The collection consists of approximately 28,000 photographic negatives, slides, prints and other materials documenting Bethlehem Steel Corporation's iron ore mining operations. The photographs were taken by Richard "Jay" Angelo, a Bethlehem Steel Corporation photographer. The majority of the photographs depict Bethlehem's mining operations at its Cornwall and Morgantown, Pennsylvania mines. A smaller number of negatives document operations in western Pennsylvania, Kentucky, West Virginia, Michigan and Ontario. The negatives depict aerial views, blasting operations, tunneling, equipment and infrastructure, machinery, employees working, company personnel, and company-built community facilities. The collection documents the complete operations of a major, historic mining operation over four decades.
Scope and Contents:
The collection consists of approximately 28,000 photographic negatives, slides, prints and other materials documenting Bethlehem Steel Corporation's iron ore mining operations. The photographs were taken by Richard "Jay" Angelo, a Bethlehem Steel Corporation photographer. The majority of the photographs depict Bethlehem's mining operations at its Cornwall and Morgantown, Pennsylvania mines. A smaller number of negatives document operations in western Pennsylvania, Kentucky, West Virginia, Michigan and Ontario. The negatives depict aerial views, blasting operations, tunneling, equipment and infrastructure, machinery, employees working, company personnel, and company-built community facilities. The collection documents the complete operations of a major, historic mining operation over four decades.
Series 1, Historical Background Materials, 1923-19933, consists of typescript general histories for the Bethlehem Steel Corporation, and specifically, the Cornwall Mine, Grace Mine, and the Marmoratan Mining Company. Included are some copies of maps, newspaper articles, photographs and one letter from Charlie Neil dated 1993 containing history of the Cornwall mining operations. Other miscellaneous items include articles about concrete, a retirement brochure for Sheldon J. Shale, and bound monthly progress reports of operations for the Cornwall Division, 1923-1929. These reports detail production, ore analysis, construction of mine shafts, repairs made, and physical plant conditions.
Series 2, Logbooks, 1949-1980, consists of personal, mileage, and photograph and negative logbooks maintained by Richard R. Angelo during the course of his career as a photographer for Bethlehem Steel Corporation, Cornwall Division. The series is divided into three subseries: Subseries 1, Personal Logbooks, 1949-1981, Subseries 2, Mileage Logbooks, 1957-1980, and Subseries 3, Photograph and Negative Logbooks, 1947-1968. The bound notebooks are arranged chronologically and are approximately 4 1/2" x 7 1/2" or smaller.
Subseries 1, Personal Logbooks, 1949-1980, consists of Angelo's personal logbooks which begin in 1949 and chronicle his daily activities and include the amount of time spent accomplishing each stated activity. For example, from April of 1949, Angelo writes, "making negatives and printing, eight hours." Later logbooks do not contain the number of hours, but many contain the number of vacation days Angelo took.
Subseries 2, Mileage Logbooks, 1957-1980 and undated, consists of logbooks with the date, number of miles, and location where Angelo drove. In some instances, toll expenses are noted as well as total mileage calculated for a month.
Subseries 3, Negative Logbooks, 1947-1980, consists of logbooks detailing the date, negative number and a brief description for black-and-white and color negatives. For example, the March 3, 1951, entry is listed as "#1840-0, waste rock tunnel, mine number 3." In some instances Angelo notes if a photograph or negative was rejected. Later logbooks follow an alpha-numeric identification system. These logbooks should be consulted when using Series 4, Black-and-White negatives. The subseries is arranged chronologically.
Series 3, Indices, 1943-1960, consists of typescript lists detailing the negative number, date, and a brief description for the Bethlehem Report (BR), the early Pilot Plant and raw materials (CN), microphotographs (MP), and Pilot Plant (PP,) and raw materials and office plant (RM). The person who assembled these lists or applied the alpha-numeric system is unknown. These indices should be consulted when using boxes 36 to 38 in Series 4, Black-and-White Negatives.
Series 4, Black-and-White Negatives, 1941-1963, is divided into six subseries: Subseries 1, #1-#4108, 1947-1961; Subseries 2, A1 to A400, 1941-1949; Subseries 3, B1 to B9995, 1953-1963; Subseries 4, C1 to C6999, 1963 [1969?]; Subseries 5, Chronological, 1950-1955; and Subseries 6, Topical, 1941-1961. The negatives are approximately 4" x 5" and are housed in glassine envelopes. In some instances, 4" x 5" prints are filed behind the corresponding negative.
The alpha-numeric subseries of negatives is not inclusive. There are indices (see Series 3) for the negatives in boxes 36 to 38 and the logbooks (see Series 2) maintained by Richard R. Angelo. The indices provide the alpha-numeric identification number, date, and brief description for the negative. For example, negative B-528 documents the #4 mine machine shop looking west, March 12, 1954. Researchers should use the logbooks in conjunction with the negatives.
There are some negatives that document diagrams, drawings, plans, sectional views, schematics for ore pockets, mine shafts, and flow sheets for the Lebanon Concentrator and the crushing plant at the Grace Mine. Some of the negatives were used in the creation of the Bethlehem Mines Corporation, Cornwall Division, photograph album which documents progress as of December 31, 1964.
Series 5, Color Negatives, 1964-1979, consists of approximately 940 color negatives, presumably documenting a wide variety of mining activities as well as employees. There is no index to these negatives. The negatives are arranged numerically.
Series 6, Photographic Prints, 1880s-1972 and undated, consists primarily of black-and-white prints of mining equipment, views of mine interiors (including the mine vein), aerial views, buildings, and employees. The bulk of photographs document Bethlehem mines in Pennsylvania, specifically Cornwall and Grace, but there is documentation for the Marmora Mine in Ontario, Canada. Some of the prints have captions and dates. Some oversize photographs (11" x 14") documenting the Matamora Mine in Ontario, Canada, 1958, were taken by H.R. Oakman of Peterboro, Ontario. The materials are arranged alphabetically.
Series 7, Photograph Albums, 1951-1971, consists of five bound albums and some loose materials documenting the Marmora Mine in Ontario, Canada. Many of the albums were photographed by H.R. Oakman of Peterboro, Ontario. The albums contain mounted black-and-white prints that are 4" x 5" or 11" x 17." The albums are arranged chronologically.
Series 8, Slides, 1950-1980, contains 35 mm slides in both black and white and color. The slides document a range of activities and are arranged alphabetically by mine location.
Series 9, Moving Images, 1961 and undated, consists of two color 16 mm films documenting the Grace Mine in Pennsylvania.
Arrangement:
The collection is arranged into nine series.
Series 1, Historical Background Materials, 1923-1993
Series 2, Logbooks, 1949-1980
Subseries 1, Personal Logbooks, 1949-1980
Subseries 2, Mileage Logbooks, 1957-1980 and undated
Subseries 3, Negative Logbooks, 1947-1980
Series 3, Indices, 1943-1960
Series 4, Black-and-White Negatives, 1941-1963
Subseries 1, #1-#4108, 1947-1961
Subseries 2, A1 to A400, 1941-1949
Subseries 3, B1 to B9995, 1953-1963
Subseries 4, C1 to C6999, 1963 [1969?]
Subseries 5, Chronological, 1950-1955
Subseries 6, Topical, 1941-1961
Series 5, Color Negatives, 1964-1979
Series 6, Photographic Prints, 1880s-1972 and undated
Series 7, Photograph Albums, 1951-1971
Series 8, Slides, 1950-1980
Series 9, Moving Image, 1961 and undated
Biographical / Historical:
Richard "Jay" Angelo (1922-1997) was the official photographer for Bethlehem Cornwall Corporation (a subsidiary of the Bethlehem Steel Corporation) mining operations in Cornwall, Pennsylvania. The Cornwall Division operated three underground mines with concentrating and agglomerating facilities. Using a Speed Graphic camera (a portable professional camera), which used 4" x 5" film, Angelo captured between 20,000 and 30,000 negatives, mostly black-and-white, from January 1947 to January 1980. The negatives depict aerial views; each new blast in the open pit; tunneling in the underground works; installation of infrastructure such as underground bracing, head frames, railway track and agglomeration machinery; employees at work, receiving awards, or retiring; tours for corporate executives, local school teachers, and other mining executives; road and land improvements; company-built community facilities; safety program activities; installation and operation of the concentrating and agglomeration plants.
Angelo graduated from high school in 1940 and immediately began working in the mines, following in the foot steps of his father, an Italian immigrant. He joined the United States Navy in 1942 working as a radio operator aboard a communications ship. Angelo served in both the European and Pacific theaters of World War II. Angelo returned home in 1946 and worked in the mines, first in a tool room, then in the enginneering department. In 1947, he began taking photographs for the company, specializing in mining. Other photographers processed color and black-and-white negatives in the company lab and photographed the company's many plants. Angelo retired in 1980.
For over sixty years (1916-1980), Bethlehem Steel Company obtained most of its iron ore from three mines it owned and operated in eastern Pennsylvania. Two mines were located in Cornwall, about fifteen miles east of Harrisburg, and one was located in Morgantown, about twenty-five miles south of Reading. Until its closure in 1980, the Cornwall mine was the longest continuously operated mine in North America. The Cornwall Mine began in 1732 when John, Thomas, and Richard Penn deeded over 9,000 acres to Joseph Turne, who assigned it to William Allen. In 1734, Peter Grubb, a prospector for iron, paid Allen for the acreage and in 1742 built the Cornwall Furnance near the ore deposit. Other parties gained access and partnership to the ore banks through purchase or inheritance, and in 1854, Grubb and the others combined to form the Cornwall Ore Banks Company. Bethlehem Steel Company acquired ownership of the Cornwall Mines in 1916 and had complete ownership by 1921. The only exception was the Robesonia Iron Company, a small indepednent section that remained free of Bethlehem ownership until 1926, when Bethlehem acquired it and thus gained sole control of the ore desposits. The Cornwall iron ore deposit became one of the most valuable in the United States.
There were two major ore bodies in Cornwall, Pennsylvania, south of Lebanon, Pennsylvania, called Cornwall mines number 3 and number 4. Extracting the ore was done through open pit mining when deposits of useful minerals or rock were found near the surface. Open pit mining was used at Cornwall until 1953 when the open pits became too deep and economically not viable. It is estimated that over fifty-six million tons of ore were removed from mine number 3 between 1734 and 1953. By 1953, all of the available exposed ore was removed, and it was necessary for the company to begin underground mining activities. Other forms of mining included extractive methods that required tunneling into the earth, such as long wall mining. The number 4 mine was begun in 1926 as an underground operation; by 1965, twenty-two million tons of ore had been mined. In 1948, new iron ore deposits were discovered using an airborne magnetometer (an instrument used to measure the magnetic field) during an aerial survey in southeastern Pennsylvania. Bethlehem Steel acquired the land. Construction for the mine began in 1951 and ore stripping began in 1958. The new mine was called Grace Mine after Bethlehem Chairman and CEO Eugene Grace. Mining at lasted until 1977.
The Marmoratan Mine located in Hastings County, Ontario (east of Toronto) also became part of the vast Bethlehem Steel Corporation holdings. Iron mining was an important industry in the area during the nineteenth century. The village of Marmora was originally named Marmora Iron Works. Magnetic iron ore was mined as early as 1820, but a series of failures resulted in the abandonment of the mine. In 1949, the Ontario Department of Mines, in conjunction with the Geological Survey of Canada, conducted an aerial survey of the region. Bethlehem Steel geologists became interested in the area and in May, 1950, the company obtained options to purchase a 290 acre tract of property. Bethlehem would eventually acquire 1900 acres of property at Marmora. Drilling began in 1951, and the mine closed in 1979.
The scale of operations at the three mines was prodigious. Together, these mines were second only to Minnesota's famous Mesabi Range in terms of volume and quality of iron ore extracted. In addition to ore extraction, the mines were equipped with large-scale concentrating and agglomeration facilities, where the raw ore was separated into disparate minerals through the use of magnetic separators. The iron was then further concentrated into high density pellets that were easier to ship and more economical in making steel. Bethlehem erected its first concentrating facilities at Cornwall in 1916. When Bethlehem Steel acquired the Cornwall mines its long-term plan was to expand and modernize its program by adding mill equipment and providing sintering plants. Bethlehem purchased the Pennsylvania Steel Company in 1916, which included a wet mill equipped with a Grondal magnetic separator. From 1934 to 1962, the mines produced over twenty-seven million tons of iron concentrate, 450,000 tons of copper concentrate, and 1,650 tons of pyrite concentrate. The agglomeration plant at the Grace Mine alone produced three million tons of iron concentrate between 1958 and 1965.
Related Materials:
Materials at the Archives Center, National Museum of American History
Alexander Van Valen Papers, 1849-1850 (AC0935)
International Salt Company Records, 1888-1964 (AC1158)
Industry on Parade Film Collection, 1950-1960 (AC0507)
Arthur d'Arazien Industrial Photographs Collection, circa 1939-1984 (AC0314)
Frank Klepetko Michigan Mining Cyanotype Album, circa 1880 (AC1042)
Materials in Other Organizations
Hagley Museum and Library
Bethlehem Steel Corporation records, 1714-1982
Bethlehem Steel Corporation and Bethlehem Ship Corporation photograph collection, 1786-1966
Bethlehem Steel Corporation. Predecessor and subsidiary companies, 1860-1947
Pennsylvania State Archives
Cornwall Ore Bank Company Records, 1802-1935, 1954
Provenance:
The collection was donated to the Archives Center by Richard Angelo, Jr., and Jeanette Angelo Laverty on July 9, 2011.
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 intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
The papers of popular songwriter Harry Warren, three time Academy Award winner and prolific contributer to the American songbook.
Scope and Contents:
The Harry Warren Papers consists of original music manuscripts, scores, song sheets, commercial sheet music, bound scores, scripts, business records, correspondence (business, personal and fan), clippings, magazines, photographs, cassette tapes, LP records, posters and programs and personal memorabilia. The material documents the personal life and professional career of composer, songwriter and lyricist Harry Warren from 1894 to 1981 and to a lesser extent the operation of his Four Jays Music Corporation, circa 1954-2000. The bulk of the collection covers the years 1927-1980. The collection is organized into eight series.
Arrangement:
The collection is divided into eight series.
Series 1: Music Manuscripts, 1928-1987
Subseries 1.1: Original Holographic Theatre and Motion Picture Music Manuscripts, 1930-1960
With the possible exception of Irving Berlin, no one has contributed as much material to the canon of American popular song in the 20th century as Harry Warren (1893-1981). Warren was born in Brooklyn, New York, December 24, 1893, to Italian immigrant parents. His birth name was Salvatore Anthony Guaragna. By the time he graduated from grade school, he was known as "Harry Warren". He legally changed his name in 1938. He was educated in the public schools of New York but had no formal musical training. He taught himself to play the organ and piano and also sang in the church choir. Both Warren's sister and brother were performers so the theatrical world was not unknown to him. He worked as an actor and assistant director for the Vitagraph film studio in New York and played mood music for actress Corinne Griffith. During World War I, Warren served in the United States Navy at Montauk Point, New York. For a few weeks after the war, he worked as an insurance examiner for The Travellers Agency.
In December 1918, Warren married Josephine Wensler (1897-1993). Their first child was a son named Harry Warren, Jr. (1920-1937). In 1920, Warren became a song plugger for the music publishing firm of Stark & Cowan. Warren continued writing and in 1922 along with lyricist Edgar Leslie produced his first song hit, "Rose of the Rio Grande." From that point on, Warren composed a continuous stream of hits introduced by such artists as Paul Whiteman and others. By 1925, a second child, Joan (1924-1991), nicknamed "Cookie", was born. Warren continued his success with such songs as "I Love My Baby (My Baby Loves Me)," "In My Gondola" and the very popular 1928 hit "Nagasaki."
By 1929, Warren was the director of the American Society of Composers, Authors, and Publishers (ASCAP). He held that position until 1933. He also served on the ASCAP Board of Directors. During this time Warren worked with various musicians including Gus Kahn, Bert Kalmer, and Harry Ruby. In 1930, he wrote his first motion picture score for the film Spring is Here. Al Jolson asked him to compose a song for the show, Wonder Bar (1931). During the 1930s, Warren composed three other Broadway shows, Sweet and Low (1930), Crazy Quilt (1931) featuring Fanny Brice, and Laugh Parade (1931) starring Ed Wynn.
In 1932, Warren was hired by Warner Brothers Studios to help write songs for the Dick Powell, Ruby Keeler film 42nd Street (1933). Along with lyricist, Al Dubin, Warren wrote such hits as "We're in the Money" and "The Shadow Waltz". Warren continued composing memorable songs for motion pictures such as Gold Diggers of 1933, The Singing Marine (1937), and Footlight Parade (1933). Gold Diggers of 1935 included Warren's first Academy Award winning song, "Lullaby of Broadway". Warren made cameo appearances in a few films during his stay at Warner Brothers. He and lyricist Dubin can be seen in 42nd Street, Go Into Your Dance (1935), and A Very Honorable Guy (1934). He also appeared in a Vitaphone short entitled Harry Warren: America's Foremost Composer.
Warren left Warner Brothers for 20th Century Fox in 1940. At Fox he helped compose the scores for such motion pictures as, Sun Valley Serenade (1941), Orchestra Wives (1942), and The Gangs All Here (1943) that included the Carmen Miranda standard, "The Lady in the Tutti-Frutti Hat". During this period, he worked with lyricists Ralph Rainger, Mack Gordon and Leo Robin, and others. Hello Frisco, Hello (1943) garnered Warren his second Academy Award for the song, "You'll Never Know". While at Fox, Warren composed "Chattanooga Choo Choo" a song that became the first gold record in the history of the recording industry.
In 1945, legendary musical film producer Arthur Freed at Metro-Goldwyn-Mayer courted Warren for his MGM production unit. Freed quipped that Warren would have the office right next door to his--and he did. For Warren the offer to write music at the studio that practically invented the movie musical was irresistible and he left 20th Century Fox for MGM. He joined Freed in writing the songs for Yolanda and the Thief (1945) starring Fred Astaire and Freed's protégée Lucille Bremer. The film was directed by the incomparable Vincent Minnelli. His next high profile score was for The Harvey Girls (1946) composed with renowned lyricist Johnny Mercer. The picture starred Judy Garland and John Hodiak. Directed by George Sidney, it was a major success, due in part to Warren's tuneful "On the Atchison, Topeka and Santa Fe". This song brought Warren his third and what would be his final Academy Award.
While at MGM, Warren worked with lyricists Mack Gordon, Ralph Blane, and others. In 1948, he and Blane composed the song score for Freed and director Rouben Mamoulian's ambitious film adaptation of Eugene O'Neills stage play Ah Wilderness entitled Summer Holiday (1948) starring Mickey Rooney and Gloria DeHaven. This is reported to have been Warren's favorite film assignment, but the film was not an unqualified success. Warren remained at MGM until the 1950s composing for such films as The Barkleys of Broadway (1949), starring Astaire and Rogers, Summer Stock (1950), starring Judy Garland and Gene Kelly and his final film for MGM, Skirts Ahoy! (1952), starring Esther Williams and Vivian Blane. After leaving MGM, Warren wrote the score for the Bing Crosby film, Just for You at Paramount. Warren also served on the Board of Directors for the Academy of Motion Picture Arts and Sciences.
Warren went on to write the music for two Jerry Lewis and Dean Martin films, The Caddy (1953) for which he composed "That's Amore", Artists and Models (1955) and for three Jerry Lewis films, Rock-a-Bye Baby (1958), Cinderfella (1960), and The Ladies Man (1961). Warren also composed instrumental pieces one being a "Mass in Honor of St. Anthony".
Warren returned to Broadway in 1956 with the musical Shangri-La, based on the novel Lost Horizon. The show was not a success and closed after fewer than thirty performances. He composed the title song for the Cary Grant, Deborah Kerr film, An Affair to Remember (1957); this song brought him his last nomination for an Academy Award. The song was later used in the motion picture Sleepless in Seattle (1993) starring Tom Hanks and Meg Ryan.
During the 1950s, Warren started his own music publishing company, Four Jays Music Corporation. After writing the songs for The Ladies Man, Warren retired from films but continued to write for piano, even composing the song for the Miss Oklahoma Pageant. His last film effort was to compose one song for the motion-picture Rosie (1968). During the last years of his life Warren composed and ran his music publishing business, but remained largely forgotten as the man who had composed a great deal of America's musical heritage.
With the resurgence in the appreciation of the movie musical in the early 1970s, the tunes composed during Warren's heyday were back in vogue, brought on in a large part by the phenomenal success of MGM's That's Entertainment! (1974). In 1980, he was asked to compose the musical numbers for an upcoming movie musical entitled, Manhattan Melody but it was never produced.
1980 brought the Warren name back to the marquees of Broadway with the David Merrick production of 42nd St.. The full budgeted big Broadway musical used the basic storyline from the 1933 film and drew upon the whole of the Warren and Dubin catalogue for the score. The production proved to be wildly popular, running in excess of five years on Broadway. Warren died in California on September 22, 1981. He was interred in the Sanctuary of Tenderness at Westwood Memorial Park in Los Angeles beside his wife and son. After Warren's death, his daughter Joan "Cookie" Warren Jones administered the music publishing company until her death in 1991.
Key:
OF = Original Film, RV = Reference Video, MV = Master Video
Separated Materials:
The Division of Cultural History (now Division of Cultural and Community Life) has three dimensional objects related to Harry Warren.
Provenance:
Donated to the Archives Center, National Museum of American History, Smithsonian Institution by Julia Riva and Jophe Jones, granddaughters of Harry Warren, on December 15, 2000.
Restrictions:
Collection is open for research but the audiovisual materials are stored off-site and special arrangements must be made to work with it. Researchers must use reference copies of audio-visual materials. When no reference copy existsContact 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.
Busignies, Henri Gaston, 1905-1981 (electronic/communications engineer) Search this
Names:
International Telephone and Telegraph Corporation Search this
Former owner:
National Museum of American History (U.S.). Division of Electricity and Modern Physics Search this
Extent:
0.15 Cubic feet (1 box)
Container:
Box 1
Type:
Collection descriptions
Archival materials
Papers
Place:
Nutley (N.J.)
Date:
1905-1981
Scope and Contents:
Documentation of Gaston's role in the development of radio direction finders during World War II.
Biographical / Historical:
Busignies, electronic-communications engineer, came to the United States from France in 1940 and was naturalized in 1953. He held several positions at the Paris laboratories of the International Telephone and Telegraph Corporation(ITT), 1928-1941, where he was involved with the development of direction finders, radar, and instrument landing and at the Federal Telecommunications Laboratories of ITT at Nutley, New Jersey, 1941-1946. He received a certificate of commendation for his outstanding service with the United States Navy in 1947 and the Presidential Certificate of Merit in 1948.
Separated Materials:
Related objects in the Division of Work and Industry (Electricity and Nuclear Energy collections).
Provenance:
Immediate source of acquisition unknown.
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.
The collection consists of 98 ink and watercolor drawings by the artist Kim Chun-gŭn. The drawings depict various subject including: marriage and funeral rites and ceremonies; hunting and fishing; farming; artisans and crafts; merchants and peddlers; household chores; schooling and education; military and court officials; civil servants; punishments; and musicians and performers. The drawings are titled in Hanja and stamped with the artist's seal.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Biographical Note:
Kim Chun-gŭn (also known as Kim Jun-geun, Gisan, and Kisan) was a Korean painter specializing in genre scenes illustrating traditional Korean life. His paintings were acquried by many foreign visitors in port areas such as Pusan and Wonsan at the end of 19th and early 20th centuries.
Robert Wilson Shufeldt (1822–1895) was an officer in the United States Navy best known for his negotiation of the 1882 Shufeldt Treaty with Korea. He was commander of the USS Wachusett and USS Ticonderoga, and Consul-General of the United States to Cuba.
Local Numbers:
USNM Accession 38151
Variant Title:
Korean life
Related Materials:
The National Anthropological Archives holds MS 7356, reproductions of a set of drawings by Kim Chun-gŭn deposited in the University Museum, University of Pennsylvania (cat. 21574) by Mary Shufeldt. The NAA also holds photographs collected by Robert Shufeldt in Photo Lot 97 and Photo Lot 81-64 Robert W. Shufeldt photograph of American Legation in Seoul.
The collection of Chinese, Japanese and Korean objects acquired by USNM from Shufeldt is held by the Department of Anthropology (Accession Number 38151).
Restrictions:
The collection is open for research.
Access to the collection requires an appointment.
Rights:
Contact the repository for terms of use.
Genre/Form:
Works of art
Drawings
Citation:
Kim Chun-gŭn drawings of Korean life, National Anthropological Archives, Smithsonian Institution
National Museum of American History (U.S.). Division of Politics and Reform Search this
Extent:
2 Cubic feet (6 boxes)
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Programs
Date:
circa 1924-1981.
Scope and Contents note:
This collection primarily documents Kenneth R. Harding's work as an executive at the Democratic National Congressional Committee and in the position of Sergeant at Arms of the United States House of Representatives. The collection includes photographs of politicians and foreign dignitaries, programs, printed materials, scrapbooks, correspondence, and campaign memorabilia. Materials are arranged in four series.
Series 1: Professional, 1924-1981, undated, contains pamphlets, records, correspondence, and photographs documenting Harding's work with the Democratic National Congressional Committee and as the Sergeant at Arms of the House of Representatives. Materials are arranged alphabetically by subject.
Series 2: Elections, 1937-1978, undated, contains printed documents and statistical analyses for various locations and election cycles. Much of this was probably collected during Harding's work with the Democratic National Congressional Committee. Materials are arranged chronologically.
Series 3: Photographs, 1949-1980s, contains photographs of various figures, including United States presidents and foreign and domestic dignitaries. Most date from the period in which Harding worked as Sergeant at Arms of the House of Representatives. Materials are arranged alphabetically by subject.
Series 4: Clippings, 1956-1981, contains newspaper clippings. Although some mention Harding directly, many do not. Materials are arranged chronologically.
Arrangement:
The collection is arranged into four series.
Series 1: Professional Materials, 1924-1981, undated
Series 2: Elections, 1937-1978, undated
Series 3: Photographs, 1949-1980s
Series 4: Newspaper Clippings, 1956-1981
Biographical/Historical note:
Kenneth R. Harding was born in Medina, New York, to Victor Hunt Harding and Edith Falk Harding on March 28, 1914. Having foregone an undergraduate degree, Harding moved straight into law school, receiving his J.D. in 1937 from The George Washington University Law School. Shortly after finishing law school, in 1938, he married his first wife, Jane Wedderburn Harding.
In 1938, Harding took a position as a bank examiner in San Francisco, California. In the years before World War II, however, he was drawn away from that work to serve with the United States Navy. After this period and a 10-year stretch in the Air Force Reserve, he retired with the rank of colonel.
After retiring from military service, Harding transitioned into political work. Following in the footsteps of his father, a political science professor at Stanford University and former regional campaign manager for President Franklin Delano Roosevelt, Harding took a position at the Democratic National Congressional Committee, of which his father was Chief Executive. In the aftermath of his father's death, he was, having worked with the Committee for eight years, promoted to Chief Executive. In this position, which he held from 1954-1972, he distinguished himself as a leader in the Democratic campaign effort. With a reputation for knowing the situation of almost any race, he was responsible for distributing funds to candidates to support their election efforts. He served during the tenure of four House Speakers. During this time, he also took up work as the Assistant Sergeant at Arms for the House of Representatives, his father having held a similar post for two brief periods.
Upon election to the position of House Sergeant at Arms (on October 1, 1972), Harding stepped away from his role at the Democratic National Congressional Committee. In his new position, he served as the chief officer responsible for the maintenance and security of the House side of the Capitol Building and all House office buildings, serving, ex officio, as co-chief of the Capitol Police. In this role, he worked to ban self-guided tours of the Capitol Building and to prohibit vendors from setting up near the Capitol Reflecting Pool. Concurrent with these duties, he was also responsible for maintaining the decorum of the House of Representatives, greeting officials upon arrival and escorting them to the appropriate chambers. In this role, he met and worked with a large number of national and international politicians and heads of state, including the presidents in office during his tenure.
Upon retirement in February of 1980, he moved to Ormund Beach, Florida. He passed away in 2007.
Provenance:
Collection donated by Harding to the Daytona Beach Community College in 1980. In 1998 the College returned the collection to the donor because of space reasons. Harding then donated the collection to the Division of Political History, National Museum of American History. The Division transferred the archival portion of the collection to the Archives Center in 2005.
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.
The papers of painter and sculptor George Sugarman measure 12.22 linear feet and 21.83 GB and date from 1912 to 2001, with the bulk of the material dating from 1959 to 1999. The collection documents Sugarman's career as a sculptor primarily through correspondence, project files, exhibition files, writings, and photographs. The collection also includes address and appointment books, business and financial records, and printed material. A partially processed addition consisting of audio (3 sound cassettes) and video recordings (1 video reel, 1/2", 11 videocassettes, 7 U-matic and 4 VHS), and one Super 8 mm motion picture film, as well as digital copies of the film and video recordings, includes lectures by Sugarman, documentaries about Sugarman and his sculptures, and radio and television appearances by Sugarman.
Scope and Content Note:
The papers of painter and sculptor George Sugarman measure 12.22 linear feet and 21.83 GB and date from 1912 to 2001, with the bulk of the material dating from 1959 to 1999. The collection documents Sugarman's career as a sculptor primarily through correspondence, project files, exhibition files, writings, and photographs. The collection also includes address and appointment books, business and financial records, and printed material. A partially processed addition consisting of audio (3 sound cassettes) and video recordings (1 video reel, 1/2", 11 videocassettes, 7 U-matic and 4 VHS), and one Super 8 mm motion picture film, as well as digital copies of the film and video recordings, includes lectures by Sugarman, documentaries about Sugarman and his sculptures, and radio and television appearances by Sugarman.
The bulk of the collection consists of correspondence with family members, friends, artists, and scholars, reflecting Sugarman's diverse influences and interests. The project files and exhibition files illustrate Sugarman's prolific career as an artist and document Sugarman's numerous projects and exhibitions abroad, particularly in Japan.
The writings by Sugarman are noteworthy as they reveal the integral relationship between Sugarman's philosophical theories about art and his actual works of art. The business and financial records mainly document expenses incurred while working on various projects and exhibitions and while traveling. Maps, clippings, and brochures from Sugarman's many travels are included as well as exhibition catalogs and announcements for Sugarman and others. The collection also contains photographs of George Sugarman and his artwork, dating mostly from the 1970s.
Arrangement:
The collection is arranged into ten series. Series are arranged by type of material; materials within series are arranged alphabetically by name or by type of material and then chronologically. Series 10 is unprocessed.
Missing Title
Series 1: Biographical Materials, 1912-2000, n.d. (Box 1; 9 folders)
Series 2: Correspondence, 1959-2001, n.d. (Boxes 1-3, OV 8; 2.9 linear feet)
Series 3: Project Files, 1968-1997, n.d. (Boxes 3-4; 1 linear foot)
Series 4: : Exhibition Files, 1965-1993, n.d. (Boxes 4-5, OV 8; 0.6 linear feet)
Series 5: Writings, 1951-1992, n.d. (Box 5; 0.2 linear feet)
Series 6: Address and Appointment Books, 1972-1997, n.d. (Boxes 5-6; 0.3 linear feet)
Series 7: Business and Financial Records, 1962-1998, n.d. (Box 6; 0.4 linear feet)
Series 8: Printed Material, 1954-1999, n.d. (Boxes 6-7, OV 8; 1.2 linear feet)
Series 9: Photographs, 1966-1981, n.d. (Box 7; 0.2 linear feet)
Series 10: Sound and Moving Image Material, 1972-1990 (Box 9, FC 10; 1.2 linear feet, ER01-ER13; 21.83 GB)
Biographical Note:
George Sugarman was a painter and sculptor who disliked labels because he believed they oversimplified the complexity of art, and Sugarman's artwork, like the artist himself, resists classification and oversimplification. Although he was influenced by Surrealist imagery, Cubist ideas of space, Baroque sculpture, and Abstract Expressionism, Sugarman's sculptures also display a musical quality, reflecting his interest in jazz music and improvisation. Sugarman was a pioneer in the use of color in sculpture and is probably best known for his large, polychrome aluminum sculptures.
Sugarman made the decision to become an artist relatively late in life. Born in New York on May 11, 1912, he studied at City College in New York and graduated with a B.A. in 1934. After serving in the United States Navy from 1941 until 1945, he attended evening classes at Museum of Modern Art. At the age of 39, George Sugarman traveled to Paris to study painting under the GI Bill of Rights. While in Paris, he decided to study sculpture with Ossip Zadkine and began creating wood carvings and terra-cotta sculptures. Over the next few years, Sugarman traveled to Italy and Spain, studying Baroque sculpture and architecture. He was particularly attracted to the work of Bernini and to Bernini's use of space.
Sugarman returned to New York in 1955 and began working with laminated wood. In order to support himself, he accepted a job teaching carpentry at a private school. He joined the Brata Gallery in 1957 and helped found the New Sculpture Group. A few years later, Sugarman received major recognition of his work by winning second prize in sculpture at the Pittsburgh International Exhibition. Sugarman went on to win a Longview Foundation Grant, a Ford Foundation Grant for his work at the Tamarind Lithography Workshop, and a grant from the National Endowment for the Arts.
In the 1960s, Sugarman began working on large painted-aluminum sculptures and completed his first outdoor sculpture at the Xerox Building in El Segundo, Calif. in 1969. Many of Sugarman's outdoor sculptures generated intense controversy, particularly his sculpture for the Edward A. Garmatz Federal Building and Courthouse in Baltimore, but he was devoted to his belief in the social as well as aesthetic importance of public art. Sugarman saw public sculpture as a "metaphor for the human condition" and as a way to transcend what he called the "indoor eye," the eye which views art in isolation from its physical and social environment.
Sugarman taught at the Graduate School of Hunter College in New York City from 1960 until 1970 and served as visiting Associate Professor at the Yale University Graduate School of Art from 1967 to 1968. Sugarman was a prolific artist, participating in numerous one-man shows, group exhibitions, and competitions all over the world, yet recognition of his talent came almost a decade later in the United States than in Europe. His works are in major collections including the Museum of Modern Art, the Whitney Museum of American Art, and the Art Institute of Chicago. George Sugarman died on August 25, 1999.
Related Material:
The transcript and audiotapes of an interview with George Sugarman conducted by Paul Cummings in 1974 for the Archives of American Art's Oral History Program is available at the Archives of American Art, Smithsonian Institution.
Separated Material:
The Archives of American Art also holds materials lent for microfilming. Reel N70-50 and N70-51 includes biographical material, an essay about George Sugarman, exhibition catalogs and announcements dating from 1954 to 1960, a certificate, writings by Sugarman, and correspondence dating 1953-1970. The originals of most of these materials were included in later donations. Reel N70-50 also contains a substantial number of photographs of Sugarman's natural wood sculptures from the late 1950s, his early works in wood, clay, and plaster dating from 1951 to 1958, his drawings and paintings from the late 1960s, installations and works in progress from 1960 to 1970, and photographs of Sugarman working in the studio in the 1960s. There are also twelve sketchbooks and loose pages dating from 1943 to 1958, which document Sugarman's travels to the South Pacific, New York City, France, Spain, and North Africa. Lent material not included in later gifts remain with the lender and are not described in the collection container inventory.
Provenance:
In 1970, George Sugarman lent material to the Archives of American Art for microfilming. In 1980 and 1983, George Sugarman donated portions of the material previously lent, along with additional materials. Additional materials were donated by Sugarman's niece, Arden Sugarman Eilopolous, in 1999 and 2000. In 2006, the Sugarman Foundation via Arden Sugarman donated the audio and video recordings.
Restrictions:
The collection is open for research. Microfilmed portion must be consulted on microfilm. Use of unmicrofilmed portion requires an appointment and is limited to the Washington, D.C. research facility.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Sculptors -- New York (State) -- New York -- Interviews Search this
Sculpture, Modern -- 20th century -- New York (State) -- New York Search this
Genre/Form:
Drawings
Interviews
Photographs
Sound recordings
Citation:
George Sugarman papers, 1912-2001. Archives of American Art, Smithsonian Institution.
National Museum of American History (U.S.). Division of Medical Sciences Search this
Extent:
11 Cubic feet (29 boxes, 1 map folder)
Type:
Collection descriptions
Archival materials
Diaries
Manuscripts
Laboratory notebooks
Lecture notes
Masters theses
Reprints
Theses
Date:
1922-2010
Scope and Contents note:
Halkett and Wesolow(ski) materials show the process of technological innovation through laboratory protocols. They also demonstrate the various alternatives explored in the search for effective artificial circulation by using materials which would not damage or clot blood and that could be sterilized. The evolution of the pumping mechanism and power source, the design and materials of the pump itself, and a series of catheters (cannulae) or varying shapes and materials are described as a workable solution is found. Secondly, diversity of techniques developed to solve the problems of artificial circulation and their contributions to that work are documented.
The 2018 addenda documents the life and career of physicist James A.E. Halkett. It includes papers relating to his education, his U.S. Navy service, his work with various employers, and his research in various fields including radio, metallurgy, ordnance, and radioactivity. Some of the papers relate to his work with General Electric in developing the proximity fuse. The papers include correspondence and notes, including lab notes, graphs and charts; reports; drawings; photographs; training and operational manuals; bibliographic card files; journals, conference materials and other publications; and miscellany.
Arrangement:
The collection is organized into three series with subseries.
Subseries 1.4.4: Civil Defense and Medical and Health Services, circa 1950s
Subseries 1.4.5: Effects of the Atomic Bomb, circa 1945
Series 2: H.J. Sugarman Papers, 1950-1951
Series 3: Sigmund A. Wesolowski (Adam Wesolow) Papers, 1951
Biographical/Historical note:
James Alexander Elder Halkett was born in 1920 in Scotland to inventor James Nicol Halkett, and Edith Victoria Elder. At age three, Halkett immigrated to the United States with his family. He attended Wooster College from 1938-1942 and graduated as the first student at the university to triple major in math, chemistry, and physics. Upon graduating from Wooster College, Halkett worked for the companies A.S. Campbell and General Electric before becoming a U.S. citizen in 1944 and immediately joining the U.S. Navy. During his time in the Navy, Halkett completed the intensive Electronics Training Program and attended the Pre-Radio School, Bliss Electrical School, and the Radio Materiel School. Halkett was stationed in Panama and served as a radio technician until 1946.
After discharge from the Navy in 1946, Halkett attended Massachusetts Institute of Technology (MIT) from 1946-1948 and earned his master's degree with his thesis titled "An Artificial Heart." At MIT he began to develop the early extracorporeal mechanical heart alongside his colleague Bill Sewell, which in 1948 became the first mechanical heart to successfully bypass the left side of a cat's heart. This work was continued at Tufts University from 1949-1950 alongside Dr. Sigmund A. Wesolowski, M.D. (now named Adam Wesolow), with the pair further modifying the cardiac pump which resulted in the long-term survival of animals after bypass surgery. Neither Halkett nor Wesolowski went on to develop this technology for trials with human subjects.
Halkett completed a predoctoral fellowship at Johns Hopkins University from 1950-1952, where he expanded his interest in tissue culture and biophysics. Following his time at Johns Hopkins, he served as a Senior Biologist in the field of Radioisotopes at the Boston Veterans Administration Hospital until 1974. At the hospital, he conducted research on radiology, leukemia, and nuclear medicine. He also served as the hospital's Chief of Research in Animal Medicine, Science, and Technology (RILAMSAT) from 1968 to 1972. While working at the Boston Veterans Administration Hospital, Halkett earned his Doctor of Philosophy from Boston University in 1964, where he was also a lecturer. Halkett died in 2015 at the age of 94.
Sigmund Adam Weslowski (1921-1993) was born in Massachusetts and attended Harvard University before servng as a midshipman in the Naval Reserve during World War II and later as a captain during the Korean War in the Army Medical Corps. He received a medical degree from Tufts College of Medicine, Boston, Massachusetts and spent one year at Guy's Hospital in London under Lord Russell-Brock where he specialized in thoracic surgery. Wesolowski was Professor of Surgery at the State University of New York Downstate Medical Center in Brooklyn. In the 1980s' he was chief thoracic surgeon at the Veterans Administration Medical Center in Togus, Maine. Wesolowski helped devise a heart pump in the early days of open-heart surgery at Tufts University from 1949-1950 alongside Dr. James A.E. Halkett. The pair further modified the cardiac pump which resulted in the long-term survival of animals after bypass surgery.
Related Materials:
Objects related to this collection (See accession 1985.0101.01–1985.0101.67) are located in the Division of Medicine and Science at the National Museum of American History. The objects relate to Halkett and Wesolow's early mechanical heart, and include valves, valve holders, valve chambers, pumps, pump parts,tubing, stroke chamber stoppers, reservoirs, cannulae, and cam systems.
Provenance:
Collection donated by James A. E. Halkett and Adam Wesolow (Sigmund A. Wesolowski), May 6, 1985.
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.
