Berlin Iron Bridge Company (East Berlin, Conn.). Search this
Berlin Construction Company (East Berlin, Conn.) Search this
Former owner:
National Museum of American History (U.S.). Division of Mechanical and Civil Engineering Search this
National Museum of American History (U.S.). Division of Work and Industry Search this
Extent:
2 Cubic feet (1 box, 5 oversize folders)
Type:
Collection descriptions
Archival materials
Blueprints
Photograph albums
Photographs
Date:
1890-1953
Scope and Contents note:
Blueprints and plans for facilities built by the company, including coal-handling bridges, coal unloading towers, dock trestles, and coal-handling plants and two photograph albums from the Berlin Iron Bridge Company, East Berlin, Connecticut. The images in one of the albums are mostly of factory scenes. The other album contains mostly images of bridges throughout Connecticut, Massachusetts, New York, and elsewhere in New England. The collection also contains blueprints and plans for facilities built by the company, including coal-handling bridges, coal unloading towers, dock trestles, and coal-handling plants.
Arrangement:
The collection is arranged into one series.
Provenance:
Gifts of Victor C. Darnell, 1981 and 1986.
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.
National Museum of American History (U.S.). Division of Engineering and Industry Search this
National Museum of American History (U.S.). Division of History of Technology Search this
National Museum of American History (U.S.). Division of Work and Industry Search this
Extent:
0.5 Cubic feet (3 boxes, 1 map folder)
Type:
Collection descriptions
Archival materials
Photograph albums
Postcards
Photographs
Place:
Canada
Quebec
Date:
1905-1986
bulk 1905-1916
Summary:
The collection documents the construction of the first and second Quebec Bridges over the St. Lawrence River. Construction on the first bridge began in 1900 and the bridge collapsed before completion in 1907. Construction on the second Quebec Bridge, which is the longest cantilever bridge in the world, was completed in 1917.
Scope and Contents:
The collection documents the construction of the first and second Quebec Bridges over the St. Lawrence River primarily through photographs. The collection is arranged into two series: Series 1, Photographic Materials, 1905-1965 and Series 2, Other Materials, 1916-1986.
Series 1, Photographic Materials, 1905-1965, is divided into two subseries: Subseries 1.1, Photographs, 1907-1965 and Subseries 1.2, Photograph Album, 1905. The black-and-white photographs primarily document the construction of the second Quebec Bridge, 1907-1917. Many of these photographs were taken in a workshop where the production of the bridge parts and building materials occurred. One picture, marked number 24, is of the Prime Minister of Canada, Robert Borden, attending the construction site in October 1913. This series also contains photographs of the 1907 bridge collapse and pictures taken in 1965 of the current second bridge. Subseries 2, Photograph Album, 1905, documents the construction of the first Quebec cantilever bridge. The album contains mounted black-and-white photographs taken between May 12 and November 23, 1905.
Series 2, Other Materials, 1916-1986, consists of newspaper articles and postcards. The newspaper articles detail the 1916 construction accident on the second Quebec bridge; one 1917 article about the bridge; and one 1986 article about the 1907 collapse of the first bridge. There are three postcards, both black-and-white and color, of the Quebec Bridge.
Arrangement:
Collection is arranged into two series.
Series 1, Photographic Materials, 1905-1965
Subseries 1, Photographs, 1907-1965
Subseries 2, Photograph Album, 1905
Series 2, Other Materials, 1916-1986
Biographical / Historical:
The first Quebec Bridge was built over the St. Lawrence River in order to connect important railroad lines.[1] This bridge collapsed on August 29, 1907, killing 79 men.[2]
The engineers for the second bridge were Maurice Fitzmaurice, H.E. Vautelet, and Ralph Modjeska.[3]
Notes:
[1] "Bridge of 1,800-FT. Span Across the St. Lawrence," Popular Mechanics Vol. 8, No. 12 December 1906
[2]"Wrecked Quebec Bridge to be Recommended"[3] "Wrecked Quebec Bridge to be Recommended"
Provenance:
Originally collected for the Division of Mechanical and Civil Engineering's reference collections; exact date and source of acquisition unknown.
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. Reproduction permission from Archives Center: reproduction fees may apply.
Jon and Jennifer Hanson Watch and Clock Collection
Extent:
27 Cubic feet (35 boxes, 1 map folder)
Type:
Collection descriptions
Archival materials
Account books
Annual reports
Advertising
Blueprints
Business records
Photographs
Picture postcards
Price lists
Date:
circa 1826-2009
Summary:
Photos and photo negatives, correspondence, newspaper and magazine articles, and other printed material documenting the interior operations, products, and horological research relating to watch companies and watchmaking in the 19th and 20th centuries.
Scope and Contents:
The initial collection consists of approximately 760 photographs and negatives created by the Hamilton Watch Company and documenting its employees, equipment, materials, and factory in Lancaster, Pennsylvania. Many photographs depict the company's research and development efforts. There are also images of the Hamilton Watch Company's work in fuse assembly for bombs during WWII. The photographs are mainly organized by factory department or location. A number of these photographs were created by the advertising department and include identification numbers, location of the image, name of the photographer, and the identification of people in the photograph, as well as release forms for those pictured. If not located with the photographs, these items, as well as additional information, can be found in the corresponding folders. Negatives in poor condition were scanned. There are also five glass plate negatives.
Following addenda consist primarily of advertising material related to material catalogs and newspaper and magazine articles published by watch companies in the 19th and 20th centuries. Included in the addenda are photographs, correspondence, articles, and other material documenting the interior operations, products, and horological research relating to the Hamilton Watch Company, Bowman Technical School, Keystone Watch Case Company, Elgin National Watch Company, United States Watch Company, Waltham Watch Company, and other prominent watch manufacturers primarily in the 20th century.
Arrangement:
The collection is arranged into seven series.
Series 1: Photographic Prints and Negatives, 1931-1954, undated
Series 2: 2009 Addenda, 1930-1969
Series 3: 2010 Addenda, circa 1826-1985
Series 4: 2016.3007 Addenda, circa 1885-2009
Series 5: 2016.3197 Addenda, circa 1870s-1970s
Series 6: 2014 Addenda, circa 1866-1981
Series 7: 2017 Addenda, circa 1850s-1998
Biographical / Historical:
Hamilton Watch Company, established in Lancaster, Pennsylvania, in 1892, was known for its manufacture of high quality wrist and pocket watches. Broadway Limited, its first series of pocket watches, was nicknamed "the watch of railroad accuracy," and Hamilton soon became associated with the railroad industry. The company also supplied wristwatches to the United States Armed Forces in the 1910s. Hamilton continued its association with the military during World War II when it stopped production of watches for consumers in order to provide the armed forces with one million timepieces. The company was responsible for the Ventura, the world's first electric (battery-powered) watch, and in 1970, the world's first digital watch.
In 1969, Hamilton closed its factory in Lancaster, Pennsylvania, signaling the end of its American manufacturing operations. All production moved to the facilities of the Buren Watch Company in Switzerland, a company that Hamilton had acquired three years before. The Hamilton brand is currently owned by the Swatch Group and carries two product lines, American Classic and Khaki.
Related Materials:
Materials in the Archives Center
E. Howard Clock Company Records (NMAH.AC.0776)
Seth Thomas Clock Company Records (NMAH.AC.0627)
James Arthur Clock and Watch Collection (NMAH.AC.0130)
National Company (NATCO) Atomic Clocks Records (NMAH.AC.0547)
Harold Lyons Atomic Clocks Collection (NMAH.AC.0701)
Warshaw Collection of Business Americana Series: Watchworks and Clockworks (NMAH.AC.0060)
Josephus Gill Ledger (NMAH.AC.1573)
Andrew Chi Atomic Clocks Collection (NMAH.AC.1264)
Richard Bond Clock Escapement Video Documentation: Videotapes (NMAH.AC.0682)
Illinois Springfield Watch Company Record Book (NMAH.AC.1145)
Harold Lyons Atomic Clocks Collection (NMAH.AC.0701)
Sam DeVincent Collection of Illustrated American Sheet Music, Series 14: Calendar, Time and Weather (NMAH.AC.0300.S14)
James Knight Co. Records (NMAH.AC.0847)
Jacob Rabinow Papers (NMAH.AC.0403)
Materials in the Division of Work & Industry
See accessions: 2010.0243.03; 2012.0266; 2014.0023; 2015.0030.011; 2016.0026; 2016.0381; 2017.0337.
Provenance:
The donor, Jon Hanson, purchased the photographs and negatives from Hamilton Watch Company (Series 1) in 1969 when Hamilton closed its Lancaster plant; they were later sold by his estate. Hanson donated these materials to the Archives Center in 2008.
Restrictions:
The collection is open for research use.
Researchers must handle unprotected photographs with gloves.
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.
Collection documents the career of noted American jazz musician Dizzy Gillespie, through a donation from his former manager, Charles Fishman.
Scope and Contents:
The collection primarily documents Charles Fishman's tenure as Gillespie's manager, 1985-1993, and is composed of business records. There is also a significant amount of personal material and photographs from the 1940s-1980s, much of which was saved by Mr. Fishman when Dizzy Gillespie wanted to throw these materials away or take them home.
Born in South Carolina in 1917, John Birks "Dizzy" Gillespie was a master jazz trumpeter, bandleader, singer, and composer. In the 1940s, he was one of the principal developers of both bebop and Afro-Cuban jazz. Through the multitudes of musicians with whom he played and who he encouraged; he was one of the most influential players in the history of jazz.
The youngest of nine children, Gillespie was exposed to music by his father, a part-time bandleader who kept all his band's instruments at home, where young Gillespie tried them out. At age twelve, he received a music scholarship to the Laurinburg Institute in North Carolina, where he played trumpet in the school band. In 1935, at age eighteen, he moved to Philadelphia and joined his first band, where his clownish onstage behavior and sense of humor earned him his nickname, "Dizzy." Thereafter, he was almost constantly joining and leaving, or forming and disbanding, bands of various size and style, as he set out to first hone his talent, then to develop his own creative innovations and to publish his recordings, and then to fulfill his lifelong desire to lead his own band. Along the way, he played with, collaborated with, encouraged, and influenced, all the major – and most of the minor – jazz musicians of his age, including Charlie Parker, Duke Ellington, Ella Fitzgerald, Benny Carter, Billy Eckstine, Cab Calloway, and John Coltrane.
In 1937, Gillespie moved to New York, where he joined Teddy Hill's band; with Hill he made his first overseas tour, to England and France. By 1939, he had joined Cab Calloway's band and had received his first exposure to Afro-Cuban music. In 1940, Gillespie met Charlie "Bird" Parker, Thelonious Monk, and Kenny Clarke and together they began developing a distinctive, more complex style of jazz that became known as bebop or bop. In the early 1940s, Gillespie made several recordings of this new sound. In 1945, he formed and led his own big band, which was quickly downsized into a quintet due to financial problems. He was able to reform the band the next year and keep it together for four years, but it was disbanded in 1950. During this time, he began to incorporate Latin and Cuban rhythms into his work. In 1953, a dancer accidentally fell on his trumpet and bent the bell. Gillespie decided he liked the altered tone and thereafter had his trumpets specially made that way.
In 1956, after leading several small groups, the United States State Department asked Gillespie to assemble a large band for an extensive cultural tour to Syria, Pakistan, Turkey, Greece, and Yugoslavia; a second tour, to South America, took place several months later. Although he kept the band together for two more years, the lack of government funding prevented him from keeping such a large group going and he returned to leading small ensembles. In 1964, displaying the humor for which he was well-known, Gillespie put himself forward as a candidate for President.
Gillespie continued to tour, perform, record, and to collaborate with a wide range of other musicians throughout the 1970s and 1980s. He continued to encourage new styles and new talents, such as Arturo Sandoval, whom he discovered during a 1977 visit to Cuba. In 1979, Gillespie published his autobiography, To Be or Not to Bop. In the late 1980s, he organized and led the United Nations Orchestra, a 15-piece ensemble that showcased the fusion of Latin and Caribbean influences with jazz. In these later years, although still performing, he began to slow down and enjoy the rewards of his extraordinary talent. He received several honorary degrees, was crowned a chief in Nigeria, was awarded the French Commandre d'Ordre des Artes et Lettres, won a Grammy Lifetime Achievement Award, and received both the Kennedy Center Medal of Arts and the ASCAP Duke Ellington Award for Fifty Years of Achievement as a composer, performer, and bandleader. Dizzy Gillespie passed away on January 6, 1993.
Related Materials:
Materials held in the Archives Center
John and Devra Hall Levy Collection NMAH.AC1221
Paquito Rivera NMAH.AC0891
James Moody Papers NMAH.AC1405
Chico O'Farrill Papers NMAH.AC0892
Boyd Raeburn Papers NMAH.AC1431
William Claxton Photographs NMAH.AC0695
Ray Brown Papers NMAH.AC1362
Earl Newman Collection of Monterey Jazz Festival Posters NMAH.AC1207
Graciela Papers NMAH.AC1425
Leonard Gaskin Papers NMAH.AC0900
Ella Fitzgerald NMAH.AC0584
Herman Leonard Photoprints NMAH.AC0445
Stephanie Myers Jazz Photographs NMAH.AC0887
John Gensel Collection of Duke Ellington Materials NMAH.AC0763
Duke Ellington Collection NMAH.AC0301
Benny Carter Collection NMAH.AC0757
Chuck Mangione NMAH.AC1151
Bill Holman Collection NMAH.AC0733
Duncan Schiedt Photograph Collection NMAH.AC1323
Fletcher and Horace Henderson Music and Photographs NMAH.AC0797
Ernie Smith Jazz Film Collection NMAH.AC0491
W. Royal Stokes Collection of Music Publicity Photoprints, Interviews, and Posters NMAH.AC0766
William Russo Music and Personal Papers NMAH.AC0845
Pat and Chuck Bress Jazz Portrait Photographs NMAH.AC1219
Milt Gabler Papers NMAH.AC0849
Floyd Levin Reference Collection NMAH.AC.1222
Materials held in the Division of Culture and the Arts
Includes Dizzy Gillespie's iconic "bent" trumpet (1986.0003.01); sound recordings, a button, and a sculpture.
Materials held in the Smithsonian Institution Archives
National Museum of American History. Office of Public Affairs Accession 95-150
Smithsonian Institution. Division of Performing Arts Accession 84-012
Smithsonian Institution. Office of Telecommunications Record Unit 296
Smithsonian Institution. Office of Telecommunications Record Unit 590
Materials held in the Archives of American Art, Smithsonian Institution
Gertrude Abercrombie AAA.abergert
Materials at Other Organizations
Dizzy Gillespie Collection, circa 1987-2000, University of Idaho Library, Special Collections and Archives
Provenance:
The collection was donated by Charles Fishman, Dizzy Gillespie's manager, in 2007.
Restrictions:
The collection is open for research. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The collection documents the activities of the United Shoe Machinery Corporation of Beverly, Massachusetts, manufacturers of shoe machinery equipment. The collection consists of engineering records, legal records, research and development records, employee/personnel records, correspondence, company catalogs, product literature, advertising materials, photographs, and moving images.
Scope and Contents:
This collection is among the largest and most complete bodies of business records in the holdings of the Archives Center. The records document in considerable detail the firm's engineering department and research and development efforts in shoe making machinery and in related technical areas, especially during World War II and as it attempted to diversify its activities after the war. There is detailed information, much of it on microfilm, about the leasing of United Shoe Machinery (USM) machines. The records also provide insight into the USM's culture of corporate paternalism, including its athletic and relief associations and its industrial school. The collection is rich in visual materials depicting both the machines made by the firm and the employees and the facilities.
Arrangement:
The collection is arranged into seventeen series.
Series 1: Historical and Background Materials, 1901-1985
Series 2: Executive Records, 1927-1987
Subseries 2.1: United Shoe Machinery, 1927-1975
Subseries 2.2: Emhart Corporation, 1976-1987
Series 3: Correspondence, 1890, 1901-1915
Series 4: Wilson Palmer Files, 1925-1952
Series 5: Research and Development Department Records, 1914-1980
Subseries 5.1: Background, 1947-1974
Subseries 5.2: Financial Information, 1947-1975
Subseries 5.3: Reports, 1962-1973
Subseries 5.4: Facilities, 1947-1975
Subseries 5.5: Personnel, 1942-1979
Subseries 5.6: Labor, 1961-1970
Subseries 5.7: Subject Files, 1943-1977
Subseries 5.8: Project Files, 1914-1968
Subseries 5.9: New Development (ND) Project Files, 1924-1970
Subseries 14.6: Quarter Century Club News, 1977-1987
Subseries 14.7: H.E. Smith & Company Catalogs, 1898-1930
Series 15: Product Literature, 1952-1979
Series 16: Advertising and Marketing Materials, 1902-1981
Series 17: Photographs, 1907-1960s
Subseries 17.1: Employees, 1907-1981
Subseries 17.2: Equipment/Products, 1961-1972
Subseries 17.3: Factories/Buildings, 1920s-1960s
Subseries 17.4: Trade Shows, 1954, 1968-1973
Subseries 17.5: Miscellaneous, undated
Subseries 17.6: Postcards, 1906-1938
Subseries 17.7: Prints from Glass Plate Negatives, undated
Subseries 17.8: Albums, 1915-1950s
Subseries 17.9: Film Negatives, 1956-1958
Subseries 17.10: Glass Plate Negatives, 1915-1923
Series 18: Audio-Visual Materials, 1934-1972
Biographical / Historical:
The United Shoe Machinery Company was formed in 1899 by the consolidation of the most important shoe machinery firms in the industry: Goodyear Shoe Machinery Company; Consolidated McKay Lasting Machine Company; and McKay Shoe Machinery Company. By this merger, conflicting patents were eliminated and patents supplementing each other were brought under United control to permit their prompt combination in a single machine or process. To ensure efficiency, the new company also continued the practice previously followed by its constituent firms of renting machinery that it manufactured instead of selling it. The authorized capital of the new company was twenty five million dollars. After the 1899 merger, United grew quite rapidly. In 1903, it began construction of a new factory in Beverly, Massachusetts about thirty-five miles from Boston. At its peak, this company employed 9,000 workers and produced eighty-five percent of all shoemaking machines in the United States. By 1910, it had an eighty percent share of the shoe machinery market with assets reaching forty million dollars, and it had acquired control of branch companies in foreign countries.
In 1911, the first of three civil anti-trust suits was brought against United by the United States government. It charged that the 1899 merger had restrained trade and violated the Sherman Act. The Massachusetts District Court ruled that the 1899 merger was not an attempt to restrain trade, only an attempt to promote efficiency. The court also said that the five companies that were merged to form United were not competitive with each other. The government appealed to the Supreme Court, which only affirmed the District Court's verdict.
In 1917, the United Shoe Machinery Corporation, incorporated in 1905, absorbed the United Shoe Machinery Company. The United Shoe Machinery Corporation had its headquarters in Boston and its main manufacturing plant in Beverly, Massachusetts.
The second government suit was brought against United Shoe in 1915. The government claimed that United Shoe's leasing system restricted the shoe manufacturer to exclusive use of United Shoe's products and that it was a violation of the newly enacted Clayton Act. The Massachusetts District Court ruled in favor of the government. The Supreme Court, hearing United Shoe's appeal case, only affirmed the District Court's ruling. In 1923, United modified its leasing policy.
The last government suit against United was filed in 1947 and charged United with monopolizing the trade, manufacture, and distribution of shoe machinery from 1923 to 1947. During this period, United had bought all shares, assets, and patents of twenty one companies that dealt in the shoe machinery manufacture. The court ruled that United had clearly violated the Sherman Act, and United was forced to modify its leasing policies and restrict its purchases of other shoe machinery businesses and its acquisition of patents. In 1968, the United Shoe Machinery Corporation changed its name to USM Corporation. In 1976, United Shoe Machinery Company merged with Emhart Industries and produced the modern-day Emhart Corporation.
In 1989, in order to resist a two billion dollar takeover attempt by a New York investment group (which included oil heir Gordon P. Getty), Emhart merged with Black & Decker Corporation. The merged company operates from Black & Decker's headquarters in Towson, Maryland. The company headquarters in Farmington, Connecticut, were closed in June 1989.
Related Materials:
Materials at Other Organizations
Lynn Historical Society & Museum, Lynn, Massachusetts
Small volumes and pamphlets of shoe and shoe-related industry businesses in Lynn, Massachusetts, including miscellaneous articles and histories on the shoe industry in Lynn, manuals, catalogs, broadsides, patents, handbooks, patterns, price lists, brochures, and legal materials. Businesses represented include Beaudry Machine Company, Beckman Machine Company, Bresnahan Shoe Machinery Company, George W. Emerson & Company, Hamel Shoe Machinery Company, Gregory & Read Co., David Knox & Sons Machinery Company, Krippendorf Kalculator Company (manufacturers of a mechanical device to compute pattern values), Peerless Machinery Company, Quarmby & Hilliker, Machine Builders, Swain, Fuller Manufacturing Company, W.J. Young Machinery Company, and George J. Kelly, Inc. (maker of shoe polish).
United Shoe Machinery Company Records, 1915-1974
Materials assembled by Edward F. McCarthy, director of USM research, including notebooks, diagrams, manuals, brochures, catalogs, code sheets, flow charts, price lists, handbooks, lectures, directories, lexicons, catalogs of other firms, personal notebooks on shoe construction (1927-1931), factory visits to other shoe companies, and production of leading manufacturers (1939-1960), and floor directory of the plant; ledgers listing machines shipped and returned from the Lynn and Puerto Rico plants (nine volumes, 1935-1974); and machine development materials, including patents, chiefly those of Edward Quinn.
Peabody Essex Museum (PEM) Salem, Massachusetts
An accession in 1987 of institutional archives, includes publications, photographs, advertisements, lectures, scrapbook of shoes made for United Shoe Machinery Corporation of Beverly, Massachusetts, shoes from which are in the collection of the Peabody Essex Museum (87020).
The United Shoe and Machinery Company Collection contains a large quantity of the company's patents, most of which pertain to the production and manufacture of shoes. Additionally there are patents for golf balls, nail guns, and magnetic closures. The majority of the remaining materials are Quarter Century Club documents ranging from financial and membership records, to pictures and other ephemera. The remainder of the collection consists of miscellaneous objects including sample knives and knife parts from the Booth Brothers Company.
University of Connecticut, Dodd Center
Emhart Corporation Records, undated, 1883-1989
Emhart Corporation was a multinational company located in Farmington, Connecticut. Prior to its 1989 merger with Black & Decker, Emhart operated in over one hundred countries with a worldwide work force of 30,000 employees. Emhart's products included machines for the manufacture of glass bottles and shoes; filling, sealing and packaging machinery; security systems; electronics; chemical products; metal fasteners; rubber processing equipment; and consumer and do-it-yourself products. Brand name products included True Temper® hardware and sporting goods, and Price Pfister® plumbing fixtures. Emhart's domestic roots went back to the American Hardware Company, founded in New Britain, Connecticut, in 1902.
Beverly Public Schools (Beverly, Massachusetts)
Beverly Public Schools/Beverly trade school records, 1909-1995
Materials relating to the establishment and operation of the Beverly trade schools, including trustee minutes, annual reports, curriculum journals, correspondence, photographs, programs and ephemera, and calendars.
Cornell University, Division of Rare and Manuscript Collections
[United Shoe Machinery Company, of New Jersey, et al. court proceedings], 1911-1917
United Shoe buildings and properties
The Cummings Properties now owns and leases "the Shoe."
Separated Materials:
Materials at National Museum of American History
The Division of Work and Industry holds artifacts related to the United Shoe Machinery Corporation. Some artifacts include a drafting table (1989.0259.349), tool chest (1989.0259.348), and molds for shoes, shoe heels, shoe welts, threads, needles, awls, and show wax.
Provenance:
The collection was donated by United Shoe Machinery Corporation, through Kevin Cochrane on November 20, 1987.
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.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view materials in cold storage and audio visual materials. Using cold room materials requires a three hour waiting period, reference copies do not exist for audio visual materials. Arrangements must be made with the Archives Center staff two weeks prior to a scheduled research visit. Contact the Archives Center at 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Researchers must handle unprotected photographs with cotton gloves. Researchers may use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis and as resources allow.
Viewing film portions of the collection requires special appointment, please inquire; listening to LP recordings is only possible by special arrangement.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view materials in cold storage. Using cold room materials requires a three hour waiting period. Contact the Archives Center at 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 may apply when requesting reproductions.
Papers relating to Foley's career as an authority, consultant, auctioneer, writer, and educator on the subject of food and wine: newsletters and publications, catalogs and programs for auctions, menus, photographs, wine tasting notes, labels, business records, and an interview of Foley conducted by John Fleckner.
Arrangement:
The collection is divided into 7 series.
Series 1: Personal Papers, 1964-2002
Series 2: Business Papers, 1972-2002
Series 3: Charity Events, 1979-2002
Series 4: Auction House and Wine Merchant Catalogues and Newsletters, 1970-2004
Series 5: Esquin Imports Wine Merchants, 1963-1981
American Wine Documentation Project, 1976-2002 (NMAH.AC.0817)
Provenance:
Collection donated by Dennis Foley, 2005.
Restrictions:
Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.
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.
Man seated at a WANN microphone, five men in Naval uniforms and one in a suit are standing around him. Photographer unidentified.
Local Numbers:
AC0800-0000003.tif (AC Scan No.)
Restrictions:
Unrestricted research access on site by appointment. Gloves required with unprotected photographs.
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 may apply when requesting reproductions.
Exhibition Collectors Historical Organization Search this
Names:
New York World's Fair (1939-1940 : New York, N.Y.) Search this
Extent:
130 Cubic feet (417 boxes, 25 map-folders)
Type:
Collection descriptions
Archival materials
Souvenirs
Photographs
Pamphlets
Guidebooks
Exhibition posters--1930-1940
Diaries
Ephemera
Film transparencies
Motion picture film
Posters
Place:
Flushing Meadows Park (New York, N.Y.)
New York (N.Y.)
Date:
1835-2000, undated
Summary:
Collection documents the 1939 New York World's Fair in Flushing Meadows, New York. Also includes material relating to other fairs, the Exhibition Collectors Historical Organization (ECHO), New York City tourism and The Walt Disney Company.
Scope and Contents:
Collection primarily documents the conception, planning, construction, management, and operations of the 1939 New York World's Fair located in Flushing Meadows, New York. Materials provide historical context and cultural significance as recorded in publications, artwork, photographs, ephemera, postcards, maps, plans, exhibitor's literature, souvenirs, and motion picture film. Most of the materials were primarily created for people who attended the fair. Some of the materials include scrapbooks created by fair visitors to document their experiences. There is a significant amount of material relating to other fairs, New York tourism, the Exhibition Collectors Historical Organization (ECHO) and the World's Fair Collector's Society. Other forms of entertainment such as festivals, the Olympic games, and Disney World are also found among these materials. There is little information relating to Edward Orth's personal and professional life as a city planner. The collection is arranged into eleven series.
Arrangement:
The collection is arranged into eleven series.
Series 1, Edward J. Orth Personal Papers, 1915-1989, undated
Subseries 1.1, Correspondence, 1939-1989
Subseries 1.2, Other Materials, 1915-1989, undated
Series 2, Exhibition Collectors Historical Organization (ECHO) and World's Fair Collector's Society, Incorporated Records, 1942-1990, undated
Subseries 2.1, General Information, 1960-1988, undated
Subseries 2.2, Correspondence, 1942-1990, undated
Subseries 2.3, Classified and Wanted Advertisements, 1956-1988, undated
Edward Joseph Orth grew up with a strong interest in history, particularly the history of the 1939 New York World's Fair. Orth's visit to the fair as a twelve-year-old boy led to a life-long passion of collecting. At the time of his death, he had amassed enough materials to fill two homes in California. Orth also collected materials from several other fairs. In addition, he saved some of the records of the Exhibition Collectors Historical Organization (ECHO) and the World's Fair Collector's Society.
Orth was born April 19, 1927, to Andrew Joseph Orth and Florence Minnie Gordon Orth in Glendale, New York. In the 1930s, the Orth family lived in several locations in New York including Ridgewood, Brooklyn, Glendale, and Queens. The home that made the most impact in young Orth's life came in 1935 when the family moved to St. Albans, Queens seven miles from Flushing Meadow Park, the future site of the 1939 fair. Sadly in 1939 there were several deaths in the family including three grandparents. The severe loss of life limited family social activities but a drive by the future site of the fair provided Orth a glimpse of the Trylon and Perisphere. He would later remark that the sight appeared to be magic. In the summer of 1939, he went to the fair with his classmates from Public School 136. The next summer Orth and his father purchased a 10-admission ticket from an elementary school in Hollis, Queens, New York. He saved every souvenir and any information he could find about the fair. He filled scrapbooks with images from newspapers and postcards from the Curt Teich and Manhattan Postcard companies. When his family moved from an apartment to a house, he acquired a fair bench which was kept in the backyard.
In 1941, Orth attended Newton High School in Elmhurst, and Queens, New York. The high school offered a college preparatory program with heavy emphasis on mathematics, science, mechanical drawing, and workshop courses. Orth's education and training combined with the knowledge he gained from motion picture films viewed at the fair, including Thomas Edison's "The City of Light," Ford Motor Company's "Road of Tomorrow," "Democracy," and General Motors' "Futurama" provided the foundation and inspiration for a career in architecture and landscaping. He ultimately became a city planner for the state of California. By 1943, Orth was exploring used magazine and bookstores in New York City to acquire more fair materials before enlisting in the United States Army in 1945. Upon his discharge he resumed buying and trading fair postcards. From 1948-1953, Orth attended the University of California and the University of Connecticut where he studied architecture and landscape design. During these years he posted advertisements in various publications in his continued pursue for fair materials.
In March 1953, Mr. Orth moved to Los Angeles, California. There he formed lasting friendships with other collectors. By 1967, Orth and several of his closest friends including Peter Warner, Oscar Hengstler, David Oats, Larry Zim, and Ernest Weidhaas conceived the idea of a fair collector's organization. By the summer of 1968, the group had formally created the Exhibition Collectors Historical Organization (ECHO).
As time passed Orth became increasing concerned about the welfare of his collection. He wanted it to go to a museum rather than be sold in parts. In his will he stipulated that the collection would be given to the Smithsonian Institution upon his death. Jon Zackman, former Smithsonian employee, interviewed Orth's brother George and fair collector Peter Warner. Orth and Warner corresponded and traded objects over many years. Mr. Orth primarily covered the west coast area while Peter Warner was his east coast counterpart. Edward Orth died on September 6,1989 in Los Angeles, California at the age of sixty-two.
Related Materials:
Materials in the Archives Center
New York World's Fair Collection, NMAH.AC.0134
Landor Design Collection, NMAH.AC.0500
Warshaw Collection of Business Americana, Subject Category, World Expos, NMAH.AC.0060
Larry Zim World's Fair Collection, NMAH.AC.0519
Alice R. Hillis World's Fair Film, NMAH.AC.0531
Borden Company 1939 New York World's Fair Collection, NMAH.AC.1063
Memories of the New York World's Fair, NMAH.AC.0592
Archives Center World Expositions Collection, NMAH.AC.0825
Daniel H. Meyerson World's Fair Collection, NMAH.AC.0745
Division of Community Life World's Fairs Collection, NMAH.AC.1132
Princeton University Posters Collection, NMAH.AC.0433
Smithsonian Speech Synthesis History Project, NMAH.AC.0417
Messmore and Damon Company Records, NMAH.AC.0846
Thomas Norrell Railroad Collection, NMAH.AC.1174
William L. Bird Holidays on Display Collection, NMAH.AC.1288
Wurlitzer Company Records, NMAH.AC.0469
Victor A. Blenkle Postcard Collection, NMAH.AC.0200
Materials at Other Organizations
New York Public Library The New York World's Fair 1939 and 1940 Incorporated Records, 1935-1945, MssCol 2233.
New York City 1939 World's Fair architectural drawings, circa 1935. Museum of the City of New York. Museum of the City of New York.
New York City 1939 World's Fair Collection, 1939-1940. Museum of the City of New York. New York World's Fair 1939/40 Collection. Queens Museum.
1939 New York World's Fair Postcards, Identifier: 1972-320, Audiovisual Collections Repository, Hagley Museum & Library
Separated Materials:
Materials at the National Museum of American History
Artifacts from the collection include several thousand souvenirs and examples of memorabilia commemorating the fair to include buttons and badges, ceramics, glassware, clothing, costume jewelry, coins and medals, commemorative spoons and flatware, toys and games, and philatelic material which are all part of the Division of Home and Community Life's holdings (now Division of Cultural and Community Life).
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. Viewing film portion of collection requires special appointment, please inquire. Do not use when original materials are available on reference video or audio tapes.
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:
Exhibitions -- 1930-1940 -- New York (State) -- New York Search this
She had commissions from Surveyer, Nenniger & Chênevert (an engineering and construction firm that used her images on company Christmas cards), Sperry Gyroscope Company, U.S. Tobacco Company, Turner Construction, Walsh Construction, Atlas Steel Plant, Bliss Manufacturing, George A. Fuller Company, Standard Chemicals, and the United States Pipe and Foundry Company, to name a few.
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.
The Telescoping Shopping Cart Collection, 1946-1983; 2000, provides information relating to the development of the product and the legal challenges encountered by its creator, Orla E. Watson, in the patenting, licensing, and manufacturing process.
The collection is divided into three series: Series 1: Background Information, 1983;2000; Series 2: Business Records, 1946-1979; and Series 3: Legal Records, 1946-1966.
Series 1: Background Information, 1983; 2000, contains two items, a document entitled Brief History of the Telescopic Grocery Cart, authored by Leslie S. Simmons, personal representative, Edith Watson estate, 2000, and Orla E. Watson's death certificate, 1983.
Series 2: Business Records, 1946-1979, contains information on the finances and operations of Telescope Carts, Inc. and the development and marketing of the telescoping cart. Materials include royalty and income tax statements of Orla E. and Edith Watson, business correspondence, a time line of cart development, blueprints, patents, details about the patent process, and marketing and publicity materials of brochures and photographs.
Series 3: Legal Records, 1946-1966, contains material relating to the manufacture and licensing of telescope carts, and legal challenges to both the company and Orla E. Watson, including the challenges to the patent process spearheaded by Sylvan Goldman, and the evidence collected for Watson's claim for a tax refund from the Internal Revenue Service.
Arrangement:
Divided into 3 series
Series 1: Background information, 1983, 2000
Series 2: Business Records, 1946-1979
Series 3; Legal Records, 1946-1966
Biographical / Historical:
The first shopping cart in the United States was developed in the late 1930s and patented by Sylvan Goldman of Oklahoma City, Oklahoma. Goldman received US Patent 2,155,896 in April 1939 for a "combination basket and carriage" and in April of 1940 he received US Patent 2,196,914 for a "folding basket carriage for self-service stores." It consisted of upper and lower baskets placed atop a folding frame similar to that of a folding chair with wheels. Following use, the baskets would be removed and stacked with others and the frame folded. Prior to each use the baskets and the frame needed to be assembled.
In 1946, Orla E. Watson, of Kansas City, MO, devised a plan for a telescoping shopping cart which did not require assembly or disassembly of its parts before and after use; this cart could be fitted into another cart for compact storage, hence the cart descriptor. The hinged side of the baskets allowed the telescoping. Watson's Western Machine Company made examples of this invention, and the first ones were manufactured and put to use in Floyd Day's Super Market in 1947.
Alongside the telescoping cart, Watson developed the power lift which raised the lower basket on the two-basket telescoping cart to counter height while lifting the upper basket out of the cashier's way at the check out counter. This made moving groceries, before the invention of the automatic conveyor belt, easier for the customer and the cashier. Watson manufactured and sold the power lift in 1947, but then discontinued efforts on the invention to focus on the telescoping cart. The patent application was abandoned and never granted.
The manufacturing, distribution, and sales of Watson's telescoping carts was handled by Telescope Carts Inc., established in 1947 by Watson, his partner, Fred Taylor, and George O'Donnell. The company had difficulty with the manufacture and sale of the carts, as authorized suppliers were not making carts of the quality expected. Other manufacturers saw an opportunity, and soon telescoped carts were being made and sold by unlicensed parties despite Watson's pending patent.
Watson applied for a patent on his shopping cart invention in 1946, but Goldman contested it and filed an application for a similar patent. In 1949 Goldman relinquished his rights to the patent and granted them to Watson. In exchange, Goldman received licensing rights in addition to the three other licenses previously granted; Watson continued to receive royalties for each cart produced.
The royalties Watson received for each cart manufactured led to his 1954 claim against the Internal Revenue Service, for refund of taxes paid on the profits of his invention, as a
Congressional bill changed the status of invention-derived income from ordinary income to capital gains, thereby lowering the taxes owed.
Orla E. Watson was born in 1896, and after attending Nevada Business College for one year, he worked as a stock clerk in a hardware store in Kansas City, then joined the Army until 1918, when he entered a series of jobs as machinist, layout man, forman. He tinkered with mechanical inventions on the side (such as a Model T Ford timer). In 1933, he opened his own business making air conditioners, but he took two more jobs before opening Western Machine Co., a machine shop and contract manufacturing business in 1946.
He had also applied for and was granted four patents prior to the telescoping shopping cart, for mechanical valves, pumps, and gauges, none of which were ever licensed or manufactured.
Orla E. Watson died January 17, 1983.
Separated Materials:
The National Museum of American History's Division of Culture and the Arts (now Division of Cultural and Community Life) houses original shopping carts created by Sylvan Goldman and Orla E. Watson.
Provenance:
The collection was donated to the National Museum of American History in July, 2000, by the estate of Edith Watson, through Leslie S. Simmons, personal representative. The two telescoping Watson carts were donated in July 2000 by Leslie S. Simmons, personal representative, Edith Watson estate.
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.
Papers document Dr. Robert H. Ivy's work as an oral surgeon primarily through correspondence and printed publications.
Scope and Contents:
The collection documents the work of Dr. Robert H. Ivy, an oral surgeon of cleft lips and cleft palates, primarily through correspondence, printed publications and photographs. The majority of the correspondence relates to Dr. Ivy's military service during World War I as a surgeon, and his work post World War II with the International Congress of Plastic Surgeons.
Arrangement:
Collection is arranged into six series.
Series 1: Biographical Materials, 1918-1951
Series 2: Correspondence, 1917-1963
Series 3: Photographs and Lantern Slides, 1927-1964
Series 4: Writings, Robert H. Ivy, 1915-1974, undated
Series 5: Writings, Others, 1901-1971
Series 6: Audio Visual Materials, 1937-1938
Biographical:
Robert Henry Ivy was born to Robert D. Ivy and Anne Edith Cryer in Southport, England in 1881 and emigrated to the United States at the age of six in 1887 but returned to England to finish his education at the Emanuel School. In 1898, Ivy returned to the United States and enrolled in the University of Pennsylvania Dental School graduating in 1902. He then attended University of Pennsylvania Medical School from 1903-1907 and was a resident physician from 1907-1910 at the Episcopal Hospital of Philadelphia. In 1910, he opended an oral and plastic surgery practice in Philadelphia at a time when this speciality did not exist. Ivy also served as a pathologist and baceterilogist at the West Philadelphia Hospital for Women and helped develop the Wasserman test for syphillis.
Commissioned in 1917 as a Captain in the Army Medical Corps, Ivy was assigned to the Medical Reserve Corps under the Surgeon General of the Army for temporary duty. He was an assistant to Vilray P. Blair of the Office of the Surgeon General. He was assigned to the Services of Supply, Headquarters, Base Section 1 (Surgical Unit No. 1), Chaumont (Haute Marne), France, and the Maxillofacial Surgery Hospital Centers of Vichy and Clermont where he assisted patients with face, head and jaw injuries.
After the war, Ivy returned to the United States and was in charge of Maxillofacial Surgery at Walter Reed Hospital. In November 1919, he was discharged as a Lieutenant Colonel and opened a practice in Philadelphia. He was appointed Professor of Clinical Maxillofacial Surgery at the School of Dentistry at the University of Pennsylvania (1919) and in 1920 he was a Professor of Maxillofacial Surgery at the Graduate School of Medicine, ultimately becoming Chief of Maxillofacial Surgery.
In 1920 he was called to active duty and was a representative for the U.S. Army at the Inter-Allied Surgical Conference where he discussed bone grafts. In 1924 he was elevated to Colonel in the Army Medical Corps Reserve up until WWII, making frequent trips to the Walter Reed Hospital. he served two terms of active duty at Army Medical Centers in Washington DC. He was an instructor to Army Surgeons treating facial injuries under Division of Plastic and Maxillofacial Surgery.
In the post war years, Ivy was a civilian consultant to Surgeon General with Jerome Webster of New York. Together they inspected all the Plastic
Surgery Centers in the United States. Dr. Ivy taught courses for Army officers at Army Medical Center and University of Pennsylvania and authored many papers, including Applied Anatomy and Oral Surgery: For Dental Students, 1917 and The Manual of Plastic and Maxillofacial Surgery for Military Surgeons, 1942.
Ivy established the University of Pennsylvania's Department of Maxillofacial Surgery, for dental students and community dentists. Dr. Ivy later developed interdisciplinary treatment of cleft palates in children. He wrote a textbook called Applied Anatomy and Oral Surgery for Dental Students.
Ivy was a founder of the American Board of Plastic Surgery, American Society of Plastic Surgeons, founder and president of the American Association of Plastic Surgery, and founder of the Journal of the American Society of Plastic and Reconstructive Surgery.
Robert H. Ivy married Norma Corrine Crossland on June 19, 1912, in Barrie, Ontario. They had four children: Cythia, Robert H., Jr., Eleanor and Peter. Dr. Ivy died on June 21, 1974.
Sources
https://www.pennmedicine.org/departments-and-centers/oral-and-maxillofacial-surgery/about-us/history (last accessed March 6, 2024)
https://www.ivysociety.org/uploads/1/2/4/4/124459515/history_of_ivy_society__part_1_.pdf (last accessed March 6, 2024)
https://journals.lww.com/plasreconsurg/citation/1973/04000/robert_h__ivy__m_d_,_d_d_s__a_tribute.8.aspx (last accessed March 6, 2024)
Related Materials:
Materials at Other Organizations
Historical Medical Library of The College of Physicians of Philadelphia Repository
Robert H. Ivy papers (unprocessed), 1904-1974
Provenance:
Collection donated by Robert Lamp, 2016.
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.
Collection documents the operations, tools, machinery, products, and employees of the Norton Grinding Machine Company located in Wocester,
Massachusetts.
Content Description:
Collection consists of silver gelatin photographic prints documenting the operations, equipment, machinery, products, and employees of the Norton Grinding Company located in Worcester, Massachusetts. These photographs include images of grinding machines, grinding shops, grindstones, ground work pieces, lab experiments, plant interiors, and portable grinders. In addition there are images of grinding machinery in automobile, sewing, and pearl button manufacturing plants. Most of the photographs have descriptions of the prints but are not dated. The collection is arranged in two series. Series one is photographs and series two is an exhbition catalogue published by the Worcester Historical Museum in 1985 celebrating the centennial of the Norton Grinding Machine Company.
Arrangement:
Collection is arranged in two series.
Series 1; Photographs, undated
Series 2: Other Materials, 1985
Biographical / Historical:
Norton Grinding Manufacturing Company is the forerunner of what is now Norton Abrasives. It was founded by Frank B. Norton and Frederick Hancock, two cousins from Vermont, who opened a pottery shop in Worcester in 1858. F. B. Norton & Company sold redware and stoneware pottery until one of their employees, Sven Pulson, invented a grinding wheel. Frank Norton would patent the invention and the company began manufacturing grinding wheels. Eventually, Norton would become a major manufacturer of abrasives along with other products for industry and home use.
Sources:
Norton Company at 100 Years: A Celebration of People and Technology, 1885-1985, Worcester Historical Museum, 1985
Wikipedia, Wikipedia.org
Related Materials:
Archives Center, National Museum of American History, Smithsonian Institution
Warshaw Collection of Business Americana, Subject Categories: Abrasive Industry, NMAH.AC.0060
United Shoe Machinery Corporation Records, NMAH.AC.0277
Pratt, Read Corporation Records, NMAH.AC.0320
Iowa Button Industry Collection, NMAH.AC.0504
Industry on Parade Film Collection, NMAH.AC.0507
Max Holland Numerical Control Collection, NMAH.AC.0537
Westinghouse Electric and Manufacturing Company Records, NMAH.AC.0977
Lockwood Greene Records, NMAH.AC.1113
National Air and Space Museum, Smithsonian Institution
ILC Dover Apollo Reports and Aperture Card Drawings Collection, Accession 2016-0032
Provenance:
Assembled by the Norton Grinding Company; acquired prior to 1988.
Restrictions:
Collection is open for research. Unprotected photographs must be handled with gloves.
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.
The collection contains primarily black-and-white silver gelatin photographic prints, produced by film studios and distributors for advertising and theater lobby display purposes. The films are mostly American, although the collection includes some European and Japanese films. Some films are accompanied by small booklets in Danish.
Scope and Contents:
The collection contains primarily black-and-white silver gelatin photographic prints, produced by film studios and distributors for advertising and theater lobby display purposes. The films are mostly American, although the collection includes some European and Japanese films. Many prints were used for display purposes and have tack-holes in the corners. Some are in poor condition with tears, creases and folds; others are in excellent condition. Some images occur as glossy color photomechanical prints, but hand-tinted black-and-white prints are also included. There are often duplicate prints. Many prints are embossed or blind-stamped ASTATENS FILMCENSUR, with a date date. Some films include small booklets in Danish that lists the major actors and the plot of the movie. The collection has been divided into two series.
Series 1, Film Stills, is arranged alphabetically by film title, one motion picture per folder. The subjects range from pre-World War I silent films to comedies with Mickey Rooney, and European romances.
Series 2, Unidentied Film Stills, contains stills from films that can not be identified by archivists within the Archives Center. The series also contains a catalog that allows one to purchase books, pamphlets, programs, periodicals, and photographs of various films, actors, and directors.
Arrangement:
The collection is arranged into two series.
Series 1, Film Stills, 1915-1986
Series 2, Unidentified Film Stills, undated
Provenance:
Collection donated by a museum in Denmark, circa 1970s.
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:
Copyright status of items varies. Collection items are available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection is open for research but Series 11 and films are stored off-site. Special arrangements must be made to view some of the audiovisual materials. 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 may apply when requesting reproductions.
The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.
Scope and Contents:
The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.
Correspondence is with collectors, museums, galleries, artists, friends, family, charity organizations, admirers and those admired by Cornell, and World War II European pen pals. Discussions about the appreciation, donation, sale, purchase, and exhibition of Cornell's works are frequent, with the inclusion of shipping and loan documentation or notices of payment installments. Galleries and museums frequently request that Cornell agree to an exhibition, which he often declines, and fans request free works be mailed or affordable works be sold to them. With friends, artists, and those he admired, Cornell discussed topics that fascinate him, included bits of poetry or philosophical musings, sent clippings or a collaged letter, and occasionally discussed a project or work in process. After World War II, when so many were displaced by the war in Europe, Cornell answered ads for pen pals in the "Christian Science Monitor," often responding to requests for clothing or other goods, and sometimes exchanging many letters over several years. Family correspondence is with his mother, sisters, brother, and others, and often notes activities of the day, foods eaten, and general musings, as well as occasionally mentioning a project or artwork. Correspondents of note include Stan Brakhage, Betty Freeman, Charles Henri Ford, Allegra Kent, Yayoi Kusama, Roberto Matta, Marianne Moore, Octavio Paz, Sonia Sekula, Pavel Tchelitchew, Parker Tyler, Dorothea Tanning, and Betsy von Furstenberg, among others.
Financial materials document Cornell's professional and personal business activities, including the sale of artworks, annual expenses for supplies and household incidentals, payments and schedules for personal assistants, receipts for donations to charities and nonprofits, and tax documents. There is also information about who worked as assistants, or "helpers," in his later years and where Cornell purchased art supplies. Additionally, specific details are documented through receipts and invoices, such as what kind of paint he purchased. Estate records include preparations made for Cornell's artworks after his death, and clippings about other deceased artist's estates show that he thought often about such arrangements in his later years.
Film projects and collected film materials consist of files related to Cornell's various experimental film projects: "Aviary," "Cappuccino," "Centuries of June," "Fable for Fountains," "Nymphlight," "Serafina's Garden," and unrealized film scenario "Monsieur Phot." Files include film-making notes, correspondence, and photographs. Cornell's interest in film also led him to collect film-related materials, such as film stills, film posters, and screening programs. Scattered correspondence documents the interest other institutions and individuals had in purchasing and viewing his collection. Though most of his collected film stills and movie posters were donated to the Anthology Film Archives, film stills from "Escape Me Never" (1935) and "The Passion of Joan of Arc" (1928) are still within the collection, as well as film-screening programs for Cornell's collection of films.
Writing and design projects document Cornell's work authoring articles and designing issues of specialty dance magazine "Dance Index," and his layouts for popular magazines like "Good Housekeeping," "House and Garden," and "Mademoiselle." Other writing projects include brochures dedicated to opera singers Maria Malibran and Giulia Grisi, "Maria" and "Bel Canto Pet." Materials used for these brochures, such as copper photo engraving plates, are also found. Design work includes a series of Christmas cards created with The Museum of Modern Art as well as traced patterns ("textile tracings") and design clippings from Cornell's time working as a "textile designer" for Traphagen Commercial Textile Studio.
Cornell acquired troves of source material from bookstalls, antique stores, sporting good and department stores, hardware stores, and magazine and record shops. He kept boxes and files of material on admired individuals, such as actresses, artists, dancers, and singers, as well as on art projects or thematic "explorations." Files are on general topics such as American history, scientific phenomena, animals, plants, and humankind, as well as on series of artworks, such as "Castles," "Homage to the Romantic Ballet," and "Medici Slot Machines." Focused "exploration" projects include "Celestial Theatre," "Colombier," "GC 44," and "Switzerland," among others. Materials include photographs, photostats, maps, book fragments, autographed letters, notes, collage clippings and cutouts, collected prints and engravings, box and collage fragments, and scattered artifacts.
Collected ephemera includes large amounts of blank postcards and greeting cards, stamps, collected bus and train tickets, food labels and packaging, decals, and other materials. Artifacts are three-dimensional collected objects and source objects, which include found objects from the streets, dried flowers, and pieces of nature gathered from walks around his neighborhood. Cornell may have gathered materials because they inspired a memory or nostalgic feeling, or because they fit with a bin of other similar objects to select from for an artwork in progress.
Photographs found within the collection are of Cornell at work and as a child with family. Also found are assorted personal and family photographs, photographs of Cornell's attic and garage storage, and photographs of his Utopia Parkway house. Photographs of artwork include few installation photographs, in addition to photographs of Cornell's boxes and collages. Collected photographic materials include vintage photographs, such as tintypes, a cyanotype, stereoscopic glass slides, albumen prints, cabinet cards, and cartes-de-visite. Cornell also collected cased photographs, such as daguerreotypes, ambrotypes, and one opalotype. Negatives and photostats were often produced from various prints and even other photographs and used in Cornell's boxes and collages. Images are of men and women, actors, authors, dancers, performers, well-known men and women, royalty, places, and artwork. Photographs of note include those by Hans Namuth of Willem and Lisa de Kooning and of Edward Hopper's bedroom; photographs by Henri Cartier-Bresson; a photograph by Julia Margaret Cameron; photographs by Brassai; and a photogravure by Alfred Stieglitz from "Camerawork."
Also found in the collection are works of art by others, including a sketch by Pavel Tchelitchew, as well as artwork by Cornell, such as unfinished collages, Rorschach drawings or ink blots, and childhood artwork. Printed material includes assorted bulletins, flyers, exhibition materials for other artists, journals, and sent printed membership and charity materials. Magazines, including "View," are also included, and often have annotations by Cornell or a note to "cut" or "review" with page numbers. A large amount of magazine and newspaper clippings are in the collection, sometimes collected with a group of like material by Cornell, and at other times simply gathered in heaps. Occasional annotations are also found on the clippings.
Cornell's personal library and book collection includes over 2500 titles, ranging from fiction, poetry, and cinema, to history, science, and travel. Notable among the titles are "Baedeker's" travel guides that Cornell often sourced for his "Hotel" box series, as well as an influential publication by Max Ernst, "La Femme 100 têtes," which includes a typed letter and exhibition flyer tucked within. Books often have annotations, some fairly extensive, by Cornell, and assorted collected items, notes, and correspondence tucked between pages. Pages were often cut by Cornell, either to make photostats and use in a box, or to file with other thematic "explorations." A wide range of authors and topics provide insight into Cornell's interests and to ideas behind artwork and diary notes. Cornell's collection of record albums includes over 145 records. These contain inserted notes and clippings and are often referenced in diary notes Cornell made, noting a recent album or song listened to while at work in his studio.
The papers of Cornell's mother, Helen Storms Cornell, and his brother, Robert Cornell, are also included in the collection. Both lived with Cornell his whole life, spending the most time with him at their home at 3708 Utopia Parkway. Financial materials document shared responsibilities for billing, utilities, household fixes and chores, and expenditures, and Helen kept detailed financial records in a series of ledgers. Robert notes when he borrowed money from Cornell, or when he means to pay Cornell back for the purchase of a typewriter. Activities documented in diaries also occasionally cross paths with Cornell, noting his visitors or an exchange of letters continued after introductions through Cornell. Personal activities, such as Robert's interest in his train collection and his drawing projects and cartoon series, are also documented.
Arrangement:
The Joseph Cornell Study Center Collection is arranged into 15 series:
Series 1: Biographical Material, 1917-1972 (Boxes 1, 98, OV118; 0.9 linear feet)
Series 2: Correspondence, 1813, 1934-circa 1973 (Boxes 1-8, 86; 6.5 linear feet)
Series 3: Diaries and Notes, 1940-1976 (Boxes 8-10, 98-99, 135, OV108, OV119; 3.5 linear feet)
Series 4: Personal Business and Estate Records, 1950-1978 (Boxes 10-14; 4.1 linear feet)
Series 5: Exhibition Files, 1932-1973 (Box 14; 0.3 linear feet)
Series 6: Film Projects and Collected Film Materials, circa 1924-1972 (Boxes 14-16, 100, 133; 1.6 linear feet)
Series 7: Writing and Design Projects, circa 1910s, 1936-1962 (Boxes 16-18, 86, 100, 131-132, OV109-OV111, OV120-OV122; 3.6 linear feet)
Series 8: Source Material, 1750-circa 1911, 1926-1972 (Boxes 19-49, 86-92, 96, 100-105, 126-130, 132-137, OV112-OV115, OV125; 42.2 linear feet)
Series 9: Artifacts and Ephemera, 1768, circa 1839-1972 (Boxes 49-52; 3.2 linear feet)
Series 10: Photographic Material, circa 1800s-1972 (Boxes 52-56, 80-86, 93, 106, 128, 133, OV116, OV123-OV124; 7.5 linear feet)
Series 11: Artwork, circa 1810-1972 (Boxes 56-57, 107, OV117; 1.2 linear feet)
Series 12: Printed Material, 1855-1972 (Boxes 57-76, 94-96, 107; 16 linear feet)
Series 13: Book Collection and Personal Library, 1722-1980 (99.8 linear feet)
Series 14: Record Album Collection, circa 1925-1974 (3.2 linear feet)
Series 15: Cornell Family Papers, 1910-1980 (Boxes 77-79, 97, 107; 3.2 linear feet)
Biographical / Historical:
Joseph Cornell (1903-1972) was a self-taught assemblage and collage artist, and filmmaker, active in New York City. He was born in Nyack, New York on December 24, 1903, and died of heart failure at his home in Queens, New York on December 29, 1972. The oldest of four children, he was born Joseph I. Cornell to his mother, Helen Storms Cornell (1882-1966), and his father, Joseph I. Cornell (1875-1917). Cornell had two younger sisters, Elizabeth ("Betty") Cornell Benton (1905-2000) and Helen ("Sissy") Cornell Jagger (1906-2001), as well as one brother, Robert Cornell (1910-1965), who had cerebral palsy.
Cornell attended the Phillips Academy, a preparatory boarding school in Andover, Massachusetts, beginning shortly after his father's death in 1917. He attended for four years but did not receive a diploma, and soon began work as a textile salesman for the William Whitman Company in Manhattan. His work took him, by foot, through the city, visiting secondhand bookshops on Fourth Avenue, browsing music stores and magazine shops, and catching early shows at the Metropolitan Opera House. He would occasionally wait outside the stage doors for favorite singers and dancers to emerge, requesting signatures on photographs or bits of costumes.
Around 1926, Cornell joined the Christian Science Church, joined by his brother Robert shortly thereafter, and both continued to be lifelong members. Cornell kept a number of books in his personal library on Christian Science teachings and regularly subscribed to "The Christian Science Monitor."
After living in several rental houses in Bayside, New York, Cornell's mother purchased a house for the family in 1929 in Flushing, Queens. Cornell, along with his mother and brother, would live at 3708 Utopia Parkway, for the rest of their lives. His two sisters soon married and moved away, eventually settling in Westhampton, Long Island and in the poultry-farming business.
In 1932, after eleven years of work, Cornell was laid off from the William Whitman Company due to the Great Depression. Soon after, he took on more responsibility in the church, working part-time as an attendant in the Christian Science Reading Room in Great Neck, New York. Beginning in 1933, he taught Sunday school classes for three years and in 1935, became the Sunday school librarian. However, his religious activities and artistic ventures continued to remain separate.
At the end of 1939, Cornell began corresponding with poet Charles Henri Ford, founder of avant-garde magazine "View," Pavel Tchelitchew, and Parker Tyler. After his "Soap Bubble Sets," this period saw the development of Cornell's homages to singers and actresses, including "Untitled (Fortune-Telling Parrot for Carmen Miranda)," the destroyed "Garbo (Greta Garbo in the Legendary Film 'The Crystal Mask,' c. 1845)," and "Dressing Room for Gilles." He also began using photostats of art reproduction prints, as with the print of Jean Antoine-Watteau's painting, "Pierrot" (circa 1719), used in his "Gilles" box.
In the 1940s, the Romantic ballet emerged as Cornell's new topic of interest. Through his friend Pavel Tchelitchew, Cornell was introduced to the School of American Ballet and New York City Ballet founders, Lincoln Kirstein and George Balanchine. Cornell collected dance memorabilia and had a great love of the Romantic ballet. His favorite dancers were primarily ballerinas of the nineteenth century, including Fanny Cerrito, Marie Taglioni, Fanny Elssler, Lucille Grahn, and Carlotta Grisi. Cornell's "Homage to the Romantic Ballet" works largely took the shape of jewel-box style wooden boxes with glass overlays and included bits of velvet, tulle, sequins, crystals, and chiffon, occasionally collected from dancers themselves. His most well-known work of this series is "Taglioni's Jewel Casket" (1940). Cornell also admired several living ballet dancers, including Tamara Toumanova, Zizi Jeanmaire, and Allegra Kent, who would all make their way into Cornell's box works and/or collages. Collecting for the "exploration," "Portrait of Ondine," Cornell's cased portfolio dedication to Fanny Cerrito and her role in the ballet "Ondine," began in the 1940s, though not completed until around 1960.
In late 1940, Cornell quit his job at Traphagen to concentrate on freelance commercial magazine design and editorial work during the day and his artwork at night. That same year, Charles Henri Ford started "View" magazine to promote Surrealists and Neo-Romantics in New York City and often asked Cornell to contribute. Published in the December 1941-January 1942 issue, one of his early contributions was a collage dedication to stage actress Hedy Lamarr: "Enchanted Wanderer: Excerpt from a Journey Album for Hedy Lamarr" (1941). Along with writing the accompanying text, he created a photomontage of Lamarr with her face overlaying the painted portrait of a Renaissance boy by Italian painter Giorgione. Peggy Guggenheim, at the advice of Marcel Duchamp, purchased multiple Cornell works prior to opening her new gallery, Art of This Century. Cornell also befriended Roberto Matta Echaurren, another Surrealist living in exile, who introduced him to Robert Motherwell.
After deciding to fully dedicate his time to his art in early 1940, he set up a studio in his basement. Complete with floor-to-ceiling wooden shelving, he kept his large collection of boxed source material stacked with handwritten labels in cardboard boxes. Themed folders of materials such as "Stamps" or "Maps" were kept in stacks and works in progress and finished works were stored in the basement, garage, and attic. Entering a renewed period of productivity, Cornell embarked on many new and important box projects in 1942. One of the first boxes created in his new basement studio, and the first of the "Penny Arcade" or "Medici Slot Machine" series, was "Medici Slot Machine" (1942), which includes a photostat of "Portrait of Marquess Massimiliano Stampa" (1557) by Sofonisba Anguissola. Another work from this time is the first of his "Castle" or "Palace" series, "Setting for a Fairy Tale" (1942), which uses a photostat of a French building from Jacques Androuet du Cerceau's book, "Les Plus excellents bastiments de France" (1576). "Untitled (Pharmacy)" (circa 1942) was the first of his "Pharmacy" series and included twenty-two apothecary jars. Cornell tended to work in series and created thirteen "Palace" boxes between 1942 and 1951, and ultimately created six "Pharmacy" works.
In 1943, Cornell began working at an electronics company, the Allied Control Company, Inc., to do his part to contribute to the defense effort during the war. He also sent correspondence and care packages to displaced Europeans, who listed their needs in "The Christian Science Monitor." Influenced by World War II, one of his strongest works to emerge in 1943 was "Habitat Group for a Shooting Gallery." Another notable work to come out of this period, "The Crystal Cage (Portrait of Berenice)," was an excerpt from one of his album "explorations" that was published in the January 1943 issue of "View."
Cornell left his job at Allied Control in 1944, but soon began working at the Garden Centre in Flushing, owned by a fellow Christian Scientist. Cornell was often nostalgic for this time in his life, devoting an entire "exploration" of material fondly remembered as "GC 44." He rode a bicycle to work and enjoyed collecting trips gathering dried grasses, driftwood, shells, and other relics of nature on the same bicycle as he rode through the streets of Queens. During this time, he continued to tend to his projects for "Dance Index," a magazine founded in 1942 by Lincoln Kirstein, but taken over by Donald Windham in 1944. Cornell designed several covers for the magazine and was given control of the entire summer 1944 issue, which he devoted to the Romantic ballet. He also devoted a special 1945 issue to Hans Christian Andersen, making great use of the New York Public Library Picture Collection.
Throughout the 1940s, Cornell continued to support himself with commercial design work for magazines like "Vogue," "Good Housekeeping," "Harper's Bazaar," "Town & Country," and "Mademoiselle." In 1946, after thirteen years at the Julien Levy Gallery, he joined the Hugo Gallery. In December 1946, Cornell's solo exhibition, "Romantic Museum at the Hugo Gallery: Portraits of Women by Joseph Cornell," celebrated his favorite movie stars, singers, and ballet dancers, and included his work created for the show, "Untitled (Penny Arcade Portrait of Lauren Bacall)." Cornell's "Greta Garbo" box, as well as "Souvenir for Singleton," an homage to Jennifer Jones and her role in the film "Love Letters," were also included in the show. In late 1948, his West Coast debut was in the exhibition, "Objects by Joseph Cornell," held at the Copley Gallery. The end of the 1940s saw the final issue of "View" magazine in 1947, the closure of the Julien Levy Gallery in April 1949, and Cornell's departure from the Hugo Gallery after his last show in November 1949.
In late 1949, Cornell joined the Charles Egan Gallery, known primarily for showing Abstract Expressionists. At this time, Cornell was working on a new series of boxes known as his "Aviary" works, most of which include a white-painted box with cutouts of birds mounted on wood. Though he had worked on bird-related boxes before, including an "Owl" series in the mid-1940s, his "Fortune Telling Parrot" (1939), and "Object 1941" (1941), these newer works were stripped of French elements and left "clean and abstract" by design. His first show at the Egan Gallery, "Aviary by Joseph Cornell" (December 7, 1949-January 7, 1950), included twenty-six "Aviary" works, nearly all created in 1949. Donald Windham agreed to write the foreword for the exhibition catalog, a single folded sheet, and Cornell gave him one of the boxes in the show, "Cockatoo: Keepsake Parakeet," in appreciation. Through the Egan Gallery, Cornell became friends with a new group of artists, including Franz Kline, Jack Tworkov, and Willem de Kooning. Cornell also held two screenings of a selection of his collected films at Subjects of the Artist, an art school founded by Robert Motherwell, Mark Rothko, David Hare, and William Baziotes.
In 1950, Cornell's second show at the Egan Gallery, "Night Songs and Other New Work" (December 1, 1950-January 13, 1951), introduced his new "Observatory" series. These works are largely defined by stark, whitewashed spaces with astronomical charts and constellations replacing colorful birds. The Museum of Modern Art purchased its first Cornell work from this show in early 1951, "Central Park Carrousel, in Memoriam" (1950).
For three months in 1951, Cornell was beset by various ailments and had trouble finding the energy to create new work. He worried more for his aging mother and the health of his brother. After a monthlong vacation with his sisters in Westhampton, he returned with renewed interest in Emily Dickinson's poetry. His whitewashed boxes took on a new form in his newest "Dovecote" series, using grids and circular cutouts. The works then transformed into homages to Dickinson, notably "Toward the Blue Peninsula: For Emily Dickinson" (circa 1953), and then to his "Hotel" series. Cornell's "Hotel" boxes include photostats of vintage European ads for hotels collected from vintage travel guides, especially "Baedeker's," adhered to the back walls of the boxes. Another new series of work, his "Juan Gris" series, was dedicated to Cubist artist Juan Gris. Between 1953 and the mid-1960s, Cornell created at least fifteen "Juan Gris" boxes, which often include a cutout of a white cockatoo in a Cubist-collage habitat. Cornell's third and last show at Egan Gallery, "Night Voyage" (February 10-March 28, 1953), included some of these newest works. After leaving Egan Gallery, his work was introduced to Chicago collectors in a solo show at the Frumkin Gallery, "Joseph Cornell: 10 Years of His Art" (April 10-May 7, 1953), which included nearly thirty pieces. Cornell's first museum retrospective was this same show held at the Walker Art Center in Minneapolis (July 12-August 30, 1953).
As New York City continued to change, Cornell grew more nostalgic for the city he had explored since the 1920s. The impending closure of the Third Avenue El train prompted him to dream up a film project to capture its last days, resulting in "Gnir Rednow," a reworking of Stan Brakhage's 1955, "Wonder Ring." During this time, Cornell joined the Stable Gallery, run by Eleanor Ward, interacting often with Robert Rauschenberg, Cy Twombly, and Joan Mitchell, remaining there until the end of the 1950s. His astronomy-themed exhibition, "Winter Night Skies" (December 12, 1955-January 13, 1956), included his "Night Skies" series of work with celestial chart fragments, Greek mythological figures, and paint-splattered "windows" representative of star-filled night skies. In 1956, he became aware of ballerina Allegra Kent, and began a series of work devoted to her, the first of which was "Via Parmigianino (Villa Allegra)" (1956), which included a photostat of a painting by Parmigianino, "The Madonna of the Long Neck" (circa 1540). In late 1957, after two years, Cornell had his last show at Stable Gallery, "Joseph Cornell: Selected Works" (December 2-31, 1957), consisting of a series of "Sand Fountain" boxes and "Space Object" or "Celestial Navigation" works. The "Sand Fountain" boxes included different colors of sand meant to flow within, often from the tops into cordial glasses. His "Celestial Navigations" included galaxy-like compositions set within the boxes, with rolling, painted cork balls, metal rings, and constellation charts, sometimes hovering over cordial glasses or clay pipes. This last Stable Gallery show earned him his first published profile, written by Howard Griffin for the December 1957 issue of "Art News." Also in 1957, he won the Kohnstamm Prize for Construction at the Art Institute of Chicago's 62rd Annual Exhibition of Paintings and Sculpture.
Towards the end of the 1950s, Cornell spent less time creating new bodies of work, and focused more on revisiting previous series and reviewing piles of collected source material. In 1959, Cornell returned to making collages, frequently sourcing popular magazines. In December 1959, Cornell was awarded $1,500 for his "Orion" collage, entered in the Art Institute of Chicago's "63rd American Exhibition of Painting and Sculpture." Also in December, he was offered a show at Bennington College in Vermont, which he titled, "Bonitas Solstitialis: Selected Works by Joseph Cornell and an exploration of the Colombier" (November 20-December 15, 1959). The show included one of his newest "explorations" of collected material related to "colombier," or pigeon houses.
By 1962, Cornell was working diligently on new collages, using Masonite boards and colorful magazine clippings. He also began creating collages using nude images interspersed with constellation clippings or hazy blue dyes. As in previous decades and art movements, Cornell became acquainted with new artists, spending less time in the city and more time hosting visitors at his Utopia Parkway home. Visitors included artists Walter De Maria, Robert Whitman, Andy Warhol, James Rosenquist, and Robert Indiana. Tony Curtis also became a frequent visitor and friend, introduced by Richard Feigen in 1964. The early 1960s was also the first time Cornell put out an advertisement for assistants in the "Long Island Star-Journal," employing a number of young men and women who helped organize clippings and run errands. Cornell also met Joyce Hunter, a young runaway waitress at a city coffee shop, who would occupy his thoughts and diary notes for the next several years. When she was murdered at the end of 1964, Cornell paid for her funeral. He went on to make several "Penny Arcade" collages in memoriam to her, including, "Penny Arcade (re-autumnal)" (1964).
In 1964, Cornell began friendships with several women including artist Carolee Schneeman, who was his first assistant in the early 1960s. He also met artist Yayoi Kusama through art dealer Gertrude Stein. After becoming friends, she visited him often and they exchanged letters and notes. As he did with other artist friends, Cornell supported her by purchasing several of her early watercolor paintings, and they stayed connected until his death in 1972.
Cornell's life greatly changed in 1965 with the death of his brother, Robert. By this time, his mother lived with his sister in Long Island, and Cornell was alone in the Utopia Parkway house for the first time. He exchanged frequent letters and phone calls with his mother and devoted much time to thinking about Robert and Joyce, often aligning them in his diary notations. Cornell also created a series of collages dedicated to his brother's memory, incorporating photostats of Robert's hundreds of drawings into Cornell's work, as with the later collage, "The Heart on the Sleeve" (1972). Cornell's "Time Transfixed" series of collages were also dedications to Robert's memory, referencing Magritte and Robert's love of trains. He mounted an exhibition, "Robert Cornell: Memorial Exhibition" (January 4-29, 1966), at the Robert Schoelkopf Gallery, where he showed Robert's artwork alongside his newly created collage dedications.
After Robert's death, Cornell relied more heavily on assistants, going through many part-time "helpers." In October 1966, Cornell's mother died, adding her to his constant thoughts and diaries. Though he was still grieving, he was given two major retrospectives in 1967. The first was at the Pasadena Art Museum, put on by James Demetrion and Walter Hopps, "An Exhibiton of Works by Joseph Cornell" (January 9-February 11, 1967). The second retrospective was at the Guggenheim Museum just three months later, "Joseph Cornell" (May 4-June 35, 1967), organized by Diane Waldman. After these shows, he was highlighted in the December 15, 1967 issue of "Life" in the article, "The Enigmatic Bachelor of Utopia Parkway."
In 1968, Cornell was given an "award of merit," which included a medal and $1,000, by the American Academy and Institute of Arts and Letters. He was also given a medal and $1,000 by the Brandeis University Creative Arts Awards in the painting category, along with an exhibition. Days later, "The New York Times" announced Cornell the winner, along with Donald Judd, of India's first Triennale of Contemporary World Art. The Brandeis exhibition, "Boxes and Collages by Joseph Cornell" (May 20-June 23, 1968), was organized by William Seitz and concentrated on Cornell's more recent 1960s collages. Cornell was also included in the Metropolitan Museum of Art's hundredth anniversary show, "New York Painting and Sculpture: 1940 to 1970" (October 18, 1969-February 1, 1970), where twenty-two of Cornell's boxes were shown in their own gallery. At the end of 1970, Cornell was given a solo show at the Metropolitan, "Collages by Joseph Cornell" (December 10, 1970-January 24, 1971), which included forty-five of his newest collages.
Now preferring to stay closer to his home in Flushing, Cornell was more interested in sharing his art with young adults and children, than an adult audience. He hosted a group of high school students, sponsored by the Metropolitan Museum of Art's education department, at his home in conjunction with his collage show (1970-1971). He also showed his work in the art department of Queens College of the City University of New York. Cornell still hosted visitors on occasion, having Yoko Ono and John Lennon at his home at least once. Leila Hadley, Betsy von Furstenberg, and Anne Jackson also made frequent visits. With his deteriorating health, Cornell worried about what would happen to his work after his death and hired lawyer Harry Torczyner to help him plan his estate and get his affairs in order.
In 1972, Cornell had a show at the Cooper Union, a college in New York, specifically for children. He displayed his boxes and collages at child-height and had cherry soda and brownies at the opening reception on February 10. He then held a show at the Albright-Knox Art Gallery in Buffalo, also for children: "Children's Preview of the Exhibition of Joseph Cornell – Collages and Boxes (April 18-June 17, 1972). In the winter of 1972, at the request of the Phoenix House drug treatment and prevention program, Cornell contributed to a charity project compiling limited-edition lithographic prints for a portfolio, which included artists like David Hockney, James Rosenquist, and Ellsworth Kelly.
On December 29, 1972, a week after turning sixty-nine, Cornell died of heart failure at his home. He was cremated and interred near the graves of his mother, father, and brother, overlooking the Hudson River in Nyack, New York.
Works Cited:
1. Hartigan, Lynda Roscoe. "Joseph Cornell: Navigating the Imagination." New Haven, Connecticut and London: Yale University Press, 2007. Exhibition Catalog.
2. McShine, Kynaston. "Joseph Cornell." New York: Museum of Modern Art, 1980.
3. San Francisco Cinematheque and The San Francisco Museum of Modern Art. "Joseph Cornell: Films." 2007. Exhibition Program. (Presented in conjunction with SFMOMA's exhibition of "Joseph Cornell: Navigating the Imagination").
4. Schaffner, Ingrid and Lisa Jacobs. "Julien Levy: Portrait of an Art Gallery." Cambridge, Massachusetts and London: The MIT Press, 1998.
5. Solomon, Deborah. "Utopia Parkway: The Life and Work of Joseph Cornell." New York: Farrar, Straus and Giroux, 1997.
Separated Materials:
The Smithsonian Archives of American Art houses the Joseph Cornell papers, 1804-1986, bulk 1939-1972.
Provenance:
The Joseph Cornell Study Center collection was donated to the Smithsonian American Art Museum by Joseph Cornell's sister and brother-in-law, Elizabeth Cornell Benton and John A. Benton, in 1978, which prompted the creation of the Joseph Cornell Study Center. Additional materials were donated in installments by the artist's estate, the Joseph and Robert Cornell Memorial Foundation, from 1985 to 1997. Elizabeth and John A. Benton originally donated 66 linear feet of three-dimensional and non-textual source material and 50 linear feet of books to the Smithsonian Archives of American Art, which were subsequently transferred to the Smithsonian American Art Museum's Joseph Cornell Study Center in 1994 and 1995.
Restrictions:
Access to the collection requires an advanced appointment. Contact collection staff at least two weeks prior to preferred date, at AmericanArtCornellStudy@si.edu.
Series 9: Artifacts and Ephemera, Series 13: Personal Library and Book Collection, and Series 14: Record Album Collection, are still undergoing processing and preservation and may not be available for research use. Record albums are unavailable for playback. Contact collection staff for full lists of publications and record albums.
Rights:
Unpublished materials are protected by copyright. Permission to
publish, quote, or reproduce must be secured from the repository and the copyright holder.
Occupation:
Collagists -- New York (State) -- New York Search this
Topic:
Art, Modern -- 20th century -- United States Search this
Harold Lyons was a physicist whose primary interest was in atomic frequency standards and atomic clocks. The collection documents Lyons and his work with atomic clocks. The collection includes his research as manifested in published papers, presentations, reports, correspondence, laboratory notes, photographs and diagrams.
Scope and Contents:
The Harold Lyons Papers, 1935-1991, show his professional interests, especially his research from the 1950s, as manifested in published papers, presentations, reports, correspondence, laboratory results, and photographs. The bulk of the collection consists of papers and presentations of Lyons and others in the atomic physics field. Most of Lyons's work and the materials he collected address different aspects of microwave frequency.
Formats represented in the collection include published articles, typewritten and handwritten manuscripts, typewritten and handwritten personal correspondence, memorandums, photographs, diagrams, laboratory results, pamphlets, and newspaper clippings. The collection is arranged into five series.
Series 1, Biographical Information, 1955-1965; 1973, contains copies of Lyons's curriculum vitae (circa 1955, 1962, and 1971) and his entries in Who's Who in America and Who's Who in The West. This series also has two folders with materials relating to two honors he received, the Franklin Institute Certificate of Merit, in 1958, and the U.S. Department of Commerce's 25th Commemorative Award in 1973.
Series 2, Papers and Presentations, 1947-1962; 1973-1974, contains the journal articles and papers authored by Lyons and the conference and special presentations he gave during his career, most of which address research for aspects of the atomic clock. Included are papers he authored published in the Journal of Applied Physics, American Scholar, Scientific American, and Annals of the New York Academy of Sciences and presentations given at the National Bureau of Standards for the anniversary of the atomic clock.
Series 3, Correspondence, 1949-1991, contains general correspondence for the years 1949-1966, 1978, 1987, and 1991, as well as correspondence with the following individuals: Dirk Brouwer, Paul Forman, Polykarp Kusch, Koichi Shimoda, Wilbert F. Snyder, Charles H. Townes, and Jerrold R. Zacharias. The bulk of this series is incoming correspondence addressed to Lyons, although he did retain some copies of outgoing correspondence.
Series 4, Research, 1947-1958; 1970-1991, contains laboratory results for deuterated ammonia (via strip chart recordings) and general cesium atomic beam experiments through calibration of magnetic fields, calculation of c-fields in the magnetic chamber, and atomic beam measurements. It also contains brief information on other research interests, such as the International Scientific Radio Union, and scattered promotional materials for natural health and electrical products. In addition, this series contains a copy of the patent granted to Lyons and Benjamin F. Husten in 1955 for the atomic clock and photographs and diagrams relating to Lyons's work on the atomic clock. Included are black and white photographs of Lyons and his colleagues with views of the clock as well as diagrams and charts included in published and unpublished work and presentations. Most of the photographs and diagrams are undated and unlabeled.
Series 5, Collected Background Research Materials, 1935-1982, contains papers and presentation materials focused on atomic physics, including papers published in journals, memoranda, technical reports, conference programs, and conference proceedings. One folder in this series has materials relating to the promotion of the atomic clock through pamphlets, speeches, papers, and one oversize item of reproduced newspaper clippings. A folder relating to a university course of lectures, most likely authored by Polykarp Kusch of Columbia University, on molecular beams is also included in this series. In addition, this series contains copies of two patents, one granted to Friedrich H. Reder in 1960 for molecular resonance devices, and the other, an Australian patent, applied for in 1958, for an invention dealing with a frequency selective method and system.
Arrangement:
The collection is organized into five series.
Series 1, Biographical Information, 1955-1965; 1973
Series 2, Papers and Presentations, 1947-1962; 1973-1974
Subseries 2, Other Research Interests, 1947-1957; 1970-1991
Subseries 3, Photographs and Diagrams, 1957; undated
Series 5, Collected Background Research Materials, 1935-1982
Biographical / Historical:
Harold Lyons was born February 16, 1913 in Buffalo, New York, and attended the University of Buffalo, graduating summa cum laude with a B.S. in Physics in 1933. After obtaining a Ph.D. in Nuclear Physics from the University of Michigan in 1939, he worked at the Naval Research Laboratories for two years and then joined the National Bureau of Standards (NBS) in 1941. In 1944, he was appointed chief of the Microwave Standards Section of an Interservice Radio Propagation Laboratory (IRPL) established at the NBS during World War II. He continued in that position after the war when the IRPL, in 1946, was reconstituted as the Central Radio Propagation Laboratory (CRPL).
Lyons's work on microwave frequency standards led directly to his interest in atomic frequency standards and atomic clocks. On his initiative a substantial program of research and development was pursued in the Microwave Standards Section from 1948-1951. There under his direction the first operative atomic clock, based on the absorption of microwaves of ammonia, was constructed in 1948 and announced in early 1949.
Lyons remained with the CRPL after it was moved to Boulder, Colorado, in 1954, but left a year later to work in Hughes Aircraft Company's Culver City, California, research labs. Here he continued his atomic physics research, particularly applications for the atomic clock, including satellite technology, and expanding to development work in lasers. He continued his work on lasers at Electro-Optical Systems Quantum Physics Division from 1960-1962. In the late 1960s and during the 1970s, he was an independent physics consultant and conducted research through an association with the University of California, Los Angeles.
Harold Lyons died March 23, 1998 in Los Angeles, California.
Related Materials:
Materials in the Archives Center
National Company (NATCO) Atomic Clocks Records, 1955-1968 (AC0547), contains related archival materials, principally on the development of the first commercial atomic clock, the Atomichron.
Materials in the National Museum of American History
The Division of Work and Industry, formerly the Division of Information, Technology and Communication, holds the first operative atomic clock, constructed under Lyons's direction at the National Bureau of Standards in 1948.
Provenance:
The collection was donated by Harold Lyons's daughter, Sherrie L. Lyons, in January, 2000.
Restrictions:
The collection is open for research use.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
National Museum of American History (U.S.). Division of Armed Forces Search this
Extent:
1 Cubic foot (3 boxes and 1 oversized folder)
Type:
Collection descriptions
Archival materials
Typescripts
Passports
Albums
Books
Cartoons (humorous images)
Christmas cards
Comic books
Newsletters
Panoramas
Personal papers
Photograph albums
Photographs
Posters
Ration books
Scrapbooks
Telegrams
Place:
Minidoka
Manzanar
Idaho
Amache (Calif.)
California -- 1940-1950
Date:
1900s-1993
Scope and Contents:
The collection is an assortment of souvenirs and memorabilia, which have survived the years since World War II. Many of them, Christmas cards, high school graduation programs, notes to friends, snapshots, and photographic prints in the form of dance programs reflect the interests and concerns of all teenagers. There are camp newsletters and Japanese passports, identification cards, ration books, meal passes, posters; a photograph album contains both family photographs and a record of achievements of members of the Kamikawa family. There is a transcript of a taped interview with Mrs. Kamikawa, who was nearly 90 in February 1982, the time of the interview. A book, Lone Heart Mountain by Estelle Ishigo, portrays in text and sketches life in the relocation centers.
The collection has been filed under the name of each donor rather than by subject such as passports, newsletters, photographs. With very few exceptions the material is in good condition. The historical sketch of the Matsumoto family tree in the photograph album is badly damaged.
Arrangement:
1 series, arranged alphabetically by donor.
Biographical / Historical:
On December 7, 1941, the Japanese bombed Pearl Harbor and the United States went to war. On February 19, 1942, President Franklin Delano Roosevelt issued Executive Order 9066 authorizing the military to exclude "any and all persons" from designated areas of the United States to protect the national defense. Thus, without the imposition of martial law, the military were given authority over the civilian population.
Under this order, nearly 120,000 men, women and children of Japanese ancestry, nearly two thirds of who were United States citizens, were forced out of their homes and into detention camps in isolated areas of the west. Many of them spent the years of the war living under armed guards, and behind barbed wire. Children spent their school days in the camps, young men left to volunteer or be drafted for military service. The War Relocation Authority administered the camps.
This collection of documentary materials relates to the involuntary relocation of Japanese Americans was collected by the Division of Armed Forces History in connection with the exhibit
A More Perfect Union: Japanese Americans and the United States Constitution at the National Museum of American History in 1988. The donors either were members of the Japanese American Citizens League or reached through the League. Interesting and revealing information is available about a few of the donors. They were primarily teenagers or young adults at the time of the relocation and the materials in the collection reflect their interests and concerns. Juichi Kamikawa, who had completed a year of college in Fresno, California, graduated from the Corcoran School of Art in Washington, D.C. after the war and became a respected artist. His family record is one of distinction in both Japan and the United States for several generations. Masuichi Kamikawa, his father, received the Order of the Sacred Treasure from the Japanese Emperor for outstanding contributions to the cultural heritage of Japan. Among achievements cited were his work in merchandizing and banking in Fresno, California. Mary Tsukamoto is one of the contributors to the video conversations in the exhibit. She is a retired teacher who was 27 years old in 1942 and a long time resident of Florin, California. Along with her entire family, she was sent to the center at Jerome, Arkansas. Mabel Rose Vogel taught high school at one of the camps, Rowher Center, Arkansas.
Related Materials:
The Division of Armed Forces History (now Division of Political and Military History) will have additional documents collected for the exhibit, A More Perfect Union, described above, that may be useful. Another collection on this topic in the Archives Center is collection #450, the Gerald Lampoley Collection of Japanese American Letters, 1942 1943, a collection of six letters written by Japanese Americans to their former teacher. Researchers may also refer to the records of the War Relocation Authority, Record Group 210, or those of the United States Commands, 1947 , Record Group 338, in the National Archives. Further, the National Headquarters of the Japanese American Citizens League in San Francisco, California, and the Japanese American National Museum in Los Angeles, California, maintain related collections.
Provenance:
Donated by a number of Japanese Americans, many of whom are members of the Japanese American Citizens League, headquartered in San Francisco. This material was acquired for inclusion in the exhibition, A More Perfect Union, described above, but was not placed on display for one reason or another. In certain instances, items in this collection were omitted from the exhibit if they were considered too fragile or too sensitive to prolonged exposure to light. It is possible that related items, currently on display, ultimately will be transferred to the Archives Center; if this occurs, it would be useful to distinguish between the two groups of exhibited and undisplayed materials. Transferred from the Division of Armed Forces History, June 1988.
Restrictions:
The collection is open for research use.
Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. Collection located at off-site storage area.
Viewing film portion of collection requires special appointment, please inquire; listening to LP recordings only possible by special arrangement. Do not use original materials when available on reference video or audio tapes.
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.
Scientists and Inventors Portrait File: photoprints
Compiler:
National Museum of American History (U.S.). Division of Physical Sciences Search this
Extent:
10 Cubic feet (10 boxes)
Type:
Collection descriptions
Archival materials
Photographs
Copy prints
Date:
undated
Summary:
Copy prints created by the Smithsonian Office of Priting and Photography of portraits of important scientists and others in Smithsonian collections.
Scope and Contents:
Although the obvious intention of the organizers of this file was to produce a comprehensive, alphabetical file of images of important scientists, inventors, engineers, and other figures in the history of science and technology, the resulting representation of significant subjects is somewhat haphazard. Also, there are some portraits of subjects outside the intended fields, such as photographer Rudolf Eickemeyer, Jr., and figures from non technological business areas.
Several drawers of file cards accompany the photographs. Some duplicate the names and negative numbers of file images without providing additional information; some provide source data; and some represent images which are not in the file. Most of the National Portrait Gallery items are copied from a study collection of carte de visite and cabinet prints which is uncatalogued: special arrangements to view the originals must be made with that institution.
Arrangement:
Collection arranged into one series and arranged alphabetically by subjects' names.
Historical:
This "collection" is essentially an alphabetical browsing file of copy prints created by the Smithsonian Office of Printing and Photographic Services. The original images are photographs, lithographs, etchings, and other forms of portraits located in Smithsonian collections, especially those of curatorial divisions located in NATIONAL MUSEUM OF AMERICAN HISTORY, but there are also substantial numbers of images copies from illustrations in books and periodicals. The latter probably were created for use in Museum exhibits and publications over the years.
These prints apparently were gathered from various curatorial divisions and other sources by volunteers, probably under the direction of curator Deborah Warner, Division of Physical Sciences. The prints were dry mounted onto cardboard and identified with the subjects' names and the corresponding OPPS negative numbers in order to serve as a ready reference file.
This is entirely a file of second and third generation images, therefore, and differs in form from most Archives Center collections. The usual handling precautions for photographic imagery do not necessarily apply, and users are free to browse in the files without protective gloves.
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.
National Museum of American History (U.S.). Division of Mechanical and Civil Engineering Search this
Extent:
1 Cubic foot (3 boxes)
Type:
Collection descriptions
Archival materials
Lantern slides
Negatives
Photographs
Place:
Manila (Philippines)
Nagasaki (Japan)
Date:
1945
Summary:
Collection documents the destroyed city of Nagasaki, Japan, and bombing in Manila, Philippines, 1945.
Scope and Contents:
Collection contains black and white photographic prints, black and white negatives, and lantern slides of the destroyed city of Nagasaki, Japan and bombing in Manila, Philippines. Images document street scenes, destroyed buildings, and people injured or killed. Materials are arranged in two series. Series one is photographic prints and negatives dating from 1945 and series two is lantern slides from the same time period.
Arrangement:
Collection is arranged into two series.
Series 1: Photographic Prints and Negatives, 1945
Series 2: Lantern Slides, 1945
Related Materials:
Archives Center, National Museum of American History, Smithsonian Institution
Japanese American Documentary Collection, NMAH.AC.0305
Emilio Segre Collection, NMAH.AC.0691
Stephen A. Douglas World War Two Envelopes, NMAH.AC.0755
Anthony Lanza World War II Papers, NMAH.AC.0910
Bishop Mitsumyo Tottori Memorial Notebooks, NMAH.AC.0926
George Leslie Stout Papers, 1855, 1897-1978, AAA.stougeor
Kamekichi Tokita Papers, circa 1900-circa 2010, bulk circa 1910-1948, AAA.tokikame
Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution
Robert and Louise Koke Collection, FSA.A2019.05
National Air and Space Museum Archives, Smithsonian Institution
Japanese World War II Balloon Bombs Collection, NASM.XXXX.0558
World War II Japanese Bombing Collection, NASM.1995.0037
George Caron Family Photographs, NASM.2008.0037
Colonel William B. Hawkins Scrapbook Collection, NASM.2006.0023
William Jones World War II scrapbook, NASM.2006.0067
NOTSNIK Videotape and Hiroshima Photographs, NASM.2003.0022
Smithsonian Institution Archives
George W. Nace Papers, Accession 05-223
Provenance:
Collection donated by Progressive Architecture, through managing editor, Rita R. Robinson, 1973.
Restrictions:
Collection is open for research. Unprotected photographs must be handled with gloves.
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.
