildings. It is well wooded and watered, and the soil of fair quality. It has recently been divided into three lots and will be offered in lots, a description of which will be given at the time of sale." The sale was held on September 27, 1876, Lot No. 1 was purchased by Robert for $6.00 an acre, Lot #2 was purchased by Franklin for $5.00 an acre and Lot #3 was purchased by James for $4.00 per acre. Robert and Franklin eventually paid off their mortgage, but James defaulted on his purchase and later moved to St. Mary's County, Maryland. His portion later came to be owned by the Hawkins family, some members who had worked on the Robinson farm. (Equity Case #873, Prince Georges' County, MSA)

Lot #1, purchased by Robert from his fathers' estate, consisted of 177-1/3 acres, including the dwelling and farm buildings. On July 24, 1872, he married Amanda Malvina Baden (1849-1940), daughter of Robert W. G. and Margaret Caroline Early Baden. The Baden and Early families were both prominent south county families. Robert and Amanda had eight children; Caroline Early (1873 1967), Lucy Tennent (1875 1958), Albert Henry (1878 1914), Martha Perry (1880 1961), Robert Gover (1882 1882), Frank Alexander (1883 1970), Margaret Baden (1886 1956) and Grace Malvina (1889 1965).

By 1880 Robert had paid off his debt on the property and was fully engaged in farming. Unlike his father, or perhaps because of his father, Robert did not add to his land holdings, choosing to remain relatively debt free for his lifetime. The only land transactions he participated in were the sales of 79-3/4 acres in 1921 of Amanda's inheritance from her father and her interest in two smaller parcels of her father's land sold in 1894 and 1928 respectively. In 1928 he transferred 3.09 acres to his son Frank.

As late as the Federal census of 1880, Franklin was living with Robert and his household, both men engaged in farming. Sometime after 1880, Franklin took up residence on his part of Potomac Landing. His brother James most likely built the side-hall double parlor house that copied the main house at Potomac Landing. On February 18, 1897, Martha Robinson, died at the age of ninety. She was buried in the graveyyard of St. Paul's Episcopal Church, Baden, Prince George's County. Robert continued cultivation of tobacco and small grains as his father before him. The first reference to the farm being named Ferndale is found in the "Communion Record" of Robert's daughter, Martha Perry "Pattie", dated 1896. (Robinson and Via Family Papers) The exact origin or reason for this new name is lost but perhaps the name Potomac Landing held such bitter memories of debt and hardship that, as a symbolic break with the past, a new name was found. It also may have simply been a way to distinguish this portion of Potomac Landing from the others. The farm continued to be listed on tax bills as Potomac Landing well into the 20th century, but was known to the general public and businesses as the Ferndale Farm. (Robinson and Via Family Papers)

Robert served as deputy inspector at the State Tobacco Warehouse in Baltimore for eight years under W.B. Bowie. He also served on the Board of Directors of the Bank of Brandywine. In July of 1905, Franklin died, a bachelor farmer. He was buried facing south in the graveyard of the Church of the Atonement, Cheltenham, (a chapel in St. Thomas' Episcopal Parish) where he had served as vestryman, treasurer, and cemetery custodian. Franklin died intestate and a lengthy process of dividing his estate began. This resulted in the sale of his part of Potomac Landing (Lot #2) in July 1908 to William E. Boswell. The court declared Robert ineligible for any inheritance due to his being " . . . a brother of the half blood." The Boswell family later sold the property to the Billingsley family of St. Mary's County. (Equity Case 3209, Prince George's County)

In 1910, after living in the farm's original home for approximately sixty seven years, the Robinson family built a new home. It was described in a 1956 insurance policy as, "2 story, frame, metal roof, 16x43, wing 14x28, 9 rooms." (Robinson and Via Family Papers) The house design was a simple Victorian with plastered walls, and lit by carbide gas. Electrical lighting was installed in 1951. The house was built with monies from Robert and Amanda, and their son Frank, who served as builder and contractor.

On Tuesday March 9, 1937, "During a celebration in honor of his wifes birthday anniversary, Mr. Robinson collapsed at the table and died immediately without a word or a sigh." (Robinson and Via Family Papers) Robert was buried beside his mother in the cemetery at St. Paul's Episcopal Church, Baden.

At Robert's death, Ferndale Farm was valued at $30.00 an acre, the total acreage, 174 acres, being valued in the whole at $5,220.00. Robert died intestate, again the fate of the land was in question. He left eight heirs, his widow, Amanda, six of his children and his son Albert Henry's only surviving child, R. Henry Robinson. Rather than have the farm sold and his mother's life disrupted, Frank purchased the estate and personal property from the heirs. Before this could take place, a deed had to be granted the heirs for the property since one had never been recorded after the 1876 sale. Equity case 873 was reopened sixty-two years after its supposed resolution. Frank testified, "over a period of about thirty years I would on a number of occasions, talk about the fact that he had purchased and paid for this property and that a deed had never been executed to him and [he] kept saying he was going to have someone straighten this matter out for him." It was discovered that Robert had fully paid for his part of Potomac Landing. On February 14, 1938 the farm was deeded from Amanda along with Robert''s heirs to Frank. (Book 499, page 334, Land Records of Prince George's County) According to the deed and a 1937 fire insurance policy the farm consisted of 177 1/3 acres, "1 two story dwelling, one tenant house, 1 barrack, 1 tobacco barn, 1 corn house & cow stable, 1 Stable, and 1 Granary & Stable." (Robinson and Via Family Papers)

Frank A. Robinson, now the sole owner of Ferndale Farm, was born August 17, 1883. He learned farming and in addition took up the trade of builder and contractor. As a young man, he worked in the general store of his uncle Robert Baden. He was the contractor for the first Bank of Brandywine and many homes in and around the town of Brandywine, including the home of his cousin Robert E. Baden, DDS. He was secretary of the Building Committee for construction of the Chapel of the Incarnation in Brandywine, a mission chapel for St. Thomas' Episcopal Parish. His success in the building trade gave him disposable income that he invested in land. His first purchase was in August, 1915 of a 2-9/100 acre of land in Brandywine that was being sold by the Board of County School Commissioners; the purchase price was $300. In March 1916 he purchased 38.09 acres of his Uncle Franklin's farm. This property adjoined Ferndale Farm. Over the next fifty-four years of his life, Frank bought and sold many pieces of real estate. Perhaps his most significant purchases were: 18-1/3 acres purchased from The German American Colonization Land Company of Maryland in October 1915 (Book 115, pg. 140, Land Records of Prince George's County); 147.99 acres purchased from August and Wilhelmina Noltensmeir in December 1917 (Book 129, pg. 263, Land Records of Prince George's County) and 320 acres called the Vineyard purchased from William M. Wilson in March 1928. Frank used these three parcels as collateral for other purchases. Never once did he mortgage Ferndale Farm, insuring that no matter what financial stormy seas might blow, his home was secure. Over the course of his life, especially in the case of the Noltensmeir farm, when cash was needed a parcel of land would be surveyed off and sold. He inherited his grandfather Thomas' love of land but had fortunately developed a shrewd business sense to go along with it.

On November 20, 1929, he married Elizabeth Freeland Bourne, daughter of Joseph Blake and Maria Gantt Bourne of Calvert County, Maryland. They had three children: Mary Elizabeth (1930-2009), Franklin Alexander (1932-2023), and Robert Lee (1935-1997). In addition to his construction business he continued farming, raising tobacco, hay, and small grains. He engaged in sharecropping with tenants on his various properties. He was active in community affairs serving on the Board of The Maryland Tobacco Growers Association (MTGA), the Vestry of St. Thomas Parish, and as sheriff of Brandywine. On January 9, 1940 Amanda Baden Robinson died. She was buried next to her husband at St. Paul's Episcopal Church, Baden. In February 1958, Frank and Elizabeth conveyed 1.57 acres of Ferndale Farm to son Franklin where he and his fiancée, Adina M. Via, were building their new home prior to their marriage in July of that same year.

The booming economy and suburbanization of the Washington metropolitan area in the early 1960's led to the high quality gravel lying beneath Ferndale into becoming a valuable commodity. In October 1962, Franklin and his parents granted a three-year lease to William C. Nolte for mining sand and gravel on the Ferndale Farm at .174 per yard. (Book 2747, pg. 11, Land Records of Prince George's County) From now until 1975 when the property was sold, gravel would be mined from under the farm by various companies. In November 1962, Elizabeth and Frank transferred to Franklin the 38.09 acres Frank had purchased from Fitzhugh Billingsley in 1916. (Book 2754, pg. 99, Land Records of Prince George's County) That same year they transferred 6.754 acres, part of the Vineyard, to son Robert and his wife Lois, (Book 2765, pg. 201, Land Records of Prince George's County)

On December 28, 1965, Frank and Elizabeth participated in a land exchange/purchase of the farm of Ralph W. and Cordelia H. Brown located along the Patuxent River in Benedict, Charles County, Maryland. Franklin had rented this farm the year before and was impressed enough by its location and arability to work out a purchase. Frank and Elizabeth traded 65.9920 acres that would eventually become Franklin's under Frank's will. On February 21, 1966 they deeded the Charles County farm to Franklin and Adina. Adina named this property Serenity Farm. The property consisted of 480.66 acres. (Liber 179, page 708 etc., Land Records of Charles County)

On February 5, 1970, after a short illness, Frank died at Cafritz Memorial Hospital. He was buried at St. Paul's Episcopal Church near his parents. In his will, probated March 4, 1970 he left thirty acres of the property purchased from the German American Land Company and A. Noltensmeir to Elizabeth. He willed forty acres of the same parcel to daughter Mary Robinson Conner. The remainder of Ferndale Farm was willed to Franklin and the remaining acreage of the Vineyard was left to Robert Lee. Franklin Alexander Robinson was born August 13, 1932 at the Garfield Hospital in Washington, D.C.. He received his schooling in the public school system of Prince George's County, graduating from Gwynn Park High School in June 1951. He was a charter member of Gwynn Park's chapter of The Future Farmers of America. He was extremely active in FFA, achieving the Degree of Maryland Farmer in 1950 and their highest award, the Degree of American Farmer at their convention in Kansas City, Missouri in October 1953. He obtained his private pilots license in 1954. He entered the United States Army in February 1955 and went through basic training at Camp Gordon, Augusta, Georgia. After basic training he was transferred to Camp Hanford, Washington State. There he worked part time on the farm of Dick and Theresa Laurent during his off duty hours and began a lifelong friendship with them. He returned home to farming on an agricultural discharge in October of 1956. On July 27, 1958 he married his high school sweetheart, Adina Mae Via, daughter of Robert Milton and Virginia Woods Via. They had three children: Franklin Alexander (1959), Robert David (1962), and Adina Theresa (1963).

Franklin continued expanding and improving the farming operation by modern methods and means. At times, he farmed over one thousand acres, both owned and rented. On February 21, 1966, his parents deeded their purchase of the Ralph W. and Cordelia H. Brown farm in Benedict to he and Adina, later known as Serenity Farm Franklin and Adina engaged an architect to draft house plans for an anticipated new residence. A small A frame vacation home was built on the property so the family could spend weekends there.

On December 14, 1966, after a long illness, Adina died from complications associated with Hodgkin's Disease. She was buried in Trinity Memorial Gardens, Waldorf, Charles County. Franklin married Margaret Walker Lennox (nee Tallen, known as Rita) on August 21, 1970 (Marriage Records of Prince George's County, Maryland). This marriage ended in divorce in 1977. There were no children from this marriage.

On July 14, 1975 the Robinson family, Franklin, his second wife, Margaret, her daughter Margaret W. Lennox, Franklin, Jr., R. David, A. Theresa and Elizabeth B. Robinson, moved to Serenity Farm. On July 17, 1975 Franklin and Elizabeth sold the remaining acreage of Ferndale Farm to Brandywine Sand and Gravel, thus ending 131 years of ownership by the Robinson family. Elizabeth Bourne Robinson died on July 15, 1976 and was buried beside her husband at St. Paul's Church, Baden. Franklin married Hiltrud (Ceddie) Harris (nee Sedlacek) on July 15, 1978. (Robinson Family Bible) This marriage ended in divorce in 1986. There were no children from this marriage. Franklin married Diedre Gale Merhiage on April 19, 1989; this marriage ended in divorce in 1997. There were no children from this marriage. He married Remelda Henega Buenavista on January 13, 2007.

The Robinson family continue day-to-day operations of Serenity Farm. The land is well suited to the growing of tobacco and small grains, which crops, (with the exception of tobacco) along with a flock of sheep, are cultivated there to the present time. After the crop year 2001 the Robinson family took the tobacco buyout program offered by the state of Maryland and ceased growing tobacco. Franklin is active in farming and community affairs having served on the vestry of St. Thomas Episcopal Parish, the Board of Directors of the Maryland Tobacco Growers Association (MTGA), the Board of the Production Credit Association, the Boards of three schools, Holy Trinity Day School, Queen Anne School, and Calverton School, and numerous other organizations. Currently the farm consists of approximately 275 acres. In 1981 a state agricultural land preservation district of 222.755 acres was created. This was the first such district in Charles County and one of the first in the state of Maryland.

Via Family

The Via family traces its origins to the colony of Virginia, where the probable progenitor of the line, Amer Via, a French Huguenot, settled in Manakin Town, Albemarle County between 1670-1700. It is impossible to trace the Via line definitively due to the loss of Virginia county records during the Civil War.

The Via family line covered in this collection can be definitively traced to William Via of Fredericksville Parish, Louisa (later Albemarle) County, Virginia. The William Via family lived west of the present day town of Whitehall at the base of the Blue Ridge Mountains, an area commonly known as Sugar Hollow. William Via III served in the Virginia Line during the Revolutionary War. He married Mary Craig, daughter of Thomas Craig and Jane Jameson, on March 17, 1784. William died on June 27, 1836, in Albemarle County (Rev. War Pension Appl. 6363, National Archives). His son Thomas married Sally, widow Griffin, on January 1, 1811 (Albemarle County Marriage Records). Their son, Hiram Karl Via (1812-1893), married Harriet Ardenia Naylor by license dated March 7, 1836 (Albemarle County Marriage Records).

Hiram and Harriet's son, Robert St. Clair Via (1844-1925), served as a private in Company I, 7th Virginia Infantry of the Confederate States Army (CSA Military Service Records, National Archives). After the war he married his first cousin, Mary Frances Naylor, daughter of Samuel Chapman Naylor and Eliza Jane Gardner, on April 3, 1866 in Rockingham County (Rockingham County, Virginia, Marriage Records). Sometime between 1870 and 1872, they moved to Linn County, Missouri, and settled about seven miles from the town of Bucklin. Their son, Hiram Chapman Via (1872-1933), was born there. In 1893, the family returned to Virginia, and settled on a farm in Greene County near the town of Stanardsville.

Hiram Chapman Via operated a mill as well as a farm. On March 15, 1899, he married Adina Eleanor Eusebia Runkle, daughter of Milton D. L. Runkle and Roberta A. Beadles (Greene County, Virginia, Marriage Records). They had three children: Bernice Olive (1902-1999), Robert Milton (1906-1983), and Deward Daniel (1909-1977).

Robert moved to Washington, D.C.. In December 1927 he began employment with the Capitol Traction Company as a streetcar conductor (Robinson and Via Family Papers). During the early 1930s, Robert rented a townhouse at 715 A St., SE, where he lived with his sister Bernice V. McMullan and her son, William C. McMullan; his brother and sister in law, and his parents. Next door, at 717, lived the Moses Albright family, including Moses's stepdaughter Ida Virginia Woods (1914-2010), daughter of Jesse Lee Woods (1894-1918) and Donna Mae Barker (1896-1928) of Frederick County, Maryland. Robert and Virginia began a courtship and on September 3, 1932 were married in Frederick, Frederick County, Maryland (Frederick County, Maryland, Marriage Records).

After their marriage, Robert and Virginia lived in various locations in the Washington metropolitan area. Their first child, Robert Delano, was born on March 24, 1933, and their second child, Adina Mae, was born on April 12, 1937. Virginia was employed outside the home while her children were in school. Her first job before her marriage had been with Woolworth's in Martinsburg, WV working the candy counter and then before the birth of her son at The Hecht Company on F St. in Washington, D.C.. After her marriage she worked briefly for the United States Postal Service in Capitol Heights, Maryland. Beginning in the 1950s, she worked first at the Hecht Company department store on 7th Street in the District and later for Charles of the Ritz as a receptionist in their beauty salon located in Woodward & Lothrop's F Street store in Washington, D.C.. She also worked as salon manager at the Charles of the Ritz salons in the Woodward & Lothrop stores in Seven Corners, Virginia, and Chevy Chase, Maryland. She retired due to health reasons in 1973.

On September 10, 1941, Robert and Virginia purchased Lot #43 in Woodlane subdivision in Prince George's County. (Book 619, pg. 12, Land Records of Prince George's County) A house was designed for them for this lot by Clyde E. Phillips. They did not construct a home on this property due to the outbreak of World War II. Robert, due to his employment in public transportation, did not serve with the Armed Services in World War II. On October 18, 1946, they purchased approximately thirty acres bordering on Burch's Creek near the towns of Clinton, also know as Surrattsville, and T.B. in Prince George's County from Joseph H. and M. Pauline Blandford. (Book 873, pg. 483, Land Records of Prince George's County) Over the next three years, hiring private contractors, doing work themselves, and with the help of Robert's brother Deward, they built the two story house designed by Phillips in 1941. They moved to the farm from Capitol Heights in 1949. Robert raised hogs, small grains and a crop of tobacco yearly on this farm and also maintained his job with Capitol Transit (formerly Capitol Traction). In 1954, Robert and Virginia purchased a farm of approximately 150 acres in Island Creek, Calvert County, Maryland. The intention was for Robert and his son to enter into a full time farming operation on expanded acreage. Robert D. Via, known as Delano, graduated from Gwynn Park High School in June 1951. Delano was a part-time farmer and pursued a career as a country and western singer with Bashful Bob and the Rhythm Rangers, he being Bashful Bob. He was employed in various jobs, and began a tour in the Army in 1953. By the time the Via family moved to Calvert County in 1956, he decided to pursue careers other than farming. He eventually traveled and worked in various parts of the United States. He married first Delores Cooper, second Gloria J. Irick, and finally Candice Marinelli in December 1974, they had two children, Robert Marin (1975) and Kirstin Marin (1976).

On June 1, 1956 Robert resigned from his position at Capitol Transit due to health reasons. He and his family moved to the farm in Island Creek, Calvert County where he began full time farming. He and Virginia sold the thirty-acre farm in Prince George's County on June 21, 1956 to Melvin C. and Geraldine H. Rardia. (Book 2003, pg. 564, Land Records of Prince George's County) Virginia continued her employment with Charles of the Ritz. Adina, now a graduate of Gwynn Park High School, was employed by the USAF at Andrews Air Force Base in Camp Springs, Maryland. They both commuted daily from Calvert County to their places of employment.

Robert farmed in Calvert County, raising hogs, cattle, small grains and tobacco. Over the course of the next twenty-seven years, Robert and Virginia sold smaller parcels off the farm. In 1974, Robert and Virginia built a small retirement home designed for them by Calvert Masonry Contractors. Robert died on December 22, 1983. He was buried beside his daughter Adina in Trinity Memorial Gardens. At the time of Robert's death, the farm consisted of 28.694 acres. In 1998, Virginia deeded the remainder of the farm, then less than six acres, to her grandson, Franklin A. Robinson, Jr. who sold all but a one-acre lot in April 1999.

Virginia continued to live on the farm in Calvert County, maintaining a small herd of cattle. In the fall of 1989 Franklin, Jr. went to live with her. In 1993, the onset of Alzheimer's Disease required her to move to Serenity Farm and take up residence with her granddaughter A. Theresa. Virginia participated in various studies on Alzheimer's Disease conducted by the National Institutes of Health, Bethesda, Maryland beginning in 1992. She was profiled in the September 1997 issue of Washingtonian Magazine. In October of 1998 she moved to All American Senior Care in Brandywine, Maryland and in 1999 she moved to Morningside, an elderly care facility in Waldorf, Maryland. In 2002, she moved to St. Mary's Nursing Center in Leonardtown, Maryland. The remainder of the farm was sold in 1999 and 2002. She died January 14, 2010 and was buried at Trinity Memorial Gardens in Waldorf.

Adina Mae Via was born April 12, 1937 at the Homeopathic Hospital in Washington, D.C.. Adina grew up in Washington, D.C. attending public schools. She moved with her family to the Burch's Creek farm, Prince George's County, in 1949. She enrolled in the Prince George's County school system, and graduated from Gwynn Park High School in June of 1955. After graduation, she was employed by the USAF at Andrews Air Force Base in Camp Springs.

In July of 1956, she moved with her family to the Via farm in Island Creek, Calvert County. On July 27, 1958 she married Franklin A. Robinson at the Chapel of the Incarnation. They had three children: Franklin Alexander (1959), Robert David (1962) and Adina Theresa (1963). In the fall of 1958, she and Franklin took up residence in the home they had built on Ferndale Farm. She resigned from her position with the USAF in 1959.

On December 14, 1966, at Providence Hospital in Washington, DC, Adina died from complications due to Hodgkin's Disease. She had been battling this disease for many years prior to her death. She was buried in Trinity Memorial Gardens, Charles County.
Related Materials:
Materials at Other Organizations

The Maryland Center for History and Culture holds items (costume, farming related implements) related to the Robinson and Via families.

The Maryland State Archives (MSA) Special Collections holds the Robinson and Conner Family Papers, MSA SC 6402.
Separated Materials:
Materials at the National Museum of American History

The Division of Work and Industry (Agriculture Collection) holds agricultural implements and artifacts associated with both the Robinson farms and the Via farm; the Division of Home and Community Life holds clothing, textiles (crib quilt), jewelry, cosmetics and Adina M. Robinson's sewing box and dress patterns; (Costume and Textiles Collection). See accession numbers: 1989.0688, 1990.0394, 1991.0010; 1991.0722, 1992.0184, 1992.0283, 1992.0321, 1992.0474, 1992.3106, 1994.0064, 1994.0304, 1997.0327, 1998.0038, 1998.0129, 2001.0196, 2002.0087, 2003.0015, 2005.0009.

Division of Armed Forces History (now Division of Olitical and Military History, National Numismatics Collection) holds the Robert M. Via Trolley Token Collection.
Provenance:
The collection was donated to the National Museum of American History, Archives Center, by Franklin A. Robinson, Jr., in November 1993.
Restrictions:
Collection is open for research but negatives and audiovisuial materials are stored off-site and special arrangements must be made to work with it. Some papers of living persons are restricted. Access to restricted portions may be arranged by request to the donor. Gloves required for unprotected photographs. Viewing film portions of the collection and listening to LP recording requires special appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
The Archives Center does not own exclusive rights to these materials. Copyright for all materials is retained by the donor, Franklin A. Robinson, Jr.; permission for commercial use and/or publication may be requested from the donor through the Archives Center. Military Records for Franklin A. Robinson (b. 1932) and correspondence from Richard I. Damalouji (1961-2014) are restricted; written permission is needed to research these files. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Farms -- Maryland  Search this
Holidays  Search this
Amusement parks -- California  Search this
Children's parties  Search this
Rural women  Search this
Sheep ranches  Search this
Parks -- California  Search this
Rural families  Search this
Tobacco -- Harvesting  Search this
Tobacco -- Storage  Search this
Street-railroads  Search this
Street-railroads -- Employees  Search this
Travel  Search this
Urban transportation  Search this
Work and family  Search this
Tobacco curing  Search this
Women in agriculture  Search this
Farm equipment  Search this
Farm buildings  Search this
Family recreation  Search this
Family festivals  Search this
Farm ownership  Search this
Farm life -- 20th century  Search this
Farm management  Search this
Illiterate persons  Search this
Christmas  Search this
Soldiers  Search this
Students  Search this
Family -- 20th century  Search this
Family farms  Search this
Easter  Search this
Electric railroads  Search this
Acting -- 1980-2000  Search this
Amateur films  Search this
Agricultural machinery  Search this
Agriculture -- 20th century -- Maryland  Search this
Tobacco farmers  Search this
Housewives -- United States  Search this
Weddings  Search this
Farmers  Search this
Dairy farms  Search this
Genre/Form:
Motion pictures (visual works)
Correspondence -- 1930-1950
Photographs -- 20th century
Postcards
Baby books
Phonograph records
Postcard albums
Ephemera
School yearbooks
Diaries
Albums
Housebooks
Photographs -- 19th century
Snapshots
Home movies
Family papers
Scrapbooks
Funeral registers
Architectural drawings
Citation:
The Robinson and Via Family Papers, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.0475
See more items in:
Robinson and Via Family Papers
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep86b1972cf-a789-45ec-8f3e-fb780d43456d
EDAN-URL:
ead_collection:sova-nmah-ac-0475
Online Media:

[Robinson and Via family travel]

Collection Collector:
Robinson, Franklin A., Jr., 1959- (actor)  Search this
Collection Creator:
Quinn, Terry (photographer)  Search this
Extent:
1 Motion picture film (Duration: 22 minutes, 30 seconds, A compilation reel of smaller reels., Camera original; 8mm; Kodacrome reversal)
Container:
Box 26, Item OF475.12, Item See RV475.9
Type:
Archival materials
Motion picture films
Date:
1970-1979
Scope and Contents:
1. Tonto Park and Roosevelt Lake, Arizona, 1970

Persons: Franklin A. Robinson, Jr. and Sr., Robert D. Robinson, A. Theresa Robinson, Margaret T. Lennox, Margaret W. Lennox

Cinematographer: Franklin Robinson, Sr.

2. Disneyland, Anaheim, California, August 1970

Persons: Franklin A. Robinson, Jr. and Sr., Robert D. Robinson, A. Theresa Robinson, Margaret T. Lennox, Margaret W. Lennox

Cinematographer: Franklin Robinson, Sr.

3. Puerto Rico and St. Thomas, Virgin Islands, April 1971

Persons: Franklin A. Robinson, Sr. and Margaret W. Robinson

Cinematographer: Franklin Robinson, Sr., Margaret W. Robinson

4. Via trip to California; Emily Abbott, Glendale, California, December-January,1979-1980 (reel 1)

Persons: Robert M. Via, Ida Virginia Via, Emily Abbott

Cinematographer: Franklin Robinson, Jr.

5. Via trip to California; Emily Abbott, Glendale, California, December-January,1979-1980 (reel 2)

Persons: Robert M. Via, Ida Virginia Via, Emily Abbott

Cinematographer: Franklin Robinson, Jr.
Collection Restrictions:
Collection is open for research but negatives and audiovisuial materials are stored off-site and special arrangements must be made to work with it. Some papers of living persons are restricted. Access to restricted portions may be arranged by request to the donor. Gloves required for unprotected photographs. Viewing film portions of the collection and listening to LP recording requires special appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
The Archives Center does not own exclusive rights to these materials. Copyright for all materials is retained by the donor, Franklin A. Robinson, Jr.; permission for commercial use and/or publication may be requested from the donor through the Archives Center. Military Records for Franklin A. Robinson (b. 1932) and correspondence from Richard I. Damalouji (1961-2014) are restricted; written permission is needed to research these files. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
The Robinson and Via Family Papers, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Robinson and Via Family Papers
Robinson and Via Family Papers / Series 7: Audiovisual / 7.2: Travel
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8aca245c5-4683-4939-90fd-942b76c5efd5
EDAN-URL:
ead_component:sova-nmah-ac-0475-ref370

Esta Nesbitt papers

Topic:
Everyman (motion picture)
Creator:
Nesbitt, Esta  Search this
Names:
Parsons School of Design -- Faculty  Search this
Whitney Museum of American Art  Search this
Xerox Corporation  Search this
Ambert, Anibal  Search this
Beckett, Samuel, 1906-1989  Search this
Einstein, Albert, 1879-1955  Search this
English, Merle  Search this
Ginsberg, Allen, 1926-1997  Search this
Leder, Alan J.  Search this
Lyle, David  Search this
Wood, R. F.  Search this
Extent:
10.05 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Transcripts
Diaries
Sound recordings
Photographs
Date:
circa 1942-1981
bulk 1964-1975
Summary:
The papers of illustrator, xerography artist, filmmaker, and educator Esta Nesbitt measure 10.05 linear feet and date from circa 1942-1981. Found within the papers are biographical material, correspondence, writings, xerography research files, project and exhibition files, and printed material. Much of the collection relates to Nesbitt's xerography art work. Additionally, the collection includes motion picture film and sound recordings related to her film and performance work.
Scope and Contents:
The papers of illustrator, xerography artist, filmmaker, and educator Esta Nesbitt measure 10.05 linear feet and date from circa 1942-1981. Found within the papers are biographical material, correspondence, writings, xerography research files, project and exhibition files, and printed material. Much of the collection relates to Nesbitt's xerography art work. Additionally, the collection includes motion picture film and sound recordings related to her film and performance work.

Nesbitt's primary collaborators, correspondents, and subjects of investigation are not concentrated in any one series but rather recur throughout the collection. Nesbitt worked closely with Anibal Ambert, Merle English at Xerox Corporation, and the Whitney Museum of American Art. She read and wrote about the accrual of information, Albert Einstein, Asian religion and philosophy, communication, computer technology, documentation practices, energy, psychology, Samuel Beckett, and states of consciousness. Chinese characters and an image of Allen Ginsberg appear repeatedly in Nesbitt's works. Subjects of study and experimentation include 3M and Kodak technologies, color, film, morphology, participatory and performance art, shadows, sound, street works, xerography, and Xerox machines.

Biographical material revolves mostly around Nesbitt's work as a professor at Parsons School of Design. Records include Nesbitt's resumé, an exhibition history, motion picture film of the inside of her studio, and teaching files.

Correspondence contains personal letters from family members, and professional correspondence with fellow artists and employees of Xerox Corporation. Much of the series is correspondence between Nesbitt and fellow artists Alan Leder, David Lyle, and R.E. Wood, and is philosophical in nature. Correspondence with Xerox Corporation documents her relationship with the corporation between 1970 and 1972, when they underwrote her experiments in xerography.

Writings include illustrated journals, journals, notebooks, loose notes, and transcripts. The content of the writings varies widely throughout the series and includes artwork, sketches, diagrams, annotated clippings, transcripts of conversations, Nesbitt's writings about her dreams and family, details about her daily life, and notes about artists' materials, film, and sound.

Xerography Research Files document Nesbitt's experiments with xerography, which she often refers to in her papers as "Xerox Xplore." Contents include Nesbitt's definitions of xerography terms; Xerox equipment brochures; clippings; xerography studies; notebooks about Nesbitt's plans, work with color, and xerography study details; and slides and transparencies of completed xerography prints.

Project and Exhibition Files consist of a variety of documentation related to Nesbitt's books, exhibitions, films, performance and participatory art, and other projects. This series contains the bulk of the collection's motion picture films and sound recordings. The film and sound performance piece titled "Everyman as Anyman, or Putting On, On, On, On, On," the piece Walk Up --Tape On, the film "Light Times 499," and exhibitions of Nesbitt's xerography work and her series of work called Shadow Paintings are the most prominent subjects of the series.

Printed Material includes books, clippings, magazines, exhibition announcements, catalogs, and press releases about Nesbitt's interests, artwork, exhibitions, and galleries that exhibited her work. Some of the material is annotated.
Arrangement:
The collection is arranged into 6 series:

Missing Title

Biographical Materials, 1964-circa 1981 (0.3 linear feet; Box 1, 11)

Correspondence, 1942, 1964-1976 (0.3 linear feet; Box 1, OV 14)

Writings, 1959-circa 1973 (1.3 linear feet; Box 1-2, 12, OV 15)

Xerography Research Files, circa 1966-1974 (2.5 linear feet; Box 2-4, 11, OV 16)

Project and Exhibition Files, circa 1966-1981 (5.2 linear feet, Box 4-8, 11, 13, OV 17-19, 21, FC 22-23)

Printed Material, 1942-circa 1944, circa 1963-1977 (0.9 linear feet; Box 9-10, OV 20)
Biographical / Historical:
Esta Nesbitt (1918-1975) was an illustrator, xerography artist, filmmaker, and educator who lived and worked in New York City. She was a fashion illustrator for about two decades before becoming a children's book illustrator, performance artist, xerography artist, and filmmaker.

Nesbitt taught at Parsons School of Design from 1964 to 1974. Around 1970, Nesbitt created the piece Walk Up --Tape On with her Parsons students. The piece involved documenting social interaction by taping themselves to each other and then others as they walked through New York City, creating what Nesbitt called a "living organism," before presenting themselves to the Whitney Museum of American Art. The event was documented with film, photography, and audio recordings.

In 1970, Nesbitt contacted Xerox Corporation about creating experimental art investigations of the Walk Up --Tape On documentation using Xerox machines in their New York City office. During Nesbitt's time at Xerox, she experimented with many different copying machines, materials, and techniques to create what came to be known as xerographic artworks. She invented three xerography techniques: transcapsa, photo-transcapsa, and chromacapsa. A transcapsa work is created by moving a piece of material over the copier's window during the printing cycle. A photo-transcapsa work is created by moving a photographic image over the copier's window during the printing cycle. Chromacapsa is a process of adding color to xerographic works using Xerox copiers. Nesbitt referred to her work at Xerox as "Xerox Xplore," which culminated with the exhibition "Xerography - Extensions in Art" (1971-1972) and the commission of the print All the Lines are Nines.

To demonstrate "the media bombardment surrounding 'everyman' today," Nesbitt created a film and sound performance piece titled "Everyman as Anyman, or Putting On, On, On, On, On" in 1969. The performance consisted of five Super 8 film projectors and a multi-layered soundtrack. Nesbitt further experimented with filmmaking and xerography with the films "Folding/Struck" and "Light Times 499," which was created with Anibal Ambert. Her interest in xerography is further illustrated in the exhibition "Electrostatic Structures: 'New Morphs'" (1972-1973). The exhibition "1000 Empty 49.3 Grams: A participatory environment" was a culmination of her interest in participatory art.

Nesbitt died November 30, 1975 in New York City. Three posthumous exhibitions include "Esta Nesbitt: Xerography Prints" (1976) at The Art Center of Waco, "Memorial Exhibition of Drawing and Illustrations by Esta Nesbitt" (1977) at Parsons School of Design, and "Electroworks" (1979-1981) at the George Eastman House.
Related Materials:
The Esta Nesbitt papers at Center for Creative Photography at University of Arizona contain 3 linear feet related to her xerography artwork and exhibitions, dated 1966-1983.

Papers related to Nesbitt's fashion illustrations are found at the Kellen Design Archives at The New School in New York City. T

he Esta Nesbitt papers at the University of Minnesota Libraries Children's Literature Research Collections are related to Nesbitt's children's book illustrations, dated 1964-1969.
Provenance:
The Esta Nesbitt papers were donated by Saul Nesbitt, her husband, to the Archives of American Art in 1981.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Educators -- New York (State) -- New York  Search this
Topic:
Motion pictures (visual works)  Search this
Filmmakers -- New York (State) -- New York  Search this
Women artists  Search this
Xerography  Search this
Copy art  Search this
Illustrators -- New York (State) -- New York  Search this
Women filmmakers  Search this
Women illustrators  Search this
Women educators  Search this
Genre/Form:
Sketches
Transcripts
Diaries
Sound recordings
Photographs
Citation:
Esta Nesbitt papers, circa 1942-circa 1981, bulk 1964-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nesbesta
See more items in:
Esta Nesbitt papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c57916c9-f891-4116-a32d-d1f4e83c624f
EDAN-URL:
ead_collection:sova-aaa-nesbesta
Online Media:

Esta Nesbitt papers, circa 1942-1981, bulk 1964-1975

Creator:
Nesbitt, Esta, 1918-1975  Search this
Subject:
Leder, Alan J.  Search this
Lyle, David  Search this
Beckett, Samuel  Search this
Einstein, Albert  Search this
Wood, R. F.  Search this
English, Merle  Search this
Ambert, Anibal  Search this
Ginsberg, Allen  Search this
Whitney Museum of American Art  Search this
Parsons School of Design  Search this
Xerox Corporation  Search this
Type:
Sketches
Transcripts
Diaries
Sound recordings
Photographs
Citation:
Esta Nesbitt papers, circa 1942-1981, bulk 1964-1975. Archives of American Art, Smithsonian Institution.
Topic:
Everyman (motion picture)  Search this
Motion pictures (visual works)  Search this
Filmmakers -- New York (State) -- New York  Search this
Women artists  Search this
Xerography  Search this
Copy art  Search this
Illustrators -- New York (State) -- New York  Search this
Women filmmakers  Search this
Women illustrators  Search this
Women educators  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)8079
(DSI-AAA_SIRISBib)210250
AAA_collcode_nesbesta
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210250
Online Media:

Audrey Flack papers

Creator:
Flack, Audrey  Search this
Names:
Arizona State University  Search this
Atlantic Center for the Arts (New Smyrna Beach, Fla.)  Search this
Cooper Union for the Advancement of Science and Art  Search this
Guild Hall of East Hampton  Search this
Louis K. Meisel Gallery  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Janson, Anthony F.  Search this
Extent:
34.6 Linear feet
0.897 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Scrapbooks
Photographs
Motion pictures (visual works)
Video recordings
Sound recordings
Date:
1950-2022
Summary:
The papers of painter Audrey Flack measure 34.6 linear feet and 0.897 GB and date from 1950-2022. The collection documents Flack's career as an artist through biographical material, correspondence, extensive project files, writings and notes by Flack and others, exhibition catalogs, news and magazine clippings, other printed and digital material, and scrapbooks. Also found are photographs by Audrey Flack as well as photographs of the artist and works of art.

There is an 18.8 unprocessed addition to this collection donated in 2022 that includes project files; correspondence; photographs, slides and negatives of works of art, exhibition installations, events, Flack and others; teaching notes; biographical information including resumes, awards, calendars, address books and identification cards; writings, notes and diaries by Flack; scrapbooks; sketches; financial records; commission applications; contracts; audio visual material including mini-DVs, VHS , DVDs and Super 8 film of interviews and lectures by Flack; and printed material including newspaper clippings, articles and posters. Materials date from circa 1950-2022.
Scope and Contents:
The papers of painter Audrey Flack measure 34.6 linear feet and 0.897 GB and date from 1950-2022. The collection documents Flack's career as an artist through biographical material, correspondence, extensive project files, writings and notes by Flack and others, exhibition catalogs, news and magazine clippings, other printed and digital material, and scrapbooks. Also found are photographs by Audrey Flack as well as photographs of the artist and works of art.

Biographical material includes curricula vitae, diplomas, an award certificate, and bibliographies of monographs and articles by and about Audrey Flack. Flack's correspondence documents her professional activities and business dealings.

There is correspondence with galleries, museums, arts organizations; architects and foundries; and academic institutions. Included are letters from Arizona State University, Atlantic Center for the Arts, Cooper Union, Guild Hall, Louis K. Meisel Gallery, and the Museum of Modern Art. There are letters from art historians and critics, including Flack's correspondence with Anthony Janson. Letters from publishers and agents pertain to book projects, proposals for articles, and requests to reproduce artwork in monographs or catalogs.

Interviews with Flack from the 1970s through the 1990s are found, recorded on sound and video. Writings and notes include manuscript versions for a book, typescripts of speeches, and a notebook. Also found are audio and video recordings of lectures and talks by Flack discussing her paintings and sculptures. The collection includes extensive project files on Flack's commissioned public works and exhibitions. The files also include correspondence concerning book projects, permission requests, and Flack's participation in art educational programs, and some projects are documented with recorded sound and moving images, two if which are in digital format.

Printed material consists of catalogs of Flack's shows, invitations and announcements to openings, press releases, reproductions of artwork, exhibition posters, clippings, periodicals, and books reflecting Flack's professional activities from the 1950s-2008. Photographs are of portraits by Flack, Flack by herself and with colleagues and students, as well as of the artist's studio. Also found are photographs of artwork.

There is an 18.8 unprocessed addition to this collection donated in 2022 that includes project files; correspondence; photographs, slides and negatives of works of art, exhibition installations, events, Flack and others; teaching notes; biographical information including resumes, awards, calendars, address books and identification cards; writings, notes and diaries by Flack; scrapbooks; sketches; financial records; commission applications; contracts; audio visual material including mini-DVs, VHS , DVDs and Super 8 film of interviews and lectures by Flack; and printed material including newspaper clippings, articles and posters. Materials date from circa 1950-2022.
Arrangement:
The collection is arranged as 9 series.

Series 1: Biographical Material, 1951-2006 (Box 1; 0.25 linear feet)

Series 2: Correspondence, 1950-2009 (Boxes 1-3; 2.4 linear feet)

Series 3: Interviews, circa 1970-1998 (Boxes 3-4; 0.8 linear feet)

Series 4: Writings and Notes, circa 1970-2007 (Boxes 4-6; 2.15 linear feet)

Series 5: Project Files, 1966-circa 2007 (Boxes 6-11, FC 18-21; 5.6 linear feet, ER01-ER02, 0.897 GB)

Series 6: Printed Material, 1950-2008 (Boxes 11-16, OV 17; 4.1 linear feet)

Series 7: Scrapbooks, 1977-2008 (Box 15; 2 folders)

Series 8: Photographs, 1966-2009 (Boxes 15-16; 0.5 linear feet)

Series 9: Unprocessed Addition, circa 1950-2022 (Boxes 22-41, OV 42-43; 18.8 linear feet)
Biographical / Historical:
Audrey Flack (1931-) is a painter and sculptor in New York City and in Long Island, New York. She earned a Bachelor of Arts from Cooper Union in 1951 and received a Bachelor of Fine Arts from Yale University in 1952. In the 1950s, she was part of the New York School that included the Abstract Expressionist painters Franz Kline and Jackson Pollock. By the 1960s, Flack had turned to painting in a realistic manner. She pioneered the technique of incorporating photographic images from contemporary sources such as magazines and newspapers; the art form became known as Photorealism. Her subjects have included families, celebrities, and public figures. An early work, The Kennedy Motorcade captured President John Kennedy moments before he was assassinated. Flack's paintings have also centered on the varied experiences of women as depicted in her Vanitas series done in the 1970s. Flack was the first Photorealist painter to have a work acquired by the Museum of Modern Art. By the 1980s, Flack was creating sculptures, goddess figures and other mythological deities of various cultures. The sculptures, many of monumental proportions were executed as commissioned works for public spaces. Flack's commissions have included Civitas: Four Visions, South Carolina, Galatea Fountain, South Pasadena, Florida, Islandia, New York City Technical College, and The Art Muse, Tampa, Florida. Further, Audrey Flack has also worked in other media such as photography and printmaking.

Audrey Flack has taught and lectured at colleges and universities in the United States and abroad, including Cooper Union, Pratt Institute of New York, and the Studio Art School International, Florence, Italy. She has been a Visiting Professor at a number of universities, including the University of North Dakota, University of Tennessee, and the University of Pennsylvania. Her paintings, watercolors, and sculptures have been featured in solo and group exhibitions in major museums and galleries. Flack's artwork has also been shown in a number of traveling exhibitions including "Saints and Other Angels: The Religious Paintings of Audrey Flack" sponsored by Cooper Union and "Breaking the Rules: Audrey Flack, A Retrospective, 1950-1990" organized by the J.B. Speed Museum. Flack has been represented by the Louis K. Meisel Gallery, the Vered Gallery, and the Gary Snyder Gallery. Among the many awards and honors she has received are the Honorary Ziegfeld Award, National Art Education Association, an Honorary Doctorate, Lyme Academy of Art, and the U.S. Government National Design for Transportation Award. Audrey Flack has also written two books and numerous articles. Audrey Flack lives and works in New York and in East Hampton, New York.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Audrey Flack conducted by Robert C. Morgan, February 16, 2009.
Provenance:
The collection was donated by Audrey Flack in 2009 and 2022.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Topic:
Art -- Study and teaching  Search this
Art -- Economic aspects  Search this
Artists' studios -- Photographs  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Genre/Form:
Scrapbooks
Photographs
Motion pictures (visual works)
Video recordings
Sound recordings
Citation:
Audrey Flack papers, 1950-2022. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.flacaudr
See more items in:
Audrey Flack papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c12179ce-d722-47e1-b806-32a27e29d8f3
EDAN-URL:
ead_collection:sova-aaa-flacaudr

Edward S. Curtis papers and photographs

Creator:
Curtis, Edward S., 1868-1952  Search this
Extent:
86 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1895-2001
bulk 1898-1951
Scope and Contents:
The Edward S. Curtis papers and photographs, circa 1895-2001 (bulk 1898-1951) primarily relate to Curtis's work on his opus, the North American Indian (NAI), although other subjects are documented as well. The papers relate closely to the Edward S. Curtis papers at the University of Washington Libraries Special Collections (UW), as that collection was donated by Curtis's daughter Florence Graybill and appears to be part of the same body of materials that was maintained by Curtis, and after his death, by Florence. Occasionally a correspondence exchange or manuscript draft is divided between the National Anthropological Archives and UW. Also found in both collections are notes, mostly dated 1951, in Curtis's handwriting on slips of paper or the document itself that gives an explanation of the document.

The collection includes correspondence, research notes, NAI files and promotional material, writings and memoirs, a small amount of material relating to a complaint regarding his reporting in NAI of certain Pueblo ceremonies, and correspondence and other documents relating to his gold mining interests. Also included are papers of Florence Graybill, who published on Curtis after his death and maintained contacts with various individuals and entities involved in Curtis exhibits, publications, and sales.

The correspondence exchanges are almost exclusively NAI related and document the relationships Curtis had with various influential people, including Gifford Pinchot, Joseph Blethen, Jacob Riis, William Farabee, Smithsonian scholars Frederick Webb Hodge and Matilda Coxe Stevenson, and the immediate and extended family of Theodore Roosevelt. Included are letters of introduction for Curtis as he sought to promote his work.

The research notes consist of a small mixture of writings on field experiences as well as maps used during his fieldwork (the bulk of Curtis's fieldnotes and NAI manuscripts are at the Seaver Center in the Los Angeles County Museum of Natural History). The NAI files chiefly contain material promoting the work, such as published reviews, articles, and ephemera, but there are a few North American Indian Inc. business records (the bulk of the business records are maintained at the Pierpont Morgan Library). Of note is a lengthy annual report for the North American Indian, Inc., in which Curtis explains difficulties encountered in the fieldwork and volume publication. Related to his NAI work are letters and other materials documenting a 1934 complaint from Harold Ickes, Secretary of the Interior on Curtis's reporting of certain Pueblo ceremonies, as well as Curtis's response.

The writings comprise manuscript drafts on various topics. Most are short, stand-alone stories relating to his NAI work, often relaying a story about his own experiences. Similar stories can be found in Florence Graybill's papers, as she published some of them after his death. Also part of the writings are drafts for several chapters of Curtis's unpublished memoir, "As it Was."

Curtis's interest in gold mining is represented in correspondence and other material dating from 1938-1950. Most of the letters are between Curtis and his son Harold. Curtis's invention of a concentrator for separating fine gold from placer tailings is also documented in photographs and drawings.

Florence Graybill's papers pertain to writings, talks, and projects relating to Curtis after his death. Included are publication files for Graybill's biography of Curtis written with Victor Boesen, Visions of a Vanishing Race, as well as other of her articles and book reviews. Graybill's correspondence reveals her commitment to assist scholars and others interested in researching and exhibiting Curtis material, as well as her communication with individuals having a commercial interest in Curtis. Also present are Graybill's lecture notes for talks given, and articles and newspaper features on Curtis written by others.

The photographs in this collection primarily relate to Curtis's NAI work (1898-1927) and are a mix of original and working copy negatives, prints, and transparencies. The original negatives are remarkable in that they reveal some of Curtis's working methods in crafting his images through pencil and other enhancements, as well as showing removal of unwanted items from the image. Also of note are two original logbooks used for recording negatives from approximately 1895-1916. The majority of the prints appear to be silver gelatin prints made for reference; however, there are a fair number of platinum prints as well as several blue-toned silver prints in the collection. There are only a few cyanotypes.

Among the photographs is a deerskin-bound photograph album containing Harriman Alaska Expedition and NAI photographs, representing some of Curtis's earliest Native American subjects. These include images of people from the Puget Sound area as well as from his 1900 trip to the Blackfoot reservation. There are no annotations in the album; however, tucked among the pages are a few small notes of identification in Curtis's handwriting.

Photographs documenting other subjects are also present to a lesser degree. Among these are photographs of Curtis's Seattle photography studio, a 1915 Grand Canyon trip, hop field workers in the Puget Sound area, and Curtis's illustrations for Marah Ryan's book Flute of the Gods. Additionally, the collection contains a number of photographs of Curtis, his children, and portraits of various individuals including Theodore Roosevelt and actor Anna May Wong.
Arrangement:
The Edward S. Curtis papers and photographs are arranged into the following 10 series:

Series 1: Biographical information, 1919-1952

Series 2: Correspondence, 1904-1951

Series 3: Research notes, 1900-1930, undated

Series 4: North American Indian, circa 1906-1920

Series 5: Writings, 1906, 1948, undated

Series 6: Complaint regarding Curtis's reporting of Pueblo ceremonies, 1924-1935

Series 7: Gold mining, 1938-1950

Series 8. Florence Curtis Graybill papers, 1948-2001

Series 9: Photographs, circa 1896-1927

Series 10: Duplicate material, undated
Biographical / Historical:
Edward Sherriff Curtis (1868-1952) was an American photographer famous for his photographs of the indigenous peoples of North America. His work was highly influential in shaping a sympathetic yet romantic view of cultures that he and many others believed to be "vanishing." Over the course of 30 years, Curtis visited more than 80 Native American communities and published his photographs and ethnographies in the twenty-volume North American Indian (NAI) (1907-1930).

Curtis was born in Whitewater, Wisconsin, to Ellen and Johnson Curtis in 1868. In about 1874, his family moved to a farm in Cordova, Minnesota. At a young age, Curtis built a camera, and it is possible that he may have worked in a Minneapolis photography studio for a time. In 1887, Curtis and his father moved West and settled on a plot near what is now Port Orchard, Washington, with the rest of the family joining them the following year. When Johnson Curtis died within a month of the family's arrival, 20-year-old Curtis became the head of the family.

In 1891, Curtis moved to Seattle and bought into a photo studio with Rasmus Rothi. Less than a year later, he and Thomas Guptill formed "Curtis and Guptill, Photographers and Photoengravers." The endeavor became a premier portrait studio for Seattle society and found success in photoengraving for many local publications. In 1892, Curtis married Clara Phillips (1874-1932) and in 1893 their son Harold was born (1893-1988), followed by Elizabeth (Beth) (1896-1973), Florence (1899-1987) and Katherine (Billy) (1909-?). Around 1895, Curtis made his first photographs of local Native people, including the daughter of Duwamish chief Seattle: Kickisomlo or "Princess Angeline." Curtis submitted a series of his Native American photographs to the National Photographic Convention, and received an award in the category of "genre studies" for Homeward (later published in volume 9 of the NAI). In 1896, the entire Curtis family moved to Seattle, which included Curtis's mother, his siblings Eva and Asahel, Clara's sisters Susie and Nellie Phillips, and their cousin William Phillips. Most of the household worked in Curtis's studio along with other employees. Curtis became sole proprietor of the studio in 1897, which remained a popular portrait studio but also sold his scenic landscapes and views of the Seattle Area. Curtis also sent his brother Asahel to Alaska and the Yukon to photograph the Klondike Gold Rush, and sold those views as well. Asahel went on to become a well-known photographer in his own right, primarily working in the American Northwest.

Curtis was an avid outdoorsman and joined the Mazamas Club after his first of many climbs of Mount Rainier. On a climb in 1898, Curtis evidently met a group of scientists, including C. Hart Merriam, George Bird Grinnell, and Gifford Pinchot, who had lost their way on the mountain, and led them to safety. This encounter led to an invitation from Merriam for Curtis to accompany a group of over 30 well-known scientists, naturalists, and artists as the official photographer on a maritime expedition to the Alaskan coast. Funded by railroad magnate Edward Harriman, the Harriman Alaska Expedition left Seattle in May of 1899, and returned at the end of July. Curtis made around 5000 photographs during the trip, including photographs of the indigenous peoples they met as well as views of mountains, glaciers, and other natural features. Many of the photographs appeared in the expedition's 14 published volumes of their findings.

In 1900, Curtis accompanied Grinnell to Montana for a Blackfoot Sundance. Here, Curtis made numerous photographs and became interested in the idea of a larger project to document the Native peoples of North America. Almost immediately upon returning from the Sundance, Curtis set off for the Southwest to photograph Puebloan communities. By 1904, Curtis had already held at least one exhibit of his "Indian pictures" and his project to "form a comprehensive and permanent record of all the important tribes of the United States and Alaska that still retain to a considerable degree their primitive customs and traditions" (General Introduction, the NAI) had taken shape and already received some press coverage. With his fieldwork now increasing his absences from home, Curtis hired Adolph Muhr, former assistant to Omaha photographer Frank Rinehart, to help manage the Seattle studio.

In 1904, Curtis was a winner in the Ladies Home Journal "Prettiest Children In America" portrait contest. His photograph of Marie Fischer was selected as one of 112 that would be published and Fischer was one of 12 children selected from the photographs who would have their portrait painted by Walter Russell. Russell and Curtis made an acquaintance while Russell was in Seattle to paint Fischer's portrait, and not long afterwards, Russell contacted Curtis to make photographic studies of Theodore Roosevelt's children for portraits he would paint. Curtis subsequently photographed the entire Roosevelt family, and developed a social connection with the President. Several important outcomes came of this new friendship, including Roosevelt eventually writing the foreword to the NAI, as well as making introductions to influential people.

Key among these introductions was one to wealthy financier John Pierpont Morgan, in 1906. After a brief meeting with Curtis during which he viewed several of Curtis's photographs of Native Americans, Morgan agreed to finance the fieldwork for the NAI project for five years, at $15,000.00 per year. It was up to Curtis to cover publishing and promotion costs, with the publication being sold as a subscription. In return, Morgan would receive 25 sets of the 20-volume publication. The ambitious publication plan outlined 20 volumes of ethnological text, each to be illustrated with 75 photogravure prints made from acid-etched copper plates. Each volume would be accompanied by a companion portfolio of 35 large photogravures. With high-quality papers and fine binding, a set would cost $3000.00. 500 sets were planned. Under Morgan, the North American Indian, Inc. formed as body to administer the monies. Also around this time, Frederick Webb Hodge, Director of the Smithsonian Institution's Bureau of American Ethnology, agreed to edit the publications.

Curtis then began more systematic fieldwork, accompanied by a team of research assistants and Native interpreters. In 1906, Curtis hired William E. Myers, a former journalist, as a field assistant and stenographer. Over the years, Myers became the lead researcher on the project, making enormous contributions in collecting data and possibly doing the bulk of the writing for the first 18 volumes. Upon meeting a new community, Curtis and his team would work on gathering data dealing with all aspects of the community's life, including language, social and political organization, religion, food ways, measures and values, and many other topics. (See box 2 folder 1 in this collection for Curtis's list of topics.) Curtis and his assistants, especially Myers, brought books and papers to the field relating to the tribes they were currently concerned with, and often wrote from the field to anthropologists at the Bureau of American Ethnology and other institutions for information or publications. In addition to fieldnotes and photographs, the team also employed sound recording equipment, making thousands of recordings on wax cylinders. Curtis also often brought a motion picture camera, although few of his films have survived.

The first volume of the NAI was published towards the end of 1907. Already, Curtis was encountering difficulty in finding subscribers to the publication despite great praise in the press and among those who could afford the volumes. Curtis spent progressively more of his time outside the field season promoting the project through lectures and in 1911, presenting his "Picture Musicale"—a lecture illustrated with lantern slides and accompanied by an original musical score—in major cities. After the initial five funded years, only eight of the twenty volumes had been completed. However, Morgan agreed to continue support for the fieldwork and publication continued.

Starting in 1910, Curtis and his team worked among the Kwakwaka'wakw First Nation on Vancouver Island, and in 1913 began to develop a documentary film project featuring the community in Alert Bay. In 1914, Curtis produced the feature-length film, In the Land of the Headhunters. The film showcased an all-indigenous cast and included an original musical score. Screened in New York and Seattle, it received high praise. However after this initial success, it did not receive the attention Curtis had hoped for, and resulted in financial loss.

Meanwhile, Curtis's prolonged absences from home had taken a toll on his marriage and in 1919 Clara and Edward divorced. The Seattle studio was awarded to Clara, and Curtis moved to Los Angeles, opening a photography studio with his daughter Beth and her husband Manford "Mag" Magnuson. Daughters Florence and Katherine came to Los Angeles sometime later. Curtis continued with fieldwork and promotion of the project, and in 1922 volume 12 of the NAI was published. Also in 1922, Curtis was accompanied during the field season in California by his daughter Florence Curtis Graybill, the first time a family member had gone to the field with him since the Curtis children were very small.

Curtis continued to push the project and publications along, yet never without financial struggle and he picked up work in Hollywood as both a still and motion picture photographer. John Pierpont Morgan, Jr., continued to provide funding for the fieldwork in memory of his father, but with the various financial upsets of the 1910s and 1920s, Curtis had a difficult time getting subscribers on board. In 1926, Myers, feeling the strain, regretfully resigned after the completion of volume 18. Anthropologist Frank Speck recommended Stewart Eastwood, a recent graduate from the University of Pennsylvania, to replace Myers as ethnologist for the final two volumes.

In 1927, Curtis and his team, along with his daughter Beth Curtis Magnuson, headed north from Seattle to Alaska and Canada on a final field season. Harsh weather and a hip injury made the trip difficult for Curtis, but he was very satisfied with the season's work. The party returned to Seattle, and upon arrival Curtis was arrested for unpaid alimony. He returned exhausted to Los Angeles, and in 1930 the final two volumes of NAI were published without fanfare. Curtis spent the next two years recovering from physical and mental exhaustion. Beth and Mag continued to run the Curtis studio in LA, but for the most part, Curtis had set down his camera for good. With the NAI behind him and his health recovered, Curtis pursued various interests and employment; he continued to do some work in Hollywood, including working on The Plainsman, starring Gary Cooper.

In 1933 Curtis was publicly criticized by John Collier, the Commissioner for Indian Affairs for some of the statements he had made on certain Pueblo ceremonies in the NAI volume 16, published in 1924. In September of 1934 Curtis received a letter from Harold Ickes, Secretary of the Interior regarding the claims published in volume 16, demanding a printed apology to be distributed among the text of the book as well as removal of the offending text from any undistributed copies of the publication. Curtis spent months writing and compiling supporting documentation in his defense, which he submitted to Ickes in January 1935. Also in 1935, the Morgan estate liquidated the North American Indian, Inc. and sold the remaining sets of the NAI volumes and unbound pages, photogravures, and copper printing plates along with the rights to the material to Boston bookseller Charles Lauriat for $1000.00.

Curtis's interest in gold prospecting took a front seat in the mid-1930s. While he scouted for potentially profitable mines in Northern California, his friend Ted Shell and possibly his son Harold sought investors. However, nothing ever fully panned out, though Curtis did design and build a concentrator for separating fine gold from placer tailings. He later sold the patent for ten dollars. Eventually, Curtis settled down on a farm outside Los Angeles, moving later to live with Beth and Mag, where he stayed until his death. In the mid to late 1940s Curtis began to write his memoirs. His daughter Florence visited him regularly and typed as Curtis dictated his recollections, and at some point he completed a draft of a memoir titled "As it Was." He also went through his papers and annotated or tucked notes among the correspondence and other material giving a brief explanation of the item or its context. Curtis died at home in 1952.

Prior to his death, Curtis had been out of the public eye for some years, and the NAI had slipped into relative obscurity. The Curtis studio in Los Angeles continued to sell Curtis's Native American photographs, and Florence gave occasional talks on her father, but it wasn't until the early 1970s that Curtis's work saw a renewed interest. This renaissance took place largely in the art photography market, but Curtis's biography and the NAI were also getting treatment in publications. Florence Curtis Graybill partnered with Victor Boesen to produce two narrative histories of Curtis and his work, and these were followed by many others. Florence continued to publish short works on her father for many years, and stayed in touch with numerous people involved in projects both scholarly and commercial that related to Curtis's work.

Sources Cited

Davis, Barbara. Edward S. Curtis: the life and times of a shadowcatcher. San Francisco: Chronicle Books, 1984.

Gidley, Mick. The North American Indian, Incorporated. New York: Cambridge University Press, 1998.

Chronology

1868 -- Curtis is born in Whitewater, Wisconsin

circa 1874 -- Curtis family moves to Cordova, Minnesota

1887 -- Moves with his father to Washington territory to be joined by his mother and siblings in 1888

1891 -- With Rasmus Rothi forms Rothi & Curtis photography studio in Seattle

1892 -- Marries Clara Phillips With Thomas Guptill forms Curtis & Guptill Photographers and Photoengravers in Seattle

circa 1895 -- Becomes interested in photographing the indigenous people of the area

1897 -- Guptill leaves, Curtis establishes himself as Edward S. Curtis, Photographer and Photoengraver

1898 -- Meets C. Hart Merriam, George Bird Grinnell, and Gifford Pinchot during climb on Mount Rainier Receives first place award from the National Photographic Convention in the "Genre Studies" for his photographs of Native Americans

1899 -- Joins Harriman Alaska Expedition as official photographer at request of C. Hart Merriam and George Bird Grinnell

1900 -- Accompanies George Bird Grinnell to Blackfoot reservation in Montana for Sundance Becomes interested in a major project to document Native American tribes Travels to Arizona to photograph Hopi communities

circa 1902 -- Travels again to the southwest to photograph Native communities

1903 -- Holds first formal exhibit of Native American photographs in his studio

1904 -- Publicly announces intention to produce major publication on Native Americans Portrait entered in the Ladies Home Journal "Prettiest Children in America" contest is selected for publication and as a result, Curtis is asked to photograph President Theodore Roosevelt's family

circa 1904-1906 -- Conducts fieldwork among Native communities of the southwest

1906 -- Meets with J. P. Morgan, who agrees to finance the fieldwork for Curtis's project Hires William E. Myers as researcher and writer for the project

1907 -- Volume 1 of NAI is published

1908 -- Volumes 2 and 3 of NAI are published

1909 -- Volumes 4 and 5 of NAI are published

1911 -- Volumes 6, 7, and 8 of NAI are published Presents and tours the "Picture Musicale"

1913 -- J. P. Morgan dies, but his son agrees to continue to provide support for NAI Volume 9 of NAI is published

1914 -- Releases film In the Land of the Headhunters

1915 -- Volume 10 of NAI is published

1916 -- Volume 11 of NAI is published

1919 -- Edward and Clara Curtis divorce and the Seattle studio is awarded to Clara Moves to Los Angeles and opens new studio with daughter Beth and her husband, Manford Magnuson

1922 -- Volume 12 of NAI is published Conducts fieldwork in California with daughter Florence Curtis Graybill

1924 -- Volumes 13 and 14 of NAI are published

1926 -- Volumes 15, 16, and 17 of NAI are published William E. Myers resigns as chief writer and ethnologist of NAI

1927 -- Conducts fieldwork in Alaska and Canada for final NAI volume with daughter Beth Curtis Magnuson

1928 -- Volume 18 of NAI is published

1930 -- Volumes 19 and 20 of NAI are published

circa 1930-1950 -- Applies himself to various interests, especially gold mining

1952 -- Dies in Los Angeles at the home of Beth and Manford Magnuson
Related Materials:
The National Anthropological Archives holds additional Curtis papers and photographs in MS 2000-18, the Edward Curtis investigation of the battle of Little Bighorn and Photo Lot 59, the Library of Congress copyright prints collection.

The Archives of Traditional Music at Indiana University holds Curtis's wax cylinder audio recordings from 1907-1913.

The Braun Research Library at the Autry Museum of the American West holds the Frederick Webb Hodge papers (1888-1931), which contain substantial correspondence from Curtis. The Braun also holds a small amount of Curtis papers and photographs, including some of Curtis's cyanotypes.

The Getty Research Institute holds the Edward S. Curtis papers (1900-1978), which include the original manuscript scores for the Curtis Picture Musicale and film In the Land of the Headhunters.

The Palace of the Governors at the New Mexico History Museum holds original Curtis negatives pertaining to the southwest.

The Pierpont Morgan Library holds the Edward S. Curtis papers (1906-1947), which contain the records of the North American Indian, Inc., as well as Curtis's correspondence to librarian, and later library director, Belle Da Costa Greene. The library also holds a large collection of Curtis's lantern slides, used in his Picture Musicale.

The Seattle Public Library holds correspondence of Curtis to Librarian Harriet Leitch (1948-1951), pertaining to his career.

The Seaver Center for Western History Research at the Los Angeles County Museum of Natural History holds collection GC 1143, which contains Curtis's field notes as well as manuscript drafts for the North American Indian.

The Smithsonian's National Museum of the American Indian holds NMAI.AC.080, the Edward S. Curtis photogravure plates and proofs, as well as NMAI.AC.053, the Mary Harriman Rumsey collection of Harriman Alaska Expedition photographs.

The University of Washington Libraries Special Collections holds the Edward S. Curtis papers (1893-1983). Additionally, the Burke Museum holds papers and photographs of Edmund Schwinke, which relate to Curtis's work with the Kwakwaka'wakw community.
Separated Materials:
Artifacts collected by Curtis that were a part of this donation comprise Accession No. 2058745 in the collections of the Department of Anthropology in the National Museum of Natural History.
Provenance:
The papers and photographs were donated to the National Anthropological Archives by Jim Graybill, grandson of Edward S. Curtis, in 2010 and 2011.
Restrictions:
Viewing of the photographic negatives and transparencies requires advance notice and the permission of the Photo Archivist.

Access to the Edward S. Curtis papers and photographs requires an appointment.
Rights:
Contact the repository for terms of use.
Identifier:
NAA.2010-28
See more items in:
Edward S. Curtis papers and photographs
Archival Repository:
National Anthropological Archives
GUID:
https://n2t.net/ark:/65665/nw3d9637048-0e34-47a7-8fd4-210055d47c69
EDAN-URL:
ead_collection:sova-naa-2010-28
Online Media:

Smithsonian Folklife Festival records: 1991 Festival of American Folklife

Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Names:
Smithsonian Folklife Festival  Search this
Extent:
1 Cubic foot (approximate)
Type:
Collection descriptions
Archival materials
Audiotapes
Photographic prints
Correspondence
Memorandums
Notes
Plans (drawings)
Digital images
Videotapes
Audiocassettes
Business records
Negatives
Sound recordings
Slides (photographs)
Contracts
Video recordings
Date:
June 28-July 7, 1991
Summary:
The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.
Scope and Contents note:
This collection documents the planning, production, and execution of the 1991 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.
Arrangement note:
Arranged in 5 series.

Missing Title

Series 1: Program Books, Festival Publications, and Ephemera

Series 2: Family Farming in the Heartland

Series 3: Forest, Field and Sea: Folklife in Indonesia

Series 4: Land in Native American Cultures

Series 5: Roots of Rhythm and Blues: The Robert Johnson Era
Historical note:
The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.

The 1991 Festival of American Folklife was produced by the Smithsonian Office of Folklife Programs and cosponsored by the National Park Service.

For more information, see Smithsonian Folklife Festival records.
Introduction:
The 1991 Festival programs were largely about human relationships to land. Indonesian land punctuates sea and ocean to form some 13,000 volcanic islands. On these islands is an amazing diversity of environments, ranging from the sandy beaches of Sumatra to snowcapped mountains that rise above the rainforests in Irian Jaya on New Guinea. To sample this diversity, the Festival presented cultural traditions from three particular environments - the forests of Kalimantan, the fields of Java, and the sea coast of Sulawesi. Half a world away from Indonesia and much closer to home is the American "heartland." American culture embodies a few elemental self-images with mythic stature - the frontier is surely one; the family farm is surely another. The idea of the family farm also entails some of our strongest values - hard work, self-reliance, family solidarity, and community life, all on view to Festival visitors.

For millennia before Columbus's arrival in the New World, native peoples gathered and cultivated its bounty, bred new crops, derived medicines to cure sickness, mined ores for making tools and ornaments, used its earth, stone and wood for building homes, made dyes for cloth, and invented ways of preparing and cooking food. Land and its use informed social, moral, religious, and cosmological beliefs, and sacred and secular practices. Some of this knowledge and practice of land use and its symbolic elaboration in artistic forms are continued among many Native American groups. At the Festival, culture bearers from the Haida, Tlingit, and Tsimshian people from Alaska; Hopi from Arizona; Maya and Lacandón from Chiapas, Mexico; Zapotec and Ikood from Oaxaca, Mexico; Shuar and Achuar from Ecuador; Jalq'a and Tiwanaku from Bolivia; and Taquile from Peru illustrated how the land in many varied environments is cared for and thought about, and how, almost five hundred years after Columbus, the wise and humane use, the knowledge and power of land must be re-"discovered."

The 1991 Festival, which also featured a program on the roots of rhythm and blues, took place for two four-day weeks (June 28-July 1 and July 4-7) between Madison Drive and Jefferson Drive and between 10th Street and 14th Street, south of the National Museum of American History and the National Museum of Natural History (see site plan).

The 1991 Program Book included schedules and participant lists for each program; keynote essays on each of the four programs were supplemented by shorter pieces focusing on particular topics.

The Festival was co-presented by the Smithsonian Institution and National Park Service and organized by the Office of Folklife Programs.

Office of Folklife Programs

Richard Kurin, Director; Diana Parker, Festival Director; Anthony Seeger, Director, Folkways Records; Peter Seitel, Senior Folklorist; Thomas Vennum, Jr., Senior Ethnomusicologist; Olivia Cadaval, Director, Quincentenary Projects; Richard Kennedy, Program Analyst; Betty Belanus, Vivian Chen, Diana N'Diaye, Folklorists; Marjorie Hunt, Ed O'Reilly, Frank Proschan, Nicholas Spitzer, Research Associates; Arlene L. Reiniger, Program Specialist; Jeffrey Place, Archivist

Folklife Advisory Council

Roger Abrahams, Richard Bauman, Henry Glassie, Rayna Green, John Gwaltney, Charlotte Heth, Adrienne Kaeppler, Ivan Karp, Bernice Reagon, John Tchen, Carlos Vélez-Ibáñez

National Park Service

James M. Ridenour, Director; Robert G. Stanton, Regional Director, National Capital Region
Shared Stewardship of Collections:
The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.
Forms Part Of:
Smithsonian Folklife Festival records: 1991 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .

Smithsonian Folklife Festival records

Smithsonian Folklife Festival records: Papers

1967 Festival of American Folklife records - [Ongoing]
Related Archival Materials note:
Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.
Restrictions:
Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.
Rights:
Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.
Topic:
arts and crafts  Search this
Folk art  Search this
World music  Search this
Folk festivals  Search this
Folk music  Search this
Food habits  Search this
Folklore  Search this
Genre/Form:
Audiotapes
Photographic prints
Correspondence
Memorandums
Notes
Plans (drawings)
Digital images
Videotapes
Audiocassettes
Business records
Negatives
Sound recordings
Slides (photographs)
Contracts
Video recordings
Citation:
Smithsonian Folklife Festival records: 1991 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1991
See more items in:
Smithsonian Folklife Festival records: 1991 Festival of American Folklife
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
GUID:
https://n2t.net/ark:/65665/bk5d98aecba-6aa1-482c-ac66-da49e3e1f4e8
EDAN-URL:
ead_collection:sova-cfch-sff-1991

Audiovisual materials relating to the documentary Beatrice Wood: Mama of Dada

Creator:
Neff, Tom, 1953-  Search this
Names:
Clark, Garth, 1947-  Search this
D'Harnoncourt, Anne, 1943-2008  Search this
Del Vecchio, Mark  Search this
Huglin, Hugh, 1915-  Search this
Naumann, Francis M.  Search this
Perreault, John, 1937-2015  Search this
Pole, Rupert  Search this
Singh, R.P.  Search this
Waisler, Lee, 1938-  Search this
Watson, Steve  Search this
Wood, Beatrice  Search this
Extent:
11 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Sound recordings
Transcripts
Video recordings
Date:
1990-1993
Summary:
Audiovisual materials relating to the documentary Beatrice Wood: Mama of Dada measure 11 linear feet and date from 1990 to 1993. Records include sound recordings, motion picture film outtakes, transcripts, production notes, lab records of the film production, and video recordings of the completed documentary.
Scope and Contents:
Audiovisual materials relating to the documentary Beatrice Wood: Mama of Dada measure 11 linear feet and date from 1990 to 1993. Records include sound recordings, motion picture film outtakes, transcripts, production notes, lab records, and video recordings of the completed documentary.

Original sound recordings and transcripts include two recorded public appearances by Wood, as well as multiple interviews with Beatrice Wood and with others about Wood; interviewed are Francis Nauman, John Perrault, Garth Clark, Mark Del Vecchio, Anne D'Harnoncourt, Steve Watson, Rupert Pole, R.P. Singh, Henry Huglin, and Lee Waisler. Partial transcripts are found for most recordings. Records created by the sound recordist, referred to in this finding aid as sound roll logs, are found with several of the sound reels and document general content and the camera roll numbers of corresponding film footage.

Production notes and lab records include script notes, shot lists, editing notes, detailed editing logs, camera reports, and lab records including work orders for dailies, effects such as titles and superimpositions, and documentation of the final print. Many of the sound recordings were shot synchronously with the motion picture film found in the collection, and while the documentation does not always make the link between picture and soundtrack explicit, the link can be investigated via sound roll logs, camera reports, negative logs, and shot lists.

Moving images include three video copies of the finished documentary and 153 rolls of 16mm motion picture film negative, which are outtakes from 166 original camera negative rolls. The content of outtakes consists of three general types: film shot during several of the interviews and one of Wood's public appearances found in Series 1; silent footage of locations and Wood working in her studio; and footage of historical photographs and artworks. All of the film found in the collection consists of outtakes; footage that was used in the documentary was not donated, although complete sound recordings exist in series 1.
Arrangement:
The collection is arranged as three series:

Series 1: Original Sound Recordings and Transcripts, 1990-1991 (1.6 linear feet; Boxes 1-2)

Series 2: Production Notes and Lab Reports, 1990-1992 (0.3 linear feet; Box 2)

Series 3: Moving Images, 1990-1993 (12.1 linear feet; Box 2, FC 3-122)
Biographical / Historical:
Beatrice Wood: Mama of Dada was written and directed by Tom Neff and released by Wild Wolf Productions in 1993 to correspond with Wood's 100th birthday. Tom Neff is a filmmaker, producer, and television executive who was born in 1953 in Chicago, Illinois and received his MFA from the University of Southern California in 1981. Neff founded the production company Wild Wolf Productions with Diandra Douglas in the early 1990s, and Mama of Dada was the company's first production and was written and directed by Neff, and produced by Neff, Diandra Douglas, and Amie Knox.

Neff has produced, written, and directed over a dozen documentaries on historical and cultural subjects since the mid-1980s. In addition to his work on Wood, Neff's filmography includes several documentaries about American artists, including Louise Dahl-Wolfe, Frederic Remington, and Red Grooms. His short documentary Red Grooms: Sunflower in a Hot House earned him an Oscar with Madeline Bell in 1987. He currently teaches at Middle Tennessee State University in Murfreesboro, Tennessee.
Related Materials:
The Archives of American Art holds multiple oral histories and collections of archival material related to Beatrice Wood, including the Beatrice Wood papers, the Beatrice Wood letters to Elizabeth Stein, and the Belle M. Deitch papers concerning Beatrice Wood.

Oral histories include two interviews with Wood conducted by Paul Karlstrom, one on August 26, 1976, and another on March 2, 1992.

The Center for Creative Photography at the University of Arizona holds a collection of material collected and created by Tom Neff for his 1999 documentary "Louise Dahl-Wolfe, Painting with Light."
Provenance:
Donated 1992 by Wild Wolf Productions via writer, director, and producer Tom Neff.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings records with no duplicate copies requires advance notice.
Rights:
Outtakes, reels and transcripts: Authorization to quote or reproduce for purposes of publication requires written permission from WILD WOLF PRODUCTIONS via Tom Neff, producer. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Ceramicists -- California  Search this
Topic:
Beatrice Wood: Mama of Dada -- motion picture  Search this
Dadaism  Search this
Women artists  Search this
Motion pictures (visual works)  Search this
Women ceramicists  Search this
Genre/Form:
Interviews
Sound recordings
Transcripts
Video recordings
Citation:
Audiovisual materials relating to the documentary Beatrice Wood: Mama of Dada, 1990-1993. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.nefftom
See more items in:
Audiovisual materials relating to the documentary Beatrice Wood: Mama of Dada
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91900685d-5fd0-47ee-915f-0b7e0340c484
EDAN-URL:
ead_collection:sova-aaa-nefftom

Henry A. "Buddy" Graf and George Cahill Vaudeville and Burlesque Collections

Donor:
Cahill, George N. , b. 1959  Search this
Actor:
Graf, Carol A, 1945-2013  Search this
Graf, Henry "Buddy", 1929-2000  Search this
Extent:
32.2 Cubic feet (98 boxes)
Type:
Collection descriptions
Archival materials
Date:
1844-2000
bulk 1921-2000, undated
Summary:
Collection consists of vaudeville and burlesque materials including original scripts for comedic bits, blackouts, scenes, skits and sketches, joke files, promotional materials, photographs, business records, and press clippings dating from the 19th century to the late 20th century.
Scope and Contents:
Collection provides a comprehensive overview of vaudeville and burlesque performance material rather than documenting individual acts or performers. The materials were collected by Henry "Buddy" Arnold Graf Jr. and primarily include original scripts for comedic skits and sketches not only written by Graf but by other performers and writers.

The collection documents the career of Henry "Buddy" Graf, an actor, producer, director, and business manager. Graf wrote a sizeable amount of his own material but also pulled from the collected scripts of other vaudeville and burlesque comics. Graf and his company performed mostly in Florida and the mid-west and had a long term performing relationship with Bearcreek Farms in Indiana. Graf's material is a window into the non-professional world of theater (non-union) in the late 20th century.

The scripts in this collection collected by Graf and George Cahill were created and performed by early vaudeville and burlesque actors, writers, and booking agents including Gus Flaig, Billy Foster, Leo Stevens, and Izzy Hirst, and others. The scripts date from 1844 with the bulk of scripts being written and performed from the 1910s through the 1940s. The material was performed in venues across the United States.

Graf also collected a sizeable amount of scripts by vaudeville actor and booking agent Jess Mack dating from the 1940s-1980s. Many of the scripts were written on whatever material was available, such as hotel stationery, scraps of paper, or in notebooks, documenting the creative and constantly changing nature of the life of a travelling vaudevillian and changes in performance from venue to venue, year to year.

Each foldered script may include plot synopses, written dialogue, cues for movement, alternate versions, lists of props, copies of song sheets, and musical scores. Many are bound in hand-stitched volumes. The format of the volumes varies because they were the personal copies of different actors and agents. Some volumes are indexed by title while others are indexed by topic.

Additional material includes joke files, promotional materials, photographs, and press clippings. The collection is arranged into thirty-two series; each series is keyed to the collector of the scripts and materials in that series. These collectors may have also been the writers, actors, or producers of the scripts in their series.

"This is a collection of approximately twenty-four (24) cubic feet of vaudeville materials. About 90% of it consists of original scripts for a wide variety of comedic skits and sketches. Additional material includes joke files, promotional materials, photographs, and press clippings. The scripts were created by early (1910s-1940s) vaudeville actors and booking agents such as Gus Flaig, Billy Foster, Leo Stevens, and Izzy Hirst; additional scripts were added by vaudeville actor and booking agent Jess Mack (1940s-1980s). Like more "respectable" plays -- and despite their relatively short length -- vaudeville skits and sketches had titles, like "The Presentation Scene," which were very familiar to performers and theatergoers alike. Most of the scripts in this collection have been bound into hand-made volumes. These are rare, ephemeral items, reflecting the creative and constantly-changing nature of the performances – many scripts were written on whatever material was available, such as hotel stationery, and some volumes are hand-stitched together. Each script includes all of its elements -- plot synopses, written dialogue, cues for movement, alternate versions, lists of props, copies of song sheets and musical scores, and so on. The format of the volumes varies because these were the personal copies of a number of different actors and agents. Some volumes are indexed by title, for example, and some are indexed by topic, such as "animals," "flirtation," "golf," and so on. Non-script material includes joke books, "A Complete List of Scenes and Black-outs," and an unknown amount of photos, clippings, and promotional materials.
Arrangement:
Collection is arranged into thirty-two series:

Series 1: Henry "Buddy" Graf, 1844-2000, undated

Series 2: Arliss, Jules, undated

Series 3: Berry, Bert, undated

Series 4: Binder, F.F. (Fred "Falls"), undated

Series 5: Bronson, Milt, undated

Series 6: Brown, Ernie (Toby), undated

Series 7: Burke, Herbie, undated

Series 8: Clas, Irvin V., undated

Series 9: Clexx, Harry (Henry Thomas), undated

Series 10: Cook, Johnny (John S.) and Bohn, Charles ("Peanuts"), 1936-07

Series 11: Dew, I., undated

Series 12: Flaig, Gus and Beall, Howard, undated

Series 13: Flaig, Gus, 1921-1954, undated

Series 14: Foster, Billy, 1929, undated

Series 15: Hagen, Billy, undated

Series 16: Hayes, Jack, undated

Series 17: Hill, G.B., undated

Series 18: Hill, Joe, undated

Series 19: Hirst, Isadore, 1927-1928, undated

Series 20: Kane, Johnny, undated

Series 21: Kaplan, Eddie, undated

Series 22: Leason, Jess, undated

Series 23: Lewis, Freddie, undated

Series 24: Mack, Jess, 1937-1969, undated

Series 25: Plant, Vic, 1921-1925, undated

Series 26: Romig, Jack, undated

Series 27: Sherman, Robert, undated

Series 28: Stanley, Joe B., undated

Series 29: Taylor, Bob, undated

Series 30: Van, Earl, undated

Series 31: Wilton, Joe, 1920, undated

Series 32: Unattributed, 1945-1952, undated
Biographical / Historical:
Henry Arnold "Buddy" Graf was born 1929 August 30 in Chicago, Illinois at the Norwegian-American Hospital to Henry A. Graf and Evelyn Warner. His father was an electrician at the time of Graf's birth but Graf claimed he grew up in the theatre. As a child in vaudeville he played with the children of some of the vaudeville families such as Donald O'Connor and Sammy David, Jr. He received formal schooling up to the tenth grade.

Graf served in the United States Air Force from January 1949 to October 1952. He was stationed at Sheppard AFB, Texas and then later at Chanute AFB, Illinois. He served as a "Basic Airman" with a mechanic and engineering specialty, and recived a Good Conduct Medal. The most significant assignment during his enlistment was with the 9th Periodic Maintenance Squadron. He was discharged at Travis AFB, California in 1952.

In later life he became a comic, writer, and producer, his style being primarily burlesque with a touch of vaudeville.

Graf met his wife, Carol, in St. Louis, Missouri. A program biography from the 1980s states, "Buddy started his career in show business when he was seven years old. His father put his name on the callboard and he was in business running errands for the acts that appeared at the Stratford Theatre in Chicago, Illinois. Buddy's father was the stage manager, Bob Hope was the Master of Ceremonies. His playmates were Donald O'Conner and Sammy David, Jr. They became friends while they and their families were playing at the Stratford. As time went on Buddy gained experience from the management side of show business as well as the technical and artistic side, the latter as a scene comic. Buddy soon became involved with the rebirth of vaudeville with his own creation, "Giggles Galore". The show ran for five years and did over 2000 performances. He was with Will B. Able's 'Baggy Pants and Company', and performed with 'The Best of Burlesque'. In 1990, he completed a six year run at the Goodtimes Theatre at Bearcreek Farms in Indiana, where he starred in 22 new productions and over 2500 performances. Buddy's wife Carol is the buisness manager for Monkey Biz Productions, and she is the technical director for the show. Buddy and Carol invite you to let your hair down, forget your problems, and let's have some fun the old fashioned way . . . with 'Monkey Business'.

Graf suffered a heart attack on stage but survived after being fitted with a pacemaker, leading him to dub himself the "Bionic Comic." Graf died on 2000 August 20 and was buried in Valhalla Cemetery, St. Louis County, Missouri. Carol died 2013 May 20 and is buried beside her husband in Valhalla. Their shared gravemarker reads, "And in my final moment, may I hear You whisper: 'When you made My people smile, you made Me smile.'"
Related Materials:
Materials at the Archives Center, National Museum of American History

George E. "Mello" and Neva Satterlee McNally Vaudeville Collection, NMAH.AC.0760

Boudini Brothers Vaudeville Collection, NMAH.AC.1426

Falcon Trio Vaudeville Collection, NMAH.AC.0160

Billings-Merriam Family Vaudeville Scrapbooks, NMAH.AC.0079

Ed Hayes and His Banjo Girls Records, NMAH.AC.1333

Thomas Currier Vaudeville Collection, NMAH.AC.1120

W. Oscar Sullivan Papers, NMAH.AC.0072

Sam DeVincent Collection of Illustrated American Sheet Music, Series 4, NMAH.AC.0300

Groucho Marx Collection, NMAH.AC.0260

Donald J. Stubblebine Collection of Theater and Motion Picture Music and Ephemera, NMAH.AC.1211

Bobby Short Papers, NMAH.AC.0946

Warshaw Collection of Business Americana Subject Categories: James Madison, NMAH.AC.0060

Duncan P. Schiedt Photograph Collection, NMAH.AC.1323

Enoch Steen Collection, NMAH.AC.0206

Warshaw Collection of Business Americana Subject Categories: Theater, NMAH.AC.0060

Harpo Marx Papers, NMAH.AC.1290

St. Felix Sisters' Scrapbook, NMAH.AC.0294

Materials at Other Repositories

University of Nevada, Las Vegas, Special Collections and Archives, Gaming Studies, collection focusing primarily on gambling and casinos and includes material related to entertainment and vaudeville

University of Arizona Libraries, Special Collections, American Vaudeville Museum Collection

University of California, Santa Barbara Library, Milt Larsen Variety Theater Collection

University of Pittsburgh, Hillman Library, Curtis Theatre Collection includes about hundred skits and bits from comics, including Billy Foster, some of whose scripts are in the Graf collection.
Provenance:
The collection was donated by George N. Cahill to the Archives Center, National Museum of American History, Smithsonian Institution in 2019.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Burlesque (Theater)  Search this
Vaudeville  Search this
Citation:
Henry "Buddy" Graf and George Cahill Vaudeville and Burlesque Collections, Archives Center, National Museum of American History, Smithsonian Institution.
Identifier:
NMAH.AC.1484
See more items in:
Henry A. "Buddy" Graf and George Cahill Vaudeville and Burlesque Collections
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8e1c8cfb3-3fac-4f6d-a987-71562c7a0b66
EDAN-URL:
ead_collection:sova-nmah-ac-1484

Fulton Airphibian FA-3-101

Manufacturer:
Continental, Inc.  Search this
Designer:
Robert E. Fulton, Jr.  Search this
Materials:
Fuselage: steel tube with fabric covering
Dimensions:
Aircraft Car
Wingspan: 10.2 m (34 ft.) Wheel Base: 1.8m (72in)
Height: 2.34 m (7 ft. 8 in.) 1.5m (5ft)
Length: 6.76 m (22 ft. 2 in.) 3.8m (11 ft 6 in)
Weight: Empty 680.4 kg (1,500 lb) 496 kg (1100 lb)
Gross: 947 kg (2,100lb) 510 kg (1700 lb)
Type:
CRAFT-Aircraft
Country of Origin:
United States of America
Date:
1947-1953
Credit Line:
Gift of Joseph J. Ryan
Inventory Number:
A19600127000
Restrictions & Rights:
CC0
See more items in:
National Air and Space Museum Collection
Location:
National Air and Space Museum in Washington, DC
Exhibition:
Thomas W. Haas We All Fly
Data Source:
National Air and Space Museum
GUID:
http://n2t.net/ark:/65665/nv9a66335e2-bb5b-42ba-bf3a-9b7b1e9979c7
EDAN-URL:
edanmdm:nasm_A19600127000

Audiovisual materials relating to the documentary Beatrice Wood: Mama of Dada, 1990-1993

Creator:
Neff, Tom, 1953-  Search this
Subject:
Clark, Garth  Search this
Del Vecchio, Mark  Search this
D'Harnoncourt, Anne  Search this
Huglin, Hugh  Search this
Naumann, Francis M.  Search this
Perreault, John  Search this
Pole, Rupert  Search this
Singh, R.P.  Search this
Waisler, Lee  Search this
Watson, Steve  Search this
Wood, Beatrice  Search this
Type:
Interviews
Sound recordings
Transcripts
Video recordings
Citation:
Audiovisual materials relating to the documentary Beatrice Wood: Mama of Dada, 1990-1993. Archives of American Art, Smithsonian Institution.
Topic:
Beatrice Wood: Mama of Dada -- motion picture  Search this
Dadaism  Search this
Women artists  Search this
Motion pictures (visual works)  Search this
Women ceramicists  Search this
Theme:
Women  Search this
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)6397
(DSI-AAA_SIRISBib)215368
AAA_collcode_nefftom
Theme:
Women
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215368

Audrey Flack papers, 1950-2022

Creator:
Flack, Audrey  Search this
Subject:
Janson, Anthony F.  Search this
Arizona State University  Search this
Atlantic Center for the Arts (New Smyrna Beach, Fla.)  Search this
Cooper Union for the Advancement of Science and Art  Search this
Guild Hall of East Hampton  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Louis K. Meisel Gallery  Search this
Type:
Scrapbooks
Photographs
Motion pictures (visual works)
Video recordings
Sound recordings
Citation:
Audrey Flack papers, 1950-2022. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Study and teaching  Search this
Art -- Economic aspects  Search this
Artists' studios -- Photographs  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)15666
(DSI-AAA_SIRISBib)282435
AAA_collcode_flacaudr
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_282435
Online Media:

Duncan Family Yo-yo Collection

Creator:
Duncan, Donald F., Jr.  Search this
Duncan Yo-Yo Company.  Search this
Extent:
14 Cubic feet (40 boxes)
Type:
Collection descriptions
Archival materials
Advertisements
Motion pictures (visual works)
Photographs
Business records
Clippings
Training films
Scrapbooks
Date:
1928-2002
Scope and Contents:
The Duncan Family Yo-Yo Collection consists of papers, photographs, advertising materials, scrapbooks, clippings and audio-visual materials. These materials trace the rise and fall of the companies owned by the Duncan family as well as the world of yo-yo's. The materials date from 1929 to 2002, with the bulk of the material focused on the Donald F. Duncan, Inc., and the companies that would become Playmaxx, Inc.

The collection is arranged in seven series. Series one contains business material pertaining to Donald F. Duncan, Inc., and its spin off companies. Series two contains material about Donald F. Duncan, Inc. It contains business records, correspondence, photographs, advertising materials, contest materials, information about demonstrators, and sales. Series three describes the creation of Duncraft, Inc. and how it changed names to Duracraft, Inc., finally becoming Playmaxx, Inc. The series contains material on the creation of a small business, photographs, advertising materials, instructional materials, patents and correspondence. Series four contains newspaper clippings arranged by dates. Series five contains information on the competitors of Donald F. Duncan, Inc, and Playmaxx, Inc. as well as information on the Flambeau Corporation who had bought out the Duncan name and was continuing to sell yo-yos. Series six contains information on yo-yos in general. It has materials including articles, magazines, books, music, information on the Smothers Brothers, and miscellaneous material. Series seven contains audio-visual materials including commercials, videos, audio tape and records.
Arrangement:
Collection is divided into eight series.

Series 1, Donald F. Duncan, Inc. Records, 1930-1985

Subseries 1, Minute books, 1930-1967

Subseries 2, Correspondence, 1930-1985

Subseries 3, Organizational Materials, 1959, 1962

Subseries 4, Conference Reports, 1962-1963

Subseries 5, Financial materials, 1959-1965

Subseries 6, Employee and Personnel Materials, 1962-1964

Subseries 7, Sales Materials, 1958-1965

Subseries 8, Advertising & Promotional Materials, 1957, 1962-1965

Subseries 9, Production Materials, 1954-1980

Subseries 10, Instructional Materials, 1950-1963

Subseries 11, Scrapbooks, 1930s

Subseries 12, Photographs, 1957 and undated

Subseries 13, Other Companies, 1956-1967

Subseries 14, Empty Binders, undated

Series 2: Playmaxx, 1967-2000

Subseries 1, Corporate Records, 1987-1995

Subseries 2, Correspondence, 1967-2000

Subseries 3, Advertising and Promotional materials, 1982-1990

Subseries 4, Financial Materials, 1990-1995

Subseries 5, Employee and Personnel materials, 1990-1995

Subseries 6, Sales Materials, 1981-1997

Subseries 7, Patents, 1974-1997

Subseries 8, Production Materials, 1980-1992

Subseries 9, Newsletters and Releases, 1978, 1997

Subseries 10, Programs, 1981-1997

Subseries 11, Duracraft, 1977-1986

Subseries 12, Competitors, 1976-1997

Subseries 13, Miscellaneous, 1997

Series 3: Yo-Yo's, 1928-2002

Subseries 1, Newspaper clippings, 1929-1999

Subseries 2, Articles, 1952-1998

Subseries 3, Books, 1978-2000

Subseries 4, Instructional Materials, undated

Subseries 5, Magazine, 1958-2002

Subseries 6, Newsletters, 1988-1999

Subseries 7, Music, 1930-1964

Subseries 8, Competitors, 1958-1992

Subseries 9, Contests, 1997-2000

Subseries 10, Photographs, undated

Subseries 11, Miscellaneous, 1930-2002

Series 4, Other Toys, 1935-1991

Subseries 1, Toys, 1935-1991

Subseries 2, Photographs of Other Toys, undated

Subseries 3, Photographs of Tops, undated

Series 5, Audiovisual Materials, 1946-1996
Biographical / Historical:
Donald F. Duncan (1892-1971), a businessman who had successfully marketed parking meters and ice cream, began to sell yo-yos after seeing them on a visit to California. Duncan founded Donald F. Duncan, Inc. in 1930, running it with the help of family members and soon got the word yo-yo trademarked. Duncan marketed the yo-yo successfully by using traveling demonstrators, many who were Filipinos, to hold contests around the country to increase demand. Duncan claimed the yo-yo was once a primitive hunting weapon in the Philippines and whose name meant "come-come". Duncan also used the slogan, "If it isn't a Duncan, it isn't a Yo-Yo."

As the company became more successful a plant in Luck, WI was constructed to be near the maple used to produce the yo-yos. The management division remained in Chicago, where it shared some of the same staff as the Duncan Parking Meter Company. The company also began to branch out, trying to create new toys and products, including a line of tops and selling plastic yo-yos. In the early 1960s the company, now run by Donald F. Duncan, Jr., began an aggressive and expensive marketing campaign using television ads, creating a huge demand for yo-yos that the Luck plant could not keep up with.

By 1965 Donald F. Duncan, Inc. was in financial trouble. The company was unable to keep up with demand for yo-yos, losing out to other brands. They lost an expensive legal battle Royal Tops over trademark infringement. The court ruled that the word yo-yo was the generic word for the toy. In 1965 the company's creditors wanted their money and the company filed for bankruptcy. The company was auctioned off in 1966, with the Flambeau Corporation, owners of the plastic yo-yo molds, buying the Duncan name and continuing to produce Duncan Yo-Yos.

In the early 1970s, Donald F. Duncan Jr. wanted to return to the yo-yo business. He created and received a patent for a plastic yo-yo that was balanced to maximize spin time, allowing tricks to be performed better and longer. Duncan created a series of companies, Duncraft, Inc., in 1976, Duracraft, Inc., in 1977, and finally Playmaxx, Inc., in 1987, to market his new yo-yo. These companies, based in Arizona, were primarily run by Duncan and his wife Donna. They focused on school demonstrations and other programs to sell yo-yo's. The yo¬yo, known as the ProYo, has removable sides allowing it to be display any type of logo. In addition to Playmaxx, the Duncan's also ran a yo-yo museum, the Yozeum. By the end of the 1990s, Playmaxx was no longer in business and the Duncan's moved to Bartlesville, Oklahoma, where they operated the Yozeum.
Materials in the Archives Center, National Museum of American History:
Bob Rule Papers, circa 1950-2002 (AC0855)
Separated Materials:
The Division of Culture and the Arts (now Division of Cultural and Community Life) holds related artifacts. See accession #2002.0246, #2004.0029, #2007.0158.
Provenance:
This collection was donated to the Archives Center, National Museum of American History, Smithsonian Institution, by the Duncan family in March, 2002.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Yo-yos  Search this
Toys  Search this
Toy industry  Search this
Genre/Form:
Advertisements
Motion pictures (visual works)
Photographs -- 20th century
Business records -- 20th century
Clippings -- 20th century
Training films
Scrapbooks
Citation:
Duncan Family Yo-yo Collection, 1928-2002, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0807
See more items in:
Duncan Family Yo-yo Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8245c488c-52b4-46f1-82b5-1f56baef5751
EDAN-URL:
ead_collection:sova-nmah-ac-0807
Online Media:

Paul Duncan Film Collection

Creator:
Duncan, James T.  Search this
Duncan, Paul  Search this
Names:
McMillen, Clark  Search this
Extent:
0.5 Cubic feet
Type:
Collection descriptions
Archival materials
Motion pictures (visual works)
Date:
1937-1941
Summary:
One film documenting use of farm tools and machinery of the late 19th early 20th century.
Scope and Contents:
Filmed entirely on location at the W. Clark McMillen Farm in Atlantic, Pennsylvania, the Paul Duncan Film Collection documents three types of now obsolete farming practices using draft horses and manual labor: making hay (1937), threshing wheat (1939), and cradling & flailing (1941). The film is 8mm, black and white and color. Edge codes date from 1926, 1932, and 1934-35.
Arrangement:
Collection arranged into one series.
Biographical / Historical:
Between 1937 and 1941, amateur film maker, Paul Jasper Duncan (1899-1986), documented non-mechanized farming practices in the eastern Pennsylvania region where he had grown up. Duncan was born in Meadville, Pennsylvania on March 21, 1899. He was the son of Raymond and Nellie Thayer Duncan. Duncan's maternal grandfather, Charles F. Thayer (1848-1933), lived in nearby Atlantic next to the W. Clark McMillen farm. In 1901, Myrna K. Thayer, one of Duncan's maternal aunts, married W. Clark McMillen. Clark McMillen was a full-time farmer. About 1918, Raymond Duncan and his family moved to Atlantic and lived in the Thayer home next door to the McMillen farm. During his youth, Duncan worked on the McMillen farm when labor was needed and when he needed to earn some money but he never had any interest in becoming a farmer. Duncan graduated from Meadville High School in 1919.

Duncan attended Pennsylvania State University for a year studying mechanical engineering. He returned to Meadville taking a job as a teacher for manual training (shop, woodworking, etc.). He married Alice Driver but within a month she died of "milk fever". Duncan returned to Penn State completing one more year toward a degree before moving to Chicago in the fall of 1922. He married Gertrude Glover in 1924 and in the fall of 1938 they moved to Des Plaines, Illinois. They had two children: Margaret (b. 1929) and James (b. 1932). Duncan worked as a mechanical design engineer for the Universal Oil Company and the Ludlow Typograph Company.

In 1937, Duncan purchased an 8mm movie camera. He had an interest in still photography and this interest extended to motion pictures. During summer family trips to Atlantic in 1937, 1939 and 1941 Duncan documented three farming practices on the McMillen farm: making hay (1937), threshing wheat (1941), and cradling and flailing (1941). During this time the farm was being worked by McMillen and his son-in-law Roy Ferrin (d. 1945). With the exception of cradling and flailing, the farm work was not staged and coincided with the Duncan family visits to Atlantic. At the time that Duncan filmed cradling and flailing the wheat had been cut, so McMillen is seen cutting and binding sheaves of oats instead. In addition to McMillen, Ferrin and Duncan's nephew Neil Duncan are seen in the films.

After retiring from the Ludlow Typographic Company in 1968, Duncan and his wife moved to Dos Cabezas, Cochise County, Arizona. He died in 1986.
Abbreviations:
OF = Original Film

RV = Reference Video

MV = Master Video
Related Materials:
Materials in the Archives Center

The Robinson and Via Family Papers, 1845-2000 (AC0475)

The William C. Kost Farm Records, 1939-1989 (AC0481)
Provenance:
Donated to the Archives Center, National Museum of American History, Smithsonian by James T. Duncan, son of Paul J. Duncan, in November 2002.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Agriculture -- Pennsylvania  Search this
Draft horses  Search this
Agricultural machinery  Search this
Farmers  Search this
Farm equipment  Search this
Harvesting -- Pennsylvania  Search this
Genre/Form:
Motion pictures (visual works) -- 1930-1950
Citation:
Paul Duncan Film Collection, 1937-1941, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0827
See more items in:
Paul Duncan Film Collection
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8aa1f83ba-2edd-434a-b88b-be2b9ab0cfb9
EDAN-URL:
ead_collection:sova-nmah-ac-0827

Episode 312

Collection Producer:
Lodge, Arthur  Search this
Arthur Lodge Productions.  Search this
Collection Creator:
National Association of Manufacturers  Search this
Extent:
1 Motion picture film
Container:
Reel AC0507-OF0312
Type:
Archival materials
Moving Images
Motion picture films
Date:
1956 October 6
Scope and Contents:
Michigan Studying chickens helps defeat some human ailments due to faulty diet. Finds that cholesterol is bad for the heart. Poultry; health. UpJohn Co., Kalamazoo, MI.

Kentucky Manufacturing, assembling, and inspecting protective domes for airplane hangars. Irving Air Chute Co., Lexington, KY.

Arizona Cactus craft of Arizona uses dead cactus. Furniture shaped like covered wagons made from cactus; horticulture. Cactus Craft Co., Tucson, AZ.

New York Company moves without stopping production. Neptune Storage, New York, NY.
Collection Restrictions:
Collection is open for research but the films are stored off-site. Special arrangements must be made directly with the Archives Center staff to view episodes for which no reference copy exists. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees will be charged for reproductions.
Collection Citation:
Industry on Parade Film Collection, 1950-1959, Archives Center, National Museum of American History, Smithsonian Institution.
See more items in:
Industry on Parade Film Collection
Industry on Parade Film Collection / Series 1: Motion Picture Films
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep838876603-5f8f-4b10-b57e-187ad3db5a79
EDAN-URL:
ead_component:sova-nmah-ac-0507-ref599

Episode 313

Collection Producer:
Lodge, Arthur  Search this
Arthur Lodge Productions.  Search this
Collection Creator:
National Association of Manufacturers  Search this
Extent:
1 Motion picture film
Container:
Reel AC0507-OF0313
Type:
Archival materials
Moving Images
Motion picture films
Date:
1956 October 13
Scope and Contents:
New Jersey Magnesium and iron mixed together make virtually new metal. Using photomicrographs to study the metal and its strength. International Nickel Co., Bayonne, NJ.

Arizona Charcoal made from mesquite trees. Horticulture; food industry. Southwest Chemical Co., Tucson, AZ.

Kansas Frozen food in natural icebox costs less to operate because it is naturally cold. Inland Cold Storage Co., Kansas City, KS.

Ohio A ship can be operated with radio waves by using remote-controlled transmitter. Hobby Harbor, Columbus, OH.
Collection Restrictions:
Collection is open for research but the films are stored off-site. Special arrangements must be made directly with the Archives Center staff to view episodes for which no reference copy exists. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees will be charged for reproductions.
Collection Citation:
Industry on Parade Film Collection, 1950-1959, Archives Center, National Museum of American History, Smithsonian Institution.
See more items in:
Industry on Parade Film Collection
Industry on Parade Film Collection / Series 1: Motion Picture Films
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8a989f8c8-a154-4528-926c-03bcaffad895
EDAN-URL:
ead_component:sova-nmah-ac-0507-ref601

Episode 314

Collection Producer:
Lodge, Arthur  Search this
Arthur Lodge Productions.  Search this
Collection Creator:
National Association of Manufacturers  Search this
Extent:
1 Motion picture film
Container:
Reel AC0507-OF0314
Box 6, Tape AC0507-MV0314
Box 12, Tape RV0507.314
Type:
Archival materials
Moving Images
Motion picture films
Date:
1956
Scope and Contents:
Indiana Company makes components of a house. New mass production home-building techniques; construction industry. National Homes Corporation, Lafayette, IN.

Ohio Making a crate which can stretch, hold liquid. Used in washing surfaces. Cincinnati Industries, Inc., Cincinnati, OH.

Arizona Producing air coolers cheaper and easier than air-conditioners. Wright Manufacturing Co., Phoenix, AZ.

New York Company makes weather seals for windows. Company first produced fringe for women's skirts. As skirts shortened, company changed products. Schlegel Co., Rochester, NY.

Reference video, Box 12
Collection Restrictions:
Collection is open for research but the films are stored off-site. Special arrangements must be made directly with the Archives Center staff to view episodes for which no reference copy exists. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees will be charged for reproductions.
Collection Citation:
Industry on Parade Film Collection, 1950-1959, Archives Center, National Museum of American History, Smithsonian Institution.
See more items in:
Industry on Parade Film Collection
Industry on Parade Film Collection / Series 1: Motion Picture Films
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8b7654d95-4e2b-45a8-88bb-b3f5521cf7c4
EDAN-URL:
ead_component:sova-nmah-ac-0507-ref603

Episode 334

Collection Producer:
Lodge, Arthur  Search this
Arthur Lodge Productions.  Search this
Collection Creator:
National Association of Manufacturers  Search this
Extent:
1 Motion picture film
Container:
Reel AC0507-OF0334
Type:
Archival materials
Moving Images
Motion picture films
Date:
1957 March 9
Scope and Contents:
Massachusetts Henry Ellis Warren invented synchronous electric clock. Regulated by pulsations from electric current without connecting cord. General Electric Telechron, Ashland, MA.

Oregon Raising, pruning, and packaging holly. Brownell Farms, Milwaukie, OR.

New York Making dies from which castings are formed. Training die-makers. Precision Castings Division, Harsco Corp., Fayetteville, NY.

Arizona Modified "Kaibabs" (shoes made by Hopi Indians from Spanish conquistador design) used as modern sportswear. Tucson, AR.
Collection Restrictions:
Collection is open for research but the films are stored off-site. Special arrangements must be made directly with the Archives Center staff to view episodes for which no reference copy exists. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees will be charged for reproductions.
Collection Citation:
Industry on Parade Film Collection, 1950-1959, Archives Center, National Museum of American History, Smithsonian Institution.
See more items in:
Industry on Parade Film Collection
Industry on Parade Film Collection / Series 1: Motion Picture Films
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep894188eea-9272-4940-a956-adc0837669a9
EDAN-URL:
ead_component:sova-nmah-ac-0507-ref643

Episode 368

Collection Producer:
Lodge, Arthur  Search this
Arthur Lodge Productions.  Search this
Collection Creator:
National Association of Manufacturers  Search this
Extent:
1 Motion picture film
Container:
Reel AC0507-OF0368
Type:
Archival materials
Moving Images
Motion picture films
Date:
1957 November 2
Scope and Contents:
Arizona Developing an air motor powered by jet exhaust to reduce jet speed after landing. Airsearch Division, Garrett Corp., Phoenix, AZ.

South Carolina A cafeteria on wheels, a "Mobilteria," used to deliver meals to hospital patients. Developed by staff of McLeod Infirmary. Hood Gardner Hotel Supply Corp., Florence, SC.

Minnesota Assembling fishing rods using parts manufactured by other firms. Subcontracting to other small businesses. Denison-Johnson, Mankato, MN.

Connecticut Welcoming families to new community and company. Company hostesses greet wives and help locate babysitters and Laundromats. Electric Boat Division, General Dynamics Corp., Groton, CT.
Collection Restrictions:
Collection is open for research but the films are stored off-site. Special arrangements must be made directly with the Archives Center staff to view episodes for which no reference copy exists. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees will be charged for reproductions.
Collection Citation:
Industry on Parade Film Collection, 1950-1959, Archives Center, National Museum of American History, Smithsonian Institution.
See more items in:
Industry on Parade Film Collection
Industry on Parade Film Collection / Series 1: Motion Picture Films
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8c7c82503-a322-41b9-82cf-425766028fc3
EDAN-URL:
ead_component:sova-nmah-ac-0507-ref707

Modify Your Search







or


Narrow By