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World War II Aerial Reconnaissance Photographs [Hedgpeth]

Creator:
Hedgpeth, James A.  Search this
Names:
Hedgpeth, James A.  Search this
Extent:
0.23 Cubic Feet ((1 slim legal document box))
Type:
Archival materials
Collection descriptions
Aerial Photographs
Photographs
Date:
1944
Scope and Contents:
This collection includes 75 photographs of Word War II bombings of France, specifically of Cologne. Aerial reconnaissance photographs make up the majority of the collection, although there are also photographs of a mapping room as well as a few pictures taken on the ground of the bombing damage. This collection also includes two prints of a Lockheed P-38 in flight.
General:
NASMrev
Provenance:
James A Hedgpeth, Jr., Gift, 1989, 1989-0078, unknown
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Topic:
World War, 1939-1945 -- Aerial operations  Search this
World War, 1939-1945  Search this
World War, 1939-1945 -- Aerial operations, American -- France  Search this
Aerial reconnaissance  Search this
Photographic reconnaissance systems  Search this
Aeronautics, Military  Search this
Aeronautics  Search this
Aerial photography  Search this
Lockheed P-38 Lightning Family  Search this
Genre/Form:
Aerial Photographs
Photographs
Identifier:
NASM.1989.0078
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-1989-0078

Admiral Alfred M. Pride Papers

Creator:
Pride, Alfred Melville, 1897-1988  Search this
Names:
Lexington (Aircraft carrier : 1927-1942)  Search this
Saratoga (Aircraft carrier : CV-3)  Search this
USS Langley (warship)  Search this
United States. Navy -- Aviation  Search this
United States. Navy -- Reserve fleets  Search this
United States. Navy -- Reserve fleets -- Flying Corps  Search this
United States. Navy. Anacostia Naval Air Station  Search this
United States. Navy. Bureau of Aeronautics [BuAer]  Search this
Extent:
6.54 Cubic Feet ((6 records center boxes))
Type:
Archival materials
Collection descriptions
Correspondence
Photographs
Clippings
Date:
[ca. 1910s-1970s]
Scope and Contents:
This collection consists of the following types of material relating to Pride's illustrious naval aviation career: correspondence, photographs: official documents, such as Naval orders newsclippings; and certificates.
Biographical / Historical:
Admiral Alfred Melville Pride (1897-1988) was a retired four-star admiral who was a pioneer in Navy aviation. Born in Somerville, Massachusetts, Pride attended the Engineering School at Tuft's College before enlisting in the US Naval Reserve Force in 1917. In September 1917, Pride was appointed Ensign in the Naval Reserve Flying Corp where he served in England and France during World War I. Pride was designated a naval aviator in 1918 and was transferred to the regular Navy in November of 1921 and was commissioned a Lieutenant. In September 1921 Pride reported for duty with the aviation detachment of the USS Langley, where he developed the arresting gear to be installed on the Langley and where he carried out experimental take-offs and landings on the aircraft carrier. The Navy sent him to the Massachusetts Institute of Technology to study aeronautical engineering. He later served with the original crews on the Navy's next two carriers --the Saratoga and the Lexington, Pride made the first landing of a helicopter on an aircraft carrier in 1931 and from 1934-1936 he was commander of the flight test section at the Anacostia Naval Air Station in Washington, D.C. During World War II, Pride commanded the aircraft carrier Belleau Wood in the South Pacific, conducting air strikes against the Japanese in the following campaigns: Tarawa, Wake and Makin Islands, Kwajalein, Truk, Sampan and Tinian. Pride also commanded the Naval Air Center at Pearl Harbor, directing air support for amphibious landings and played a major role in planning for the invasion of Okinawa and the Japanese home islands. After World War II Pride headed the Navy's Bureau of Aeronautics in Washington, DC, and in 1953 he was selected to command the Seventh Fleet. He retired in 1959.
General:
Additional materials: Uniform and flight were transferred to the National Air and Space Museum Aeronautics Division.
NASMrev
Provenance:
Carol P. Lemeshewsky, Gift, 1989, 1997-0010, NASM
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Topic:
World War, 1939-1945 -- Campaigns -- Pacific Ocean  Search this
World War, 1939-1945 -- Aerial operations  Search this
World War, 1939-1945  Search this
Aircraft carriers  Search this
Aeronautics, Military  Search this
Aeronautics  Search this
World War, 1939-1945 -- Naval operations, American  Search this
Periodicals  Search this
Genre/Form:
Correspondence
Photographs
Clippings
Identifier:
NASM.1997.0010
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-1997-0010

Colonel William B. Hawkins Scrapbook Collection

Creator:
Hawkins, Williams B.  Search this
Names:
Great Britain. Royal Air Force  Search this
Extent:
0.63 Cubic feet ((2 boxes))
Type:
Archival materials
Collection descriptions
Scrapbooks
Photographs
Maps
Articles
Short snorter
Date:
bulk 1940-1949
Scope and Contents:
This collection consists of the following four scrapbooks chronicling the aviation career of Colonel William B. Hawkins, especially his service with the 2nd Air Commandos Group during World War II: one 12 by 15 inch cream colored scrapbook, entitled "China 1942-1944" and "RAF 1949," containing newspaper clippings regarding World War II in China and snapshots from Hawkins' time with the Royal Air Force in 1949; one 10 by 14 inch brown photograph album mostly relating to Hawkins' career during the 1940s including snapshots, newspaper articles, foreign currency, maps and a short snorter; one 12 by 15 inch red photograph album entitled, "2nd Air Commando GP," and "Burma 1944-45 Bill Operations Officer," which contains captioned 3.5. by 4.5 inch black and white prints of the 2nd Air Commando Group; and one 9 by 11 inch photograph album 2nd Air Commando History of Operations, 1945 which consists of a report "Historical Record of 2nd Air Commando Group" and contains snapshots and captioned 3.5. by 4.5 inch black and white prints of the 2nd Air Commando Unit.
Biographical / Historical:
Colonel William B. Hawkins, Jr., (1920 - ) joined the US Army in 1935, at the age of 15. After finishing high school and junior college he went to flying school, and he was commissioned in the US Army Air Corps on December 7, 1941. Hawkins trained at Maybre Field in Florida and was assigned to the China-Burma-India Theater with the 74th Fighter Squadron, 23rd Fighter Group. Following his tour, Hawkins returned to America and was asked to join the 2nd Air Commandos with a return to the China-Burma-India Theater. After the war, Hawkins attended UCLA and received a BA in psychology. He was then sent to England to serve with the Royal Air Force as an exchange duty. He also had a tour of duty during the Korean War serving in Japan with the 508th Fighter Wing, and went on to tours in France with the 48th Tactical Fighter Command and to Germany, where he was Chief of Safety for the USAF. He was in the United States serving at Norton AFB when the Vietnam War began, and he volunteered for service. Hawkins sent to first to Clark AFB (Philippines), then to Taklee (Thailand) and finally to Tonsan Nuht (Vietnam), where he was again an operations officer and also flew a few bombing missions. After completing two tours of duty in Vietnam, Hawkins retired in 1966; at his retirement he had over 600 hours of flying time, mostly in jets.
Provenance:
Merrill S. Hawkins, Gift, 2006
Restrictions:
No restrictions on access.
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Topic:
World War, 1939-1945  Search this
World War, 1939-1945 -- Aerial operations  Search this
World War, 1939-1945 -- Burma  Search this
2nd Air Commandos Group  Search this
World War, 1939-1945 -- China  Search this
Genre/Form:
Scrapbooks
Photographs
Maps
Articles
short snorter
Citation:
Colonel William B. Hawkins Scrapbook Collection, Accession number 2006-0023, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.2006.0023
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-2006-0023

Albert K. McCutcheon Collection

Creator:
McCutcheon, Albert K.  Search this
Extent:
0.36 Cubic feet ((1 box))
Type:
Archival materials
Collection descriptions
Maps
Technical manuals
Pamphlets
Date:
bulk 1940-1949
Scope and Contents:
This collection consists of the following technical manuals and pamphlets: Identification and Tactical Functions of Naval Vessels: Student's Workbook, November 1943; Naval Vessels: Identification and Tactical Functions, July 1943; Instrument Flying, August 1943; Pilots' Information File, November 1944; Instrument Flying: Basic and Advanced, January 1944; Aircraft Recognition Manual; German Language Guide; Pocket Guide of Uniform Insignia; Handbook for Army Air Forces Officers; Going Back to Civilian Life, August 1945; Pocket Guide to The Cities of Southern France; Digest of Civil Air Regulations for Pilots; Identification and Tactical Functions of Aircraft Germany Student's Workbook, November 1943; When You Are Overseas These Facts are Vital, July 1943; related worksheets and charts, including one for Chemical Warfare Agents. There is also a January 1945 target map of Northern Germany which shows Allied and enemy air base numbers.
Biographical / Historical:
Albert K. McCutcheon served as a fighter pilot in the 362nd Flight Group, 378th Fighter Squadron during World War II. After the war, McCutcheon was a Personnel Training Officer with the 10th Depot Group in Germany.
Provenance:
Albert K. McCutcheon, Gift, 1976
Restrictions:
No restrictions on access.
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Topic:
World War, 1939-1945 -- Aerial operations  Search this
World War, 1939-1945  Search this
Aeronautics  Search this
Fighter pilots  Search this
Genre/Form:
Maps
Technical manuals -- 20th century
Pamphlets
Citation:
Albert K. McCutcheon Collection, Accession XXXX-1121, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.XXXX.1121
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-xxxx-1121

Merchant Marine/Navy World War Two Oral History and Memorabilia Collection

Creator:
Porter, John C.  Search this
Collector:
Armed Forces History, Division of (NMAH, SI).  Search this
Navarre, Jack B., 1925- (merchant seaman)  Search this
Armed Forces History, Division of (NMAH, SI).  Search this
Names:
San Mateo Coast Guard Station  Search this
United States. Merchant Marine  Search this
Extent:
0.01 Cubic feet (1 folder)
Container:
Box 1
Type:
Archival materials
Collection descriptions
Newspapers
Oral history
Scrapbooks
Identity cards
Menus
Correspondence
Military passes
Photographs
Diaries
Passports
Place:
San Mateo (Calif.)
Date:
1943-1946
Summary:
The collection documents Jack B. Navarre's service in the Merchant Marine's and Navy between 1943 and 1946.
Scope and Contents:
This collection consists of official correspondence, identification papers, and ephemeral material relating to Navarre's service in the Merchant Marine between 1943 and 1946. The correspondence concerns his appointment and training in the Merchant Marine Cadet Corps and his discharge from the Merchant Marine. Identification papers include his seaman's passport, his cadet school ID card and service record, his Coast Guard pass, and an ID card for Puerto Rico. Other materials include ship's crew passes from the vessels he served on, a shore leave pass for Naples, a job assignment card, and overtime sheets from his tour aboard the Sea Partridge. Many of these materials are attached to pages from a scrapbook. Of interest also are several ship's menus from 1944 and a photocopy of a ship's newspaper, dated September 3, 1945, describing the surrender of Japan.

Papers relating to John C. Porter include his diary, kept while serving on the U.S.S. Severn, and his photograph.
Biographical / Historical:
Jack B. Navarre was born in Detroit in 1925. In October 1943, at the age of 18, he was accepted into the U.S. Merchant Marine Cadet Corps as a Cadet Midshipman Engineer. He underwent basic training at the San Mateo Coast Guard Station in California from January to April 1944. He then reported aboard the S.S. Canada Victory in San Francisco for a period of training afloat.

Navarre served on three separate ships in the South Pacific War Zone between 1944 to 1945. After his training period on the Canada Victory ended in February 1945, he served a tour doing engine maintenance aboard the S.S. Sea Flasher from March to June 1945. This was followed by a tour as an oiler aboard the S.S. Sea Partridge from June to September 1945.

He subsequently served aboard the S.S. Coast Rica Victory in October 1945, sailing to Marseilles, France, and Naples, Italy, and then aboard the S.S. Malvern Hill, sailing to Puerto Rico in January 1946.

John C. Porter was born in Lowell, Massachusetts in 1924, and grew up in Claremont, New Hampshire and later in Newport, Rhode Island. He developed an early interest in radio, building his own radios and working for a radio and TV business installing antennas. He took and passed the FCC's test to acquire amateur call letters, but Pearl Harbor intervened. Amateur radio use was prohibited, and no call letters were issued for the duration of World War II. He wanted to be a radioman in the Navy, and was accepted.

At the age of eighteen, Porter joined the Navy in Providence, Rhode Island. He was assigned to a new ship being commissioned at Sparrow's Point, in Baltimore, the U.S.S. Severn, which saw service in the Pacific. After the War, Porter worked as a plumber and school custodian in Scituate, Rhode Island. He retired in 1987 and died in 1992.
Provenance:
Collection donated by Delia Porter, date unknown, and Jack B. Navarre, August 24, 1990.
Restrictions:
Collection is open for research.
Rights:
Some material in collection probably under copyright.
Topic:
World War, 1939-1945 -- Merchant Marine  Search this
Ships -- Manning  Search this
Merchant Marine -- Manning of vessels -- United States  Search this
Merchant Marine -- United States  Search this
Seamen -- 1940-1950  Search this
Merchant seamen  Search this
World War, 1939-1945 -- Naval operations  Search this
World War, 1939-1945 -- Campaigns -- Pacific Ocean  Search this
Marine engineers  Search this
Genre/Form:
Newspapers -- Ships -- 1940-1950
Oral history -- 1940-1950
Scrapbooks -- 1900-1950
Identity cards -- 1940-1950
Menus -- Ships -- 1940-1950
Correspondence -- 1940-1950
Military passes -- Ships -- 1940-1950
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1940-1950
Diaries -- 20th century
Passports
Citation:
Merchant Marine/Navy World War Two Oral History and Memorabilia Collection, 405, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0405
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0405

34th Bombardment Group Diary and Photograph [McKeon]

Creator:
McKeon, Patrick  Search this
Extent:
0.05 Cubic Feet ((1 folder))
Type:
Archival materials
Collection descriptions
Diaries -- 20th century
Photographic prints
Date:
bulk 1944-1945
Scope and Contents:
This collection consists of the target bomb run diary (three typewritten pages) of Patrick McKeon, a bombardier for the 8th Air Force, 34th Bombardment Group from May 24, 1944 to January 2, 1945. The collection also contains one 8 by 10 inch black and white photograph of the 34th Bombardment group's Belchin' Bessie Consolidated B-24 Liberator with five of its crew posed by the nose art, including McKeon on far right.
Biographical / Historical:
The 34th Bombardment Group was assigned to the Eighth Air Force in April 1944 and entered combat in May 1944. The Group helped with the preparation for the Normandy invasion by bombing airfields and coastal defenses in France, and continued to support ground forces as they moved eastwards.
Provenance:
Karen McKeon, Gift, 2017
Restrictions:
No restrictions on access.
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Topic:
World War, 1939-1945 -- Aerial operations  Search this
Aeronautics  Search this
Consolidated B-24 Liberator  Search this
34th Bombardment Group  Search this
Genre/Form:
Diaries -- 20th century
Photographic prints
Citation:
34th Bombardment Group Diary and Photograph [McKeon], Accession 2017-0040, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.2017.0040
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-2017-0040

Grace F. Thorpe Collection

Creator:
Thorpe, Grace F.  Search this
Names:
National Congress of American Indians  Search this
United States Indian School (Carlisle, Pa.)  Search this
Abourezk, James G., 1931-  Search this
Seely, Dagmar  Search this
Thorpe, Charlotte  Search this
Thorpe, Jim, 1887-1953  Search this
Extent:
3.5 Linear Feet
2,175 Photographic Prints
166 negatives (photographic)
27 nitrate negatives
113 slides (photographs)
5 contact sheets
Culture:
Sac and Fox (Sauk & Fox)  Search this
Type:
Archival materials
Collection descriptions
Photographic Prints
Negatives (photographic)
Nitrate negatives
Slides (photographs)
Contact sheets
Place:
Oklahoma
Arizona
Japan -- 1940-1950
Pearl River (N.Y.)
Jim Thorpe (Pa.)
Date:
1900-2008
Scope and Contents:
The Grace F. Thorpe Collection (1900-2008) includes documents, photographic prints, slides, negatives and other materials that encapsulate the breadth of Grace Thorpe's life and work as a WWII veteran, Native rights activist, and dedicated daughter, mother and family member. This includes material from her personal, military and professional life. Series 1: Early Life and Family History (1921-1940) includes materials related to the Thorpe family including photographs of Grace's parents, Jim and Iva at the Carlisle Indian School as well as letters and photographs from Grace as a young girl. Series 2: Military Career and Life in Japan (1943-1950) includes documents, photographic prints and negatives from Grace's time as a Corporal in the Women's Army Corps and her life as a wife and mother in Japan following the war. This series also includes the medals Grace received for her service in WWII. Series 3: Pearl River, New York and Business (1950-1967) contains documents and photographs from Grace's time as a mother and business woman in Pearl River, New York. Series 4: Working on Behalf of Native Americans and Activism (1968-1977) includes documents, photographic prints and negatives from Grace's work with various Native American organizations on economic and civil rights issues following her move to Arizona in 1967. Series 5: Jim Thorpe and His Legacy (1912-1984) includes documents, photographic prints and negatives regarding Jim Thorpe and the work by the Thorpe family to restore Jim's Olympic record and keep his legacy alive. Series 6: Later Years (1979-2007) includes documents, photographic prints and negatives from Grace's life in Oklahoma, her work as an environmental activist, and other activities later in her life.
Arrangement:
This collection has been arranged in six series chronologically based on how the collection was received with minor changes. The Series' include--Series 1: Early Life and Family History (1921-1940), Series 2: Military Career and Life in Japan (1943-1950), Series 3: Pearl River, New York and Business (1950-1967), Series 4: Working on Behalf of Native Americans and Activism (1968-1977), Series 5: Jim Thorpe and His Legacy (1912-1984), and Series 6: Later Years (1979-2007). There is some chronological crossover between Series 5: Jim Thorpe and His Legacy and the rest of the collection.

The physical arrangement of the materials was determined by storage needs.
Biographical / Historical:
Grace Frances Thorpe was born in Yale, Oklahoma on December 10, 1921 to parents James (Jim) Francis Thorpe (Sac and Fox (Sauk)) and Iva Margaret Miller Thorpe. Jim, already a famed athelete and olympic medalist, had met Iva as students at Carlisle Indian School and were married in 1913. Grace was the youngest of four, Gail Margaret, James and Charlotte Marie though her brother James died from polio at a young age. When Iva and Jim divorced in 1923, Iva and the girls moved to Chicago while Jim moved to California to pursue work in the movies. For school, Grace attended St. Mary's Academy, Sacred Heart, in Oklahoma and Haskell Institute in Kansas, which was where her father had attended school.

In 1943 Grace worked briefly at the Ford Motor Company before enlisting in the Women's Army Corps (WAC) during WWII. After attending training and graduating from the WAAC Training Center in Ft. Oglethorpe, Georgia, Thorpe attained the rank of Corporal, and served as a Recruiter for the Women's Army Corps stationed in Tucson and Camp White in Oregon before being assigned overseas to the New Guinea Campaign. From 1944-1945 Corporal Thorpe was stationed in New Guinea, Philippines and Japan. Following an Honorable Discharge in 1945, Grace remained in Japan during the occupation with her husband Lieutenant Fred W. Seely (1918-2008) whom she married in June 1946. She became employed at General MacArthur Headquarters as Chief of the Recruitment Section, Department of Army Civilians, Tokyo, Japan. Both of her children, Dagmar (1946-) and Paul Thorpe (1948-1964) were born during this time in Japan.

Grace and her children left Japan and arrived in San Francisco on April 20, 1950. They lived in Pearl River, New York from late 1950 to the mid 1960s. She first became employed as a Hostess with Welcome Wagon upon completing training in July of 1951 and later became a supervisor, business machine salesperson, and territorial account executive for the Yellow Pages with the Reuben H. Donnelly Corp. earning recognition in Distinguished Sales Performance. She completed a course in effective speaking and human relations conducted by the Dale Carnegie Institute and won a Best Speech Award. In 1967, Grace moved to Arizona where she became involved with American Indian tribes. Grace was appointed Economic Development Conference Coordinator for the National Congress of American Indians (NCAI)'s 1968 and 1969 conferences. In 1969-1970, Grace joined Native American Activists at the occupation of Alcatraz Island for three months and managed their publicity. She then served as a Congressional Intern from 1974-1975 for Senator James Abourezk. Grace was later appointed Legislative Assistant with the Senate Select Committee on Indian Affairs and as a Task Force Program and Planning Analyst for the American Indian Policy Review Commission. During this time period she attended—The Antioch School of Law, Washington DC; Massachusetts Institute of Technology (Research Fellow), Boston, Massachusetts; University of Tennessee, Knoxville and Northeastern University, Tahlequah, Oklahoma. During this time she also began working on the restoration of her father's 1912 Olympic titles as well as other projects to recognize and honor her father.

After returning to her tribal homeland in Oklahoma she became active in tribal affairs and in 1983 successfully restored her father's Olympic record. She also conducted genealogical research on the Thorpe family. Her article "The Jim Thorpe Family' was published as a two-part series in the Chronicles of Oklahoma in 1981. In later years, Grace served her tribe as a tribal judge, health commissioner, and became an environmental activist opposing nuclear waste on tribal lands. She remained active in Native American issues, a matriarch of the Thorpe family, and involved with her granddaughter, Tena Malotte, and her great-grandchildren, Aspen and Huna.

Biographical note provided by Dagmar Seely, daughter to Grace Thorpe, with additions by Rachel Menyuk, Processing Archivist.
Separated Materials:
27 nitrate negatives have been moved offsite and are being housed at the National Anthropological Archives.
Provenance:
Donated by Dr. Dagmar Seely and Tena Malotte, 2015.
Restrictions:
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited users to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not changed, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian.
Topic:
Yellow pages  Search this
United States. Army. Women's Army Corps  Search this
World War, 1939-1945 -- New Guinea.  Search this
World War, 1939-1945 -- Japan.  Search this
World War, 1939-1945 -- Philippines.  Search this
Alcatraz Island (Calif.) -- History -- Indian occupation, 1969-1971.  Search this
Citation:
Identification of specific item; Date (if known); Grace F. Thorpe Collection, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Identifier:
NMAI.AC.085
See more items in:
Grace F. Thorpe Collection
Archival Repository:
National Museum of the American Indian
EDAN-URL:
ead_collection:sova-nmai-ac-085
Additional Online Media:

Andrew Carnduff Ritchie papers

Creator:
Ritchie, Andrew Carnduff  Search this
Names:
Allied Forces. Supreme Headquarters. Monuments, Fine Arts and Archives Section  Search this
College Art Association of America  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Yale University. Art Gallery  Search this
Afro, 1912-1976  Search this
Calder, Alexander, 1898-1976  Search this
Hadzi, Dimitri, 1921-2006  Search this
Lynes, Russell, 1910-1991  Search this
Namuth, Hans  Search this
Paolozzi, Eduardo, 1924-2005  Search this
Ritchie, Jane  Search this
Roszak, Theodore, 1907-1981  Search this
Extent:
10.3 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Date:
1907-1983
Summary:
The papers of museum director, professor, writer, and post-World War II Monuments Men Andrew Carnduff Ritchie measure 10.3 linear feet and date from 1907 to 1983. Found within the papers are biographical material, including materials and photographs concerning his military service in the Monuments, Fine Arts, and Archives Section of the U.S. Army; correspondence, including letters from numerous artists; writings; committee and organization files; exhibition and project files, teaching files; printed material; and photographs, including portrait images of Ritchie taken by Hans Namuth.
Scope and Contents:
The papers of museum director, professor, writer, and post-World War II Monuments Men Andrew Carnduff Ritchie measure 10.3 linear feet and date from 1907 to 1983. Found within the papers are biographical material, including materials and photographs concerning his military service in the Monuments, Fine Arts, and Archives Section of the U.S. Army; correspondence, including letters from numerous artists; writings; committee and organization files; exhibition and project files, teaching files; printed material; and photographs, including portrait images of Ritchie taken by Hans Namuth.

Biographical materials include birth certificates, passports, academic records, biographical profiles, and awards. There are files documenting Andrew Carnduff Ritchie's post-World War II military service in 1945-1946 as a "Monuments Men" in the Monuments, Fine Arts, and Archives (MFAA) section of the U.S. Army, including correspondence, forms, reports, photographs (including 7 of paintings looted from Holland), and awards. There is also a file on the Fogg conference on the emergency protection of artwork dated 1939-1942 and one file regarding the Frick Collection's orders for protecting art. There is also a folder of material on his wife Jane Ritchie.

Alphabetical and chronological correspondence is with artists, museums, galleries, universities, and colleagues. The bulk of the alphabetical correspondence consists of letters from artists such as Afro, Alexander Calder, Dimitri Hadzi, Russell Lynes, Eduardo Paolozzi, Theodore Roszak, and others. There are also condolence letters addressed to Jane Ritchie. Chronological correspondence includes Ritchie's correspondence on the subject of travels, lectures, projects, and exhibitions.

Writings include one disbound notebook, papers from college and graduate studies, lecture drafts, outlines, and notes. There are a few writings by others.

Committee and organization files document Ritchie's work on advisory panels, trustee boards, councils, board of directors, and committees. There are meeting minutes, bulletins, reports, studies, and correspondence. Some of the more voluminous files include the College Art Association's study on "The Visual Arts in Higher Education" as well as the Museum of Modern Art's committee on museum collections.

Exhibition and project files include correspondence, printed material, photographs, catalogs, and assorted documents. Among the projects and exhibitions in this series are Ritchie's work on the Alfred E. Burr Memorial in Connecticut and the Middelheim Sculpture exhibition.

Teaching files contain correspondence, program outlines, course materials, recommendations, and a few student papers from universities and programs where Ritchie taught, including Yale University Art Gallery.

Printed material consists of news clippings, some of which are arranged by subject, along with articles by Andrew Ritchie, press releases, magazines, bulletins, and a few exhibition catalogs.

Photographs are of Andrew Ritchie, and of friends and artists at various art openings and events. There is one small album of photographs of a birthday party for Jane Ritchie. Also included are photographs of artwork.
Arrangement:
This collection is arranged as 8 series.

Series 1: Biographical Material, 1907-1978 (0.5 linear feet; Box 1, OV 11)

Series 2: Correspondence, 1928-1983 (2.2 linear feet; Boxes 1-3)

Series 3: Writings, 1927-1978 (2.9 linear feet; Boxes 3-6, OV 11)

Series 4: Committee and Organization Files, 1948-1971 (1.2 linear feet; Boxes 6-7)

Series 5: Exhibition and Project Files, 1949-1978 (1.6 linear feet; Boxes 7-9, OV 12)

Series 6: Teaching Files, 1957-1974 (0.5 linear feet; Box 9)

Series 7: Printed Material, 1928-1978 (0.5 linear feet; Boxes 9-10)

Series 8: Photographs, 1935-1982 (O.9 linear feet; Box 10, OV 13)
Biographical / Historical:
Andrew Carnduff Ritchie (1907-1978) was a museum director, professor, and art historian based in New York and Connecticut. He served as director of the Albright Knox Gallery in Buffalo, N.Y., director of Painting and Sculpture at the Museum of Modern Art, and director of the Yale University Art Gallery.

Andrew Carnduff Ritchie was born in Bellshill, Scotland, in 1907 to Andrew and Jeanie Gilchrist Ritchie. The family immigrated to the United States when he was 15 and settled in Pittsburgh, Pennsylvania. He attended the University of Pittsburgh and received a bachelor's and master of arts degrees in medieval art, and his doctoral degree from the University of London in 1935. That same year, he married Jane Thompson.

From 1935 to 1942, Ritchie was a researcher and lecturer at the Frick Collection in New York City and faculty member at New York University, as well as a visiting lecturer at Johns Hopkins University in Baltimore, Maryland.

In 1942, Ritchie was appointed director of the Albright Knox Gallery in Buffalo, New York where he stayed until 1949 when he became the director of Painting and Sculpture at the Museum of Modern Art.

In 1945-1946, directly following World War II, Ritchie served with the U.S. Army's Monuments, Fine Arts, and Archives section in Austria and helped with the restitution of art looted by the Nazis, returning paintings and cultural artifacts back to their country of origin. He was later honored by France and the Netherlands for this work.

In 1957, Ritchie accepted the postion of director of the Yale University Art Gallery where he stayed until 1971. While there, he acquired notable works of art for the Gallery's collections by David Smith, Noguchi, and Maillol. Thanks to Ritchie's efforts and guidance, art collector and patron Paul Mellon donated his collection of British art and established the Yale Center for British Studies. In 1971, Ritchie also became the Clark Professor at Williams College, Massachusetts, and, in 1972, he was a visiting professor at the University of Sydney, Australia. Ritchie retired from Yale in 1973.

Ritchie was also awarded honorary doctorates from the University of Pittsburgh and the Royal College of Art in London. He wrote several books over the course of his career and passed away in Canaan, Connecticut, in 1978.
Related Materials:
Among the holding at the Archives of American Art is an interview of Andrew Carnduff Ritchie conducted in 1977 June 16-17 by Paul Cummings.

The Albright-Knox Gallery Archives in Buffalo, New York has a collection of Andrew Carnduff Ritchie papers, which include administrative records and correspondence.
Provenance:
This collection was donated in multiple installments in 1979 and 1981 by Andrew Ritchie's widow, Jane T. Ritchie, and by her estate in 1986. Five letters from Alfred Hamilton Barr to Andrew and Jane Ritchie were donated in 1974 by Andrew Ritchie through Russell Lynes.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research facility.
Rights:
The Andrew Carnduff Ritchie papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Arts administrators -- Connecticut -- Canaan  Search this
Educators -- Connecticut -- Canaan  Search this
Topic:
World War, 1939-1945 -- Destruction and pillage -- Europe  Search this
World War, 1939-1945 -- Confiscations and contributions -- Germany  Search this
Art treasures in war -- Netherlands -- History -- 20th century  Search this
Art thefts -- Germany -- History -- 20th century  Search this
World War, 1939-1945 -- Art and the war  Search this
Cultural property -- Protection -- Europe -- History -- 20th century  Search this
Art -- Study and teaching  Search this
Museum directors -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Andrew Carnduff Ritchie papers, 1907-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ritcandr2
See more items in:
Andrew Carnduff Ritchie papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ritcandr2

Robert S. Sanford Collection

Creator:
Sanford, Robert S., 1897-1981  Search this
Names:
United States. Army. Air Service. 2d Pursuit Group. 139th Aero Squadron  Search this
United States. Bureau of Mines  Search this
Extent:
0.55 Cubic feet ((1 box, 1 folder in oversized box))
Type:
Archival materials
Collection descriptions
Correspondence
Diaries
Photographs
Negatives
Certificates
Calendars
Place:
Alaska
Date:
bulk 1917-1970
Scope and Contents:
This collection consists of material relating to both Robert Sanford's World War I service and his work in Alaska with the US Bureau of Mines. The material relating to his service with the 139th Aero Squadron includes the following: a series of over 100 letters from Sanford to his family from 1917-1919, chronicling his entry into the military, training stateside, his overseas deployment and service in the Toul sector; nine photographs of Sanford in uniform or of aircraft in France; a May 4, 1918 copy of Plane News; and a small brown diary with entries written by Sanford from 1917 to 1918. The material relating to his work with the United States Bureau of Mines includes the following: two brown notebooks containing Sanford's notes on his work in Alaska, including flying information; one notebook containing photographs of Alaska, mostly of hunting and fishing; a few letters from Sanford in Alaska to his family; negatives from Alaska; newspaper articles about Sanford's contributions to finding the Alaskan oil fields; a certificate given to Sanford for crossing the Arctic Circle as a passenger of Wien Alaska Airlines in 1945; and a 1947 Wien Alaska Airlines, Inc. calendar.
Biographical / Historical:
Robert S. Sanford (1897-1981) served as an airplane mechanic for the 139th Aero Squadron during World War I. The 139th was assigned to the First Army on June 12, 1918 and engaged in the Toul Sector. They ceased operations on December 11, 1918. After the war, Sanford was employed by various private mining companies in South America, Mexico, Nevada, Colorado, Oregon, Canada and Oklahoma. He joined the US Bureau of Mines in 1940, and in 1943 was the district engineer in charge of the mineral development program in Alaska. While there, he found large oil areas on the Arctic slope. In the early 1950s, Sanford served with the State Department, on loan from the Bureau of Mines, as a mining consultant to Afghanistan, India, and Nepal. He resigned from the Bureau of Mines in 1966.
Provenance:
Bonnie Gitlin, Gift, 2004-0063
Restrictions:
No restrictions on access.
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Topic:
World War, 1914-1918  Search this
Mining  Search this
Oil wells -- United States  Search this
World War, 1939-1945 -- Aerial operations, American -- France  Search this
Genre/Form:
Correspondence
Diaries
Photographs
Negatives
Certificates
Calendars
Citation:
Robert S. Sanford Collection, Accession 2004-0063, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.2004.0063
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-2004-0063

Thomas Carr Howe papers

Creator:
Howe, Thomas Carr, 1904-1994  Search this
Names:
Allied Forces. Supreme Headquarters. Monuments, Fine Arts and Archives Section  Search this
Bohemian Club (San Francisco, Calif.)  Search this
California Palace of the Legion of Honor  Search this
M.H. De Young Memorial Museum  Search this
United States. Army. Monuments, Fine Arts and Archives Section  Search this
Berenson, Bernard, 1865-1959  Search this
Cronyn, Hume  Search this
Faison, S. Lane (Samson Lane), 1907-2006  Search this
Göring, Hermann, 1893-1946  Search this
Hancock, Walker Kirtland, 1901-1998  Search this
Kelleher, Patrick J. (Patrick Joseph), 1917-  Search this
Mallory, Margaret, 1911-1998  Search this
Mills, Paul Chadbourne, 1924-  Search this
Moore, Lamont  Search this
Ritchie, Andrew Carnduff  Search this
Rorimer, James J. (James Joseph), 1905-1966  Search this
Standen, Edith Appleton  Search this
Stout, George L. (George Leslie)  Search this
Valland, Rose  Search this
Wittmann, Otto, 1911-2001  Search this
Extent:
4.4 Linear feet
Type:
Archival materials
Collection descriptions
Scrapbooks
Sound recordings
Photographs
Date:
1932-1984
Summary:
The Thomas Carr Howe papers measure 4.4 linear feet and date from 1932 to 1984. Howe was director of the California Palace of the Legion of Honor in San Francisco for nearly 40 years, and he served as one of the Monuments Men in the Monuments, Fine Art and Archives (MFAA) Section of the U.S. Army during World War II. The collection documents Howe's MFAA work in Germany and Austria locating and recovering cultural artifacts and artwork stolen by the Nazis. There is significant correspondence with friends and colleagues, as well as fellow Monuments Men such as Samson Lane Faison, Edith Standen, and George Stout. The papers also includes reports, inventories of stolen artwork, maps, annotated photographs, a scrapbook, and photographs. The papers also document Howe's later work at the California Palace of the Legion of Honor.
Scope and Content Note:
The Thomas Carr Howe papers measure 4.4 linear feet and date from 1932 to 1984. Howe was director of the California Palace of the Legion of Honor in San Francisco for nearly 40 years, and he served as one of the Monuments Men in the Monuments, Fine Art and Archives (MFAA) Section of the U.S. Army during World War II. The collection documents Howe's MFAA work in Germany and Austria locating and recovering cultural artifacts and artwork stolen by the Nazis. There is significant correspondence with friends and colleagues, as well as fellow Monuments Men such as Samson Lane Faison, Edith Standen, and George Stout. The papers also includes reports, inventories of stolen artwork, maps, annotated photographs, a scrapbook, and photographs. The papers also document Howe's later work at the California Palace of the Legion of Honor.

Biographical materials include articles and memorial tributes for Howe's father and grandfather, a short autobiography and resume, and the certificate for the copyright to his book.

The bulk of the collection consists of correspondence, the most voluminous of which are letters from Monuments Men S. Lane Faison, Patrick J. Kelleher, Andrew C. Ritchie, Edith Standen, George Stout, Marcelle Minet, Rose Valland, James Rorimer, and others. Additional correspondents include friends and colleagues such as Bernard Berenson, Hume Cronyn, Paul Mills, Christopher Forbes, Margaret Mallory, William A. McGonagle, and Otto Wittman, among many others

Writings include a brief summary of Howe's book Salt Mines and Castles and a sound cassette of his lecture about the book. Project, membership and travel files are primarily associated with his professional work at the California Palace of the Legion of Honor and include documentation of member art trips, a feasibility study for merging the California Palace of the Legion of Honor with the M. H. de Young Memorial Museum, and a membership list of the Bohemian Club.

The Monuments, Fine Arts and Archives (MFAA) Records and Looted Inventories series contain many records relating to Howe's military service as a Monuments Man. There are several inventory records which contain lists of the contents of Hermann Göring's collection of looted artwork, artwork destroyed in the Flak towers fire in Berlin, and artwork held at several of the central collecting points, though mostly at Weisbaden. There is also a small fold out map of the Altausse salt mines; a U.S. government issued manual of maps marking important cultural monuments and artwork in Germany; a book of U.S. government regulations pertaining to the MFAA section; a government information bulletin; and several official status reports and published U.S. government reports about art looting investigations and safeguarding cultural property.

Professional files consist of papers relating to Howe's job as the director of the California Palace of the Legion of Honor and art trips he organized. Documents include a survey of Los Angeles museum curator salaries, a questionnaire about Howe's work as a museum director, and a membership list of Bohemian Club artists. The bulk of the travel papers are itineraries.

The photographs are divided into two subseries: MFAA Section images and personal photographs. The Monuments Men subseries includes photographs documenting bomb damage to cultural monuments in various countries, though mainly Germany; U.S. soldiers transporting recovered artwork such as Michelangelo's Madonna and Child from the Altaussee salt mines in Austria, and other looted art repositories such as Neuschwanstein Castle and Berchtesgaden in Germany; Weisbaden and Munich collecting points; and art recovery of The Adoration of the Mystic Lamb by Hubert and Jan van Eyck. There are many photographs of the Monuments Men including Thomas Carr Howe, George Stout, Stephen Kovalyak, Lamont Moore, Patrick J. Kelleher, Edith Standen, and Rose Valland. Personal photographs consists of portraits of Howe and photographs of events, mostly formal dinners and parties.

Printed materials are clippings, postcards, fundraising pamphlets, essays, and memorial tributes for colleagues.
Arrangement:
The collection is arranged as 10 series:

Series 1: Biographical Materials, 1934-1955, 1974 (Box 1; 6 folders)

Series 2: Correspondence, 1932-1984 (Box 1-3; 2.1 linear feet)

Series 3: Writings, circa 1946 (Box 3; 2 folders)

Series 4: Professional Files, circa 1945-1975 (Box 3, 5; 0.3 linear feet folders)

Series 5: Monuments, Fine Arts and Archives Records and Looted Inventories, circa 1942-1950 (Box 3, 5, OV 6; 0.3 linear feet)

Series 6: Photographs, 1938-1970 (Box 3-5; 1.2 linear feet)

Series 7: Scrapbook, 1936-1948 (Box 4; 0.1 linear feet)

Series 8: Printed Materials, 1934-1980 (Box 4; 0.4 linear feet)
Biographical Note:
Thomas Carr Howe, Jr. (1904-1994) served as the director of the California Palace of the Legion of Honor in San Francisco for nearly four decades and, during World War II, as an officer in the U.S. Army's Monuments, Fine Arts and Archives unit assisting with locating, recovering, and restituting cultural objects and artwork stolen by the Nazis.

Howe was born in Kokomo, Indiana in 1904. He studied at Harvard University where he received his bachelor's and master's degrees. Howe was the assistant director of the California Palace of the Legion of Honor in San Francisco from 1931-1939 and director from 1939-1968. Howe was also the art commissioner for the San Francisco Golden Gate International Exposition (1939-1940) for which he organized an exhibition showcasing Mexican muralists.

During World War II, Howe joined the U.S. army and served from 1945 to 1946 in Germany and Austria. He began as a naval lieutenant but was soon assigned to serve in the Monuments, Fine Arts and Archives (MFAA) section. Howe reported to Lieutenant Commander George Stout at Wiesbaden, and was later promoted to Lieutenant Commander and Deputy Chief of the MFAA at Frankfurt. During his service as one of the "Monuments Men" Howe located hidden and recovered large repositories of cultural objects and works of art stolen by the Nazis. He also helped with the restitution effort. At the Altaussee salt mines in Austria, Howe helped salvage a large cache of stolen artwork that included Michelangelo's Madonna and Child and the Ghent Altarpiece or The Adoration of the Mystic Lamb by Hubert and Jan van Eyck, Vermeer's The Artists Studio, and the Rothschild family jewels. Howe later described his wartime work in his book Salt Mines and Castles: The Discovery and Restitution of Looted European Art (1946).

Howe resumed his position as the director of the California Palace of the Legion on Honor after the war, a position he held until his retirement in 1968. Through his career as a prominent art director, Howe was close with many American and international museum professionals, collectors and socialites. Friends and colleagues include Agnes Mongan and Paul Sachs (both former directors of Harvard's Fogg Museum), Whitney Warren, and Gerda and Hans-Erich Von Schmidt auf Altenstadt.

For his wartime service as a Monuments Men, Howe was honored with the Chevalier of the French Legion of Honor and the Officier of the Dutch Order of Orange-Nassau in 1946. At the request of the federal government, Howe also later served as the Cultural Affairs Advisor to the High Commissioner of Germany from 1950-1951, during which time he returned to Germany with S. Lane Faison, another MFAA official, to assist with closing the central collecting points where the recovered artworks has been held for restitution. From 1960-1968, Howe was a member of the Fine Arts Committee for The White House and he continued to serve on numerous panels and commissions as an art advisor.

Howe married Francesca Deering. Together they had one daughter Francesca.
Related Material:
Among the holdings of the Archives of American are the papers of several additional members of the U. S. Army MFAA section. There is an oral history interview with Thomas Carr Howe and Robert Neuhaus conducted by Paul Karlstrom and Peter Fairbanks on September 26, 1987 and another with Howe conducted by Paul Karlstrom on June 2-3, 1976.
Provenance:
Thomas Carr Howe donated his papers to the Archives of American Art in multiple installments from 1979 to 1982.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Thomas Carr Howe papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
World War, 1939-1945 -- Destruction and pillage -- Europe  Search this
World War, 1939-1945 -- Confiscations and contributions -- Germany  Search this
Cultural property -- Protection -- Europe -- History -- 20th century  Search this
Art thefts -- Germany -- History -- 20th century  Search this
Museum directors -- California -- San Francisco  Search this
Art treasures in war -- Germany  Search this
Arts administrators -- California -- San Francisco  Search this
World War, 1939-1945 -- Art and the war  Search this
Art treasures in war -- France  Search this
Genre/Form:
Scrapbooks
Sound recordings
Photographs
Citation:
Thomas Carr Howe papers, 1932-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.howethom
See more items in:
Thomas Carr Howe papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-howethom
Additional Online Media:

31st Photographic Reconnaissance Squadron (Smith) Collection

Creator:
Smith, James  Search this
Names:
United States. Army Air Forces. 31st Photographic Reconnaissance Squadron  Search this
Smith, James  Search this
Extent:
0.29 Cubic Feet ((1 flatbox))
Type:
Archival materials
Collection descriptions
Scrapbooks
Publications
Date:
1943-1945
Scope and Contents:
This collection includes the following material gathered by James Smith: photo album containing Smith's handwritten diary, photographs, postcards, currency, and maps; a printed copy of Smith's diary; a song, "Ballad of Thirty First;" and the booklet "The Story of the Thirty First Photo Reconnaissance Squadron."
Biographical / Historical:
The Thirty First Photo Reconnaissance Squadron was activated in August of 1943 and deactivated in November 1945. The Squadron's campaigns included the following: Air Offensive, Europe; Normandy; Northern France; Rhineland; Ardennes-Alsace; and Central Europe. The Squadron won a Distinguished Unit Citation in 1944. James Smith was an enlisted man for this unit.
General:
NASMrev
Provenance:
Earl F. Miller, gift, 1999, 1999-0018, NASM
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Topic:
Aerial photography  Search this
Aeronautics  Search this
Aeronautics, Military  Search this
World War, 1939-1945  Search this
Genre/Form:
Scrapbooks
Publications
Identifier:
NASM.1999.0018
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-1999-0018

Charles G. Abbot Papers

Creator::
Abbot, C. G. (Charles Greeley), 1872-1973  Search this
Extent:
0.25 cu. ft. (1 half document box)
Type:
Archival materials
Collection descriptions
Manuscripts
Clippings
Pamphlets
Black-and-white photographs
Date:
1926-1973, with related material from 2011
Descriptive Entry:
This accession consists of correspondence between Charles G. Abbot and Frances E. Escherich. Materials also include photographs, clippings and publications. Escherich worked for the FBI during World War II and was a neighbor of Abbot during that time.
Topic:
World War, 1939-1945  Search this
Genre/Form:
Manuscripts
Clippings
Pamphlets
Black-and-white photographs
Citation:
Smithsonian Institution Archives, Accession 12-174, Charles G. Abbot Papers
Identifier:
Accession 12-174
See more items in:
Charles G. Abbot Papers
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-fa12-174

Thomas R. Henry Papers

Creator::
Henry, Thomas R. (Thomas Robert), 1893-  Search this
Extent:
5.51 cu. ft. (2 record storage boxes) (1 document box) (7 12x17 boxes)
Type:
Archival materials
Collection descriptions
Scrapbooks
Manuscripts
Clippings
Date:
1933-1967
Introduction:
This finding aid was digitized with funds generously provided by the Smithsonian Institution Women's Committee.
Descriptive Entry:
These papers document Henry's career in journalism and include manuscripts of articles and books on science; copies of press releases concerning the Smithsonian; newspaper articles; manuscripts; a typed copy of a journal; memorabilia from his career as a war correspondent; and scrapbooks containing his newspaper articles and columns.
Historical Note:
Thomas R. Henry (1893- ), a science writer for the Washington Evening Star, also served as a press writer for the Smithsonian Institution from 1931 until the mid-1960s. During World War II he was a correspondent for the North American Newspaper Alliance serving in England, North Africa, Sicily, Italy, and France.
Topic:
Journalism  Search this
World War, 1939-1945  Search this
Genre/Form:
Scrapbooks
Manuscripts
Clippings
Citation:
Smithsonian Institution Archives, Record Unit 7347, Thomas R. Henry Papers
Identifier:
Record Unit 7347
See more items in:
Thomas R. Henry Papers
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-faru7347

Sullivan family papers

Creator:
Sullivan family  Search this
Names:
Sullivan family  Search this
Extent:
2.25 Linear feet (7 boxes)
Type:
Archival materials
Collection descriptions
Autograph albums
Books
Correspondence
Certificates
Tintypes (prints)
Ephemera
Financial records
Negatives (photographic)
Photographic prints
Place:
Long Island (N. Y.)
Washington (D. C.)
Warsaw (Poland)
Boston (Mass.)
New Brunswick
Date:
1860-1994
bulk 1920-1960
Summary:
The Sullivan Family papers, which date from 1880 to 1994 and measure 2.25 linear feet, document the personal lives of four generations in the Sullivan Family. The papers are comprised of personal correspondence, school materials, legal documents, financial records, clippings, books, posters, and photographs.
Scope and Contents note:
These papers, which date from 1880 to 1994, bulk dates 1920–1960, document the lives of four generations of the Sullivan family. They contain material relating to a great number of Sullivan family members descended from Livinia and Abraham Sullivan. The papers especially offer insight into the family's life and involvement during the Second World War through a particularly abundant collection of correspondence and photographs. The papers also include books, legal documents, financial records, and school materials.
Arrangement note:
The papers are organized into four series. Folders are arranged alphabetically within series, while documents within folders are organized chronologically. Oversized material appears in the series: Biographical Files, Printed Materials and Photographs. Non archival materials associated with the papers are housed in the Collections Department.

Series I: Biographical Files

Series II: Correspondence

Series III: Printed Materials

Series IV: Photographs
Biographical/Historical note:
In 1883 Abraham Sullivan welcomed his wife, Livinia and four children, Charles, Nynetta, Emma, and Theodore to Boston, Massachusetts. Emigrating from New Brunswick, Canada, the family would remain in the Boston area for many generations to come. After the move to Boston, oldest son Charles H. Sullivan would rise to prominence in the New England music scene. He became a skilled craftsman in instrument-making and founded the Boston Victorian Orchestra, a multi-racial orchestra.

Charles Sullivan never married, which perhaps contributes to the lack of information on his life. His brother Theodore married Anne Vann of Nova Scotia, Canada. Together they raised two daughters from Anne's previous marriage, Sadie and Rosa Jones (later Sadie Thompson and Rosa Miller). They also had four children of their own, Theodore M., twins Mary (later Mary Walters) and May, and Frances (later Frances Mendez).

Theodore and Anne's son Theodore M. began his family's military tradition by enlisting in the army in 1917, during the First World War. He spent two years fighting in Europe before being honorably discharged at the end of the conflict in 1919. In the early 1930s Theodore was awarded the Purple Heart by United States Secretary of War George Dern for eleven different wounds sustained in 1918.

Theodore M.'s example was followed by his immediate and extended family members during the Second World War. Many of the women volunteered in war efforts at home and all three of Theodore M.'s sons, Lewis, Earle, and Edwin (Eddy) enlisted for service in the armed forces. In 1943 Earle Sullivan was accepted into the Tuskegee Institution's program for training the first African American military pilots (now famously known as the "Tuskegee Airmen") and was well into his training before his death at the end of 1943.

The Sullivan family continued their tradition of service for many decades through memberships with the Red Cross and American Legion. In 1954 Sadie Thompson, Theodore M. Sullivan's half sister, was honored with an award for forty years of service in her Boston Chapter of the American Red Cross, and again in 1971 for fifty five years of active involvement.

Although the Sullivan family retained ties to the Boston area they originally settled in, several branches have spread throughout the northeastern United States. After his marriage, Theodore M. Sullivan began working for the Bureau of Engraving in Washington D.C. Still connected to his Boston home, Theodore split his time between the two cities until his death in 1969. Upon her marriage to Thomas Mendes, Ethylene Mendez, daughter of Francis Sullivan Mendez moved to Long Island, N.Y. She was eventually followed by her mother and sister, Lillian, where they lived until their deaths in the 1980s and 90s.
Provenance:
The Sullivan Family papers were donated to the Anacostia Community Museum in April 2005 by Savina Martin, Dominga Martin and Donna Akiba Sullivan Harper.
Restrictions:
The collection is open for unrestricted research. Use requires an appointment.
Rights:
The Sullivan Family papers are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
Topic:
American Legion  Search this
African American soldiers  Search this
African American musicians  Search this
African American families  Search this
World War, 1914-1918 -- African Americans  Search this
American Red Cross  Search this
World War, 1939-1945 -- African Americans  Search this
Genre/Form:
Autograph albums
Books
Correspondence
Certificates
Tintypes (prints)
Ephemera
Financial records
Negatives (photographic)
Photographic prints
Citation:
The Sullivan Family papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Savina Martin, Dominga Martin and Donna Akiba Sullivan Harper.
Identifier:
ACMA.06-035
See more items in:
Sullivan family papers
Archival Repository:
Anacostia Community Museum Archives
EDAN-URL:
ead_collection:sova-acma-06-035
Additional Online Media:

Gnome et Rhone aero engine factory, Le Mans, France

Author:
United States Strategic Bombing Survey Physical Damage Division  Search this
Subject:
Gnome et Rhone (Firm)  Search this
Physical description:
iv, 116 p. : ill., maps, plans ; 26 cm
Type:
Books
Place:
France
Date:
1947
[1947]
Topic:
Aircraft industry  Search this
World War, 1939-1945--Economic aspects  Search this
World War, 1939-1945--Aerial operations, American  Search this
War damage, Industrial  Search this
Call number:
D785.U58 A297 1947
D785.U58A297 1947
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_338863

Helmut von Zborowski Photo Album

Creator:
von Zborowski, Helmut Philip  Search this
Names:
Bayerische Motoren Werke  Search this
Bureau Technique Zborowski  Search this
Societe d'Etudes de la Propulsion par Reaction (SEPR)  Search this
Extent:
0.15 Cubic Feet ((1 flatbox))
Type:
Archival materials
Collection descriptions
Drawings
Photographs
Albums
Date:
1939-1960
Scope and Contents:
This album 10 x 7 inches and contains 88 original photographs, taken from 1939 to 1960, of many of Zborowski's rocket, jet and coleopter projects, as well as 6 printed drawings.
Biographical / Historical:
Helmut Philip von Zborowski was a significant figure in early rocket and jet engine development. A contemporary of Werner von Braun, Zborowski worked on rocket and jet development for BMW during World War II, afterwards going to France and serving as a research engineer for the Société d'Etudes de la Propulsion par Réaction (SEPR). Zborowski later founded his own company, Bureau Technique Zborowski.
General:
NASMrev
Provenance:
Stefan and Sylvia Eihhorn, Purchase, 2001, 2001-0060, unknown
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Topic:
Coanda effect  Search this
Vertically rising aircraft  Search this
World War, 1939-1945  Search this
Aeronautics, Military  Search this
Aeronautics, Commercial  Search this
Aeronautics -- Research  Search this
Aeronautics  Search this
Airplanes -- Rocket engines  Search this
Airplanes -- Jet propulsion  Search this
Airplanes  Search this
Genre/Form:
Drawings
Photographs
Albums
Identifier:
NASM.2001.0060
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-2001-0060

Romaine Brooks papers

Creator:
Brooks, Romaine  Search this
Names:
Acten, Harold  Search this
Barney, Natalie Clifford  Search this
Bizardel, Yvon  Search this
Breeskin, Adelyn Dohme, 1896-1986  Search this
Brooks, Romaine  Search this
Castelnou, Jean-Pierre  Search this
Dreyfus-Barney, Laura  Search this
Gauthier-Villars, Louis  Search this
Lahovary, Janine  Search this
Mac'Avoy, Edouard, 1905-  Search this
Mariano, Nicky  Search this
McClelland, Donald  Search this
Noailles, Charles, vicomte de  Search this
Strozzi, Uberto  Search this
Van Vechten, Carl, 1880-1964  Search this
Extent:
3 Linear feet
Type:
Archival materials
Collection descriptions
Poems
Photographs
Interviews
Scrapbooks
Manuscripts
Sound recordings
Diaries
Notes
Date:
1910-1973
Summary:
The papers of painter Romaine Brooks measure 3 linear feet and date from 1910 to 1973. Found are biographical sketches, correspondence, seven journals, writings and notes, printed materials, a scrapbook, and photographs. Most of the materials focus on Brooks' later life while living in Paris and Nice, France and Fiesole, Italy and make little reference to her paintings and portraits.
Scope and Contents note:
The papers of painter Romaine Brooks measure 3 linear feet and date from 1910 to 1973. Found are biographical sketches, correspondence, seven journals, writings and notes, printed materials, a scrapbook, and photographs. Most of the materials focus on Brooks' later life while living in Paris and Nice, France and Fiesole, Italy and make little reference to her paintings and portraits.

Biographical information includes biographical sketches and a sound recording of an interview of Brooks.

Personal business records consists of one receipt, in French, for an item purchased by Brooks.

Correspondence is scattered and the bulk of it dates from 1950-1969. About half of the correspondence is in French and includes only a few of Romaine's replies. Notable correspondents include Harold Acten, Laura Barney, Yvon Bizardel, Adelyn Breeskin, Jean-Pierre Castelnau, Louis Gauthier-Villars, Janine Lahovary, Edouard MacAvoy, Nicky Mariano, Donald McClelland, Charles de Noailles, David Scott, Alan Searle, and Uberto Strozzi. Letters make little reference to Brooks's paintings, however some discuss her health and relationship with Natalie Barney. Also found is a small amount of Natalie Barney's personal correspondence dating from 1924-1968.

Writings and notes includes seven handwritten journal notebooks which contain Romaine's thoughts, quotes from poetry and literature, references to museums and works of art throughout Europe, and drafts of letters. Also found is a manuscript of No Pleasant Memories, Brooks's autobiography, and A War Interlude, a book she wrote describing her life in Italy during World War II.

Printed material includes a copy of Natalie Barney's poetry, a poem by Brooks, a large-format copy of Gabriele D'Anunzio's poem Sur Une Image de la France Croisse Piente Par Romaine Brooks; magazines and exhibition catalogs concerning Brooks' art; clippings; and a nameplate for Eyre de Lanux, one of Barney's lovers.

There is one scrapbook which includes newsclippings, the majority of which are in French, concerning Brooks and her artwork from 1910 to 1931.

Photographs are of Brooks, of Brooks in her studio surrounded by her art; prints of photos of Brooks's mother and family; photographs of works of art including a photo of Brooks's portrait on John Cocteau hanging in the Louvre. Notable photographers include Carl Van Vecten and Perou.
Arrangement note:
The collection is arranged as 7 series:

Series 1: Biographical Information, circa 1967-1968 (Box 1; 2 folders)

Series 2: Personal Business Records, 1967 (Box 1; 1 folder)

Series 3: Correspondence, 1924-1969, bulk 1950-1969 (Boxes 1-3; 0.8 linear feet)

Series 4: Writings and Notes, circa 1930s-1959 (Boxes 3-4; 0.3 linear feet)

Series 5: Printed Material, 1910-1973 (Boxes 4-6; 0.3 linear feet)

Series 6: Scrapbook, 1910-1931 (Box 6; 1 folder)

Series 7: Photographs, circa 1910-1970s (Box 5-6, OV7-8; 0.3 linear feet)
Biographical/Historical note:
Romaine Brooks (1874-1970) was a wealthy portrait painter who lived abroad for most of her life in Paris, and Nice, France, and Fiesole, Italy.

Beatrice Romaine Goddard was born in Rome, Italy on May 1, 1874 to Ella Waterman and Major Henry Goddard. Although born into wealth and privilage, Romaine did not have a happy childhood. Her mother was abusive to her, but doted on her mentally ill brother. Brooks' mother arranged for her to live with a poor family in a New York City tenement in exchange for meager payments, which were later stopped, while her brother and sister stayed with their mother. Later, she was sent to boarding school.

Eventually, Brooks left for Europe and took voice lessons and studied art in France and Italy. Her brother died in 1901 and her mother became physically ill. Brooks returned to the United States to tend to her mother who died less than a year after her son's death. Upon her mother's death, Brooks and her sister became heiress' to their grandfather, Issac S. Waterman Jr's substantial fortune. Brooks then began to lead a life of wealth and travel.

In 1903, Brooks married a friend, John Ellingham Brooks who was a homosexual. Brooks was bisexual, although according to her biographer Meryl Secrest she may have just enjoyed the companionship of living with someone. They lived together for a year until she left when he disapproved of her public androgynous style of dress.

Romaine first traveled to London and then returned to Paris, where she lived in the 16th arrondissement. She engaged in an elite social life and painted many of the friends in her circle. Brooks chose to paint portraits in a gray color palette, depicting many women in male dress. The somber nearly colorless palette and cross-dress of the sitter gave the paintings an androgynous look. One of her most notable paintings was her own self-portrait that represented this style. Inspired by James McNeill Whistler, Romaine largely ignored the Cubist and Fauvist movements.

In 1909, she met Gabriele D'Annunzio and engaged in a love affair. Among her other lovers are Ida Rubinstein, the Princess de Polignac, and the American writer, Natalie Barney. Natalie and Romaine were involved for fifty years, despite Barney's various affairs and other lovers. They shared a home with two separate wings, which allowed Brooks to be by herslf while Barney entertained friends.

In the 1930s, Brooks abandoned painting and created line drawings, which were featured in Bizarre magazine. After 1935, however, Brooks largely stopped being an active artist. She wrote her autobiography in the 1930s, No Pleasant Memories, as well as an account of her time spent in Italy.

During World War II, Brooks and Barney fled to Italy, where Brooks remained after the war ended. Her later life was marked with self-imposed isolation, even refusing to see Barney during her visits. Romaine Brooks died in 1970 in Nice, France.

After her death, Adelyn Breeskin curated an exhibit of her works at the National Collection of Fine Arts (1971) in Washington, D.C., and at the Whitney Museum of American Art (1971).
Provenance:
The Romaine Brooks papers were donated by Meryle Secrest, Brooks's biographer, in 1999. Secrest received the letters and notebooks directly from Brooks's estate and compiled the remainder. Additional papers were transfered from the Smithsonian's National Museum of American Art via the Smithsonian Institution Archives in 1986.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Romaine Brooks papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Women painters -- France  Search this
World War, 1939-1945 -- Italy  Search this
Portrait painting -- 20th century  Search this
Portrait painters -- France  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Poems
Photographs
Interviews
Scrapbooks
Manuscripts
Sound recordings
Diaries
Notes
Citation:
Romaine Brooks papers, 1910-1973. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.brooroma
See more items in:
Romaine Brooks papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-brooroma
Additional Online Media:

John Henry Bradley Storrs papers

Creator:
Storrs, John Henry Bradley, 1885-1956  Search this
Names:
Downtown Gallery (New York, N.Y.)  Search this
Andersen, Hendrik Christian, 1872-1940  Search this
Anderson, Sherwood, 1876-1941  Search this
Bennett, Edward H.  Search this
Biddle, George, 1885-1973  Search this
Blum, Jerome, 1884-1956  Search this
Braque, Georges, 1882-1963  Search this
Bryant, Louise, 1885-1936  Search this
Calder, Alexander, 1898-1976  Search this
Cole, Walter, b. 1891  Search this
Cret, Paul Philippe, 1876-1945  Search this
Dismorr, Jessica Stewart, 1885-1939  Search this
Dreier, Katherine Sophie, 1877-1952  Search this
Duchamp, Marcel, 1887-1968  Search this
Eastman, Max, 1883-1969  Search this
Fuller, R. Buckminster (Richard Buckminster), 1895-  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Hartley, Marsden, 1877-1943  Search this
Heap, Jane  Search this
Hecht, Zoltan, 1890-1968  Search this
Hélion, Jean, 1904-1987  Search this
Lipchitz, Jacques, 1891-1973  Search this
Léger, Fernand, 1881-1955  Search this
Ray, Man, 1890-1976  Search this
Raynal, Maurice  Search this
Rodin, Auguste, 1840-1917  Search this
Sheeler, Charles, 1883-1965  Search this
Stella, Joseph, 1877-1946  Search this
Sterne, Maurice  Search this
Stieglitz, Alfred, 1864-1946  Search this
Storrs, Marguerite Deville Chabrol  Search this
Survage, Leopold  Search this
Zorach, Marguerite, 1887-1968  Search this
Zorach, William, 1887-1966  Search this
Extent:
20.44 Linear feet
Type:
Archival materials
Collection descriptions
Scrapbooks
Photographs
Poems
Diaries
Sketches
Video recordings
Sketchbooks
Prints
Portfolios (groups of works)
Date:
1790-2007
bulk 1900-1956
Summary:
The papers of sculptor, painter, and printmaker John Henry Bradley Storrs measure 20.44 linear feet and date from 1790-2007, with the bulk of the papers dating from 1900 to 1956. The collection contains biographical material, correspondence, personal business records, forty-eight diaries of John Storrs, a few diaries of other family members, additional writings, printed material, photographs of Storrs and his family and friends, artwork, scrapbooks, estate records, and video recordings. Correspondence includes that of John Storrs, Marguerite Storrs, and the Storrs family.
Scope and Contents:
The papers of sculptor, painter, and printmaker John Henry Bradley Storrs measure 20.44 linear feet and date from 1790 to 2007, with the bulk of the papers dating from 1900 to 1956. The collection documents Storrs' career as an artist and his personal life through biographical material, correspondence with family, friends, and colleagues, personal business records, forty-eight diaries and other writings, printed material, photographs of Storrs and his family and friends, artwork, scrapbooks, estate records, and video recordings. There is also a substantial amount of Marguerite Storr's correspondence as well as scattered correspondence of other members of the Storr's family.

Biographical material consists of chronologies detailing the life of John Storrs, identification records, certificates, Storrs family documents, and records of John and Monique Storrs' French resistance activities during World War II.

Correspondence within this collection is divided into John Storrs Correspondence, Marguerite Storrs Correspondence, and Storrs Family Correspondence. The bulk of correspondence is John Storrs with friends, colleagues, art critics, patrons, art organizations and galleries. Correspondents of note include artists, architects, and writers such as Hendrick Andersen, Sherwood Anderson, Edward Bennett, George Biddle, Jerome Blum, Georges Braque, Louise Bryant, William Bullitt, Alexander Calder, Walter Cole, Paul Phillippe Cret, Katherine Dreier, Marcel Duchamp, Max Eastman, R. Buckminster Fuller, Marsden Hartley, Jane Heap, Jean Helion, Fernand Leger, Jacques Lipchitz, Man Ray, Charles Sheeler, Gertrude Stein, Joseph Stella, Maurice Sterne, Alfred Stieglitz, Leopold Survage, and William and Marguerite Zorach. There are also many letters to his wife Marguerite.

Marguerite Storrs' correspondence is with friends, family, colleagues, and others, including many letters to her husband. The letters are about general and family news, social activities and invitations, her work as a writer, and her husband's career. Storrs' family correspondence includes John and Marguerite's extensive correspondence with their daughter Monique as well as Monique's correspondence with others. Additional family correspondence is between John, his sister Mary ("Mae") and their parents David William and Hannah Storrs, much of it dating from 1900 to 1913.

Personal business records include address books, records regarding the sale and loan of Storrs' artwork, commission files regarding major public sculptures by Storrs, contracts, appraisals, financial records, and other documents regarding his professional activities. Of note are several files documenting Downtown Gallery's representation of Storrs' work during the 1960s, including correspondence between Edith Halpert and Monique Storrs. Various other documents include records of the Ecole de la Loire artists group (all in French.) Additionally there are records relating to Chateau de Chantecaille, an estate purchased by Storrs in the early 1920s as his primary residence and studio.

Forty-eight diaries contain scattered documentation of John Storrs' daily activities. Other writings by Storrs include four volumes of his memoirs that detail family history and his life from birth to 1906, notebooks, poetry, and personal accounts including the death of Auguste Rodin. Writings by others include poetry by Jessie Dismorr, essays by Zoltan Hecht and Maurice Raynal, and notebooks belonging to Storrs family members.

Printed material consists of books, art bulletins, brochures, invitations, announcements, and programs for art and social events. Also found are catalogs for exhibitions of Storrs' work and work by other artists; magazines, including a bound volume of the first ten issues of The Liberator; and clippings which include news about Storrs, his family, and friends.

Photographs depict John Storrs, his family, friends such as Arthur Bock and Gertrude Lambert, travels, and residences. Included are photographs of Storrs in his studio and in art classes. Also found are four photograph albums, primarily documenting his time in Europe from 1905 to 1907, exhibition photographs, and numerous photographs of his artwork.

Original artwork includes a portfolio of artwork created by Storrs as a youth, loose sketches, one sketchbook, 31 lithographs, and drawings for mural projects.

Four scrapbooks and a portfolio kept by John and Marguerite Storrs contain newspaper and magazine clippings of articles and illustrations as well as printed material from exhibitions, social events, and professional activities. Also found is a portfolio containing scattered items regarding the publication of Song of Myself with original wood engravings by John Storrs. One additional scrapbook was created by John Storrs around 1945 for his daughter, Monique Storrs, to document her service as a nurse in World War II.

This collection also includes records of John Storrs' estate immediately following his death in 1956, as well as records of several galleries that represented the estate in managing Storrs' artwork from the 1970s to 2002.

Three videocassettes, transferred from an unknown reel format, contain footage of Storrs' family life at Chantecaille and in Chicago, Illinois, in the 1930s.
Arrangement:
The collection is arranged as 11 series.

Some box and folder numbers in the container listing intentionally display out of sequence. An accretion was added in 2012 and integrated into the intellectual order, but not into the physical container order. Glass plate negatives are housed separately and closed to researchers.

Series 1: Biographical Material, 1837, 1860-1984 (Box 1, 20, 25, OV 23; 0.6 linear feet)

Series 2: Correspondence, 1857-2007 (Box 1-7, 25; 5.8 linear feet)

Series 3: Personal Business Records, 1790, 1855-1987 (Box 7-9, 25, OV 24, 28; 2.9 linear feet)

Series 4: Diaries, 1874-1955 (Box 9-10; 0.9 linear feet)

Series 5: Writings, 1888-1989 (Box 10-11, 25; 1.1 linear foot)

Series 6: Printed Material, 1867-1987, 2005 (Box 11-14, 25, OV 24; 3.6 linear feet)

Series 7: Photographs, circa 1885-1980 (Box 14-16, 18, 20-22, 25, MGP 1, MGP 2, MGP 5, MGP 6; 3.2 linear feet)

Series 8: Artwork, 1895-1935 (Box 18, 20, OV 23; 0.5 linear feet)

Series 9: Scrapbooks, 1895-1963 (Box 18-21, 25; 0.7 linear feet)

Series 10: Estate Records, 1956-2002 (Box 26; 0.4 linear feet)

Series 11: Video Recordings, circa 1980s (Box 26-27; 0.2 linear feet)
Biographical / Historical:
John Henry Bradley Storrs (1885-1956) worked primarily in Chicago, Illinois, and Mer, France, as a sculptor, painter, and printmaker.

John Storrs was born in 1885 in Chicago, Illinois, to David William Storrs, an architect, and Hannah Bradley Storrs. Upon completing his schooling in 1905 he went to Berlin with the intention of studying music, but instead chose to study sculpture with the Arthur Bock in Hamburg, Germany. He also spent time in Paris and traveled throughout Europe, Turkey, and Egypt, returning to the US in late 1907. Storrs took night classes at the Art Institute of Chicago, followed by periods of study at the School of the Museum of Fine Arts, Boston, with Bela Pratt, and at the Pennsylvania Academy of the Fine Arts with Charles Grafly. In 1912 he returned to Paris where he studied at the Académie Julian and with the famous sculptor Auguste Rodin. During this period his work was greatly influenced by cubism and futurism. In 1914 he married French writer Marguerite Deville-Chabrol. After briefly returning to the US to exhibit his work, Storrs worked at a hospital in Paris throughout World War I and in 1918 his daughter Monique was born. He and his family settled in Mer, France, at the Chateau de Chantecaille in 1921.

The following two decades were very productive for Storrs and he frequently travelled between the US and France to exhibit and create work. He showed in many notable exhibits such as the Société Anonyme's International Exhibition of Modern Art in New York in 1926, and he completed several commissions such as a statue for the Chicago Board of Trade in 1929. During this time Storrs completely moved away from representational work and refined his non-objective, machine-like sculpture. Besides sculpture, he also produced many paintings, woodcuts, lithographs, and other works on paper. He created works for the Century of Progress International Exposition in 1933 and also worked for the Public Works of Art Project in 1934.

During World War II Storrs was twice arrested and imprisoned by the German occupation forces, once for six months from 1941 to 1942 and again in 1944 along with his daughter Monique who was part of the French Resistance. These events greatly impacted his health and he produced very little work in the late 1940s and 1950s. He continued to exhibit his work and was also president in 1954 of the Ecole de la Loire, a group of 75 artists working in the Loire Valley. John Storrs died in 1956.
Related Materials:
Also available at the Archives of American Art is the Noel Frackman research material on John Henry Bradley Storrs, 1972-2003. In addition, Archives of American Art microfilm reels 1463 and ND/S-1 contain the John Henry Bradley Storrs scrapbook and studio book, 1909-1972.
Separated Materials:
The Booz family also loaned approximately 1,000 drawings by John Storrs and select family photographs for microfilming. Loaned material is available for viewing on reel 1555, but is not described in this container listing of this finding aid.
Provenance:
The John Henry Bradley Storrs papers were donated in several installments from 1979 to 1987 by Storrs' daughter, Monique Storrs Booz, and her daughter, Michelle Storrs Booz. A portion of these papers were loaned for microfilming in 1977 and subsequently donated in 1980. Additional papers were donated by Michelle Storrs Booz in 2011.
Restrictions:
Use of original papers requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Rights:
The John Henry Bradley Storrs papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Expatriate artists -- France  Search this
Artists' studios -- France -- Paris -- Photographs  Search this
Painters -- Illinois -- Chicago  Search this
Painters -- France -- Paris  Search this
Printmakers -- Illinois -- Chicago  Search this
Printmakers -- France -- Paris  Search this
Sculpture, Modern -- 20th century  Search this
Sculptors -- Illinois -- Chicago  Search this
Sculptors -- France -- Paris  Search this
World War, 1939-1945 -- France  Search this
World War, 1939-1945 -- Underground movements  Search this
Genre/Form:
Scrapbooks
Photographs
Poems
Diaries
Sketches
Video recordings
Sketchbooks
Prints
Portfolios (groups of works)
Citation:
John Henry Bradley Storrs papers, 1890-2007, bulk 1900-1956. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.storjohn
See more items in:
John Henry Bradley Storrs papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-storjohn
Additional Online Media:

Triumph of the dead : American World War II cemeteries, monuments, and diplomacy in France / Kate Clarke Lemay

Author:
Lemay, Kate Clarke 1978-  Search this
Physical description:
xx, 209 pages ; 27 cm
Type:
Books
Place:
France
Date:
2018
Topic:
World War, 1939-1945--Monuments  Search this
Soldiers' bodies, Disposition of  Search this
Cemeteries  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1098924

94th Fighter Squadron Collection [Bertoglio]

Creator:
Bertoglio, James  Search this
Extent:
0.3 Cubic Feet ((1 box))
Type:
Archival materials
Collection descriptions
Photographic prints
Date:
1944-1993
bulk 1944-1945
Scope and Contents:
The 94th Fighter Squadron Collection includes photographs taken by James Bertoglio, including twenty-five 8x10 inch black and white prints; twenty-one 4x5 inch black and white contact prints; fifty-three 4x5 inch black and white negatives, some of which are copy negatives; six black and white negatives in various sizes, and six color copy negatives. Subjects include the aircraft and personnel of the 94th Fighter Squadron, preparations for missions, and recreation. There are several photographs of the ruins of Monte Cassino following its bombing in 1944. There are several photographs of Lockheed YP-80A Shooting Star jet fighters, part of Project Extraversion - the first U.S. jet fighters in operational service. Portraits of notables include Generals Carl Spaatz, Nathan Twining, Ira Eaker, and Pope Pius XII. Also included in the collection are a unit history of the 94th, "Hello Spacebar This is Springcap" by John D. Mullins; a poster, booklet, announcement and reviews of the exhibit of Bertoglio's photographs by the Litwin Gallery, 1993; and a small group of letters including a letter to Bertoglio from Irving Berlin, dated 1986.
Biographical / Historical:
The 94th Aero Squadron was activated at Kelly Field, San Antonio, Texas on August 20, 1917. Commanded by Major Raoul Lufberry, the 94th was the first American squadron at the front. Known, for of its distinctive squadron insignia as the "Hat in the Ring" squadron, the 94th's most famous member was Lieutenant (later Major) Edward V. "Eddie" Rickenbacker, America's top-scoring ace during World War I. The 94th was redesignated the 94th Pursuit Squadron in 1923. On March 12, 1941, it was redesignated the 94th Pursuit Squadron (Fighter). Equipped with Lockheed P-38 Lightnings (and later with North American P-51 Mustangs), the 94th deployed to Great Britain in the summer of 1942, and, in November 1942, entered combat in North Africa as part of Operation Torch. Later based in Italy, Corsica and France, the 94th Fighter Squadron was awarded three Distinguished Unit Citations and fourteen campaign honors; squadron pilots recorded 124 aerial victories over Axis aircraft. Born in 1925 in Garden City, Kansas, Albert James "Jim" Bertoglio was raised in Los Angeles and was studying photography under Ansel Adams at the Art Center School when he was drafted into the U.S. Army Air Services in 1943. After training at Fort Leavenworth, Lincoln Air Force Base, and at the Command Photo School at Lowry Field, California, Bertoglio, promoted to sergeant, joined the 94th Fighter Squadron in Foggia, Italy. Conditions were primitive - Bertoglio commandeered a captured German field kitchen to serve as a darkroom, and swapped whiskey with an RAF unit for an enlarger. Bertoglio documented the personnel and the activities of the 94th through its campaigns, including air support during the August 1944 invasion of southern France, Operation Dragoon. Following the war, Bertoglio attended the University of Colorado at Boulder and worked as a photographer at a guest ranch in Estes Park. In 1949, he joined his family's General Motors dealership in Medicine Lodge, Kansas. Bertoglio's photographs of the 94th Fighter Squadron were exhibited at the Litwin Gallery, Wichita, Kansas in 1993, and at the Deaf Smith County Historical Society, Hereford, Texas, in 2004. The Kansas Memory project of the Kansas Historical Society conducted a video interview with Bertoglio (http://www.kansasmemory.org/item/211299) in 2006. James Bertoglio died on October 26, 2012, in Pratt, Kansas.
Provenance:
Chris Bertoglio, Gift, 2014
Restrictions:
No restrictions on access.
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Topic:
Aeronautics  Search this
Airplanes  Search this
Air pilots  Search this
World War, 1939-1945  Search this
Genre/Form:
Photographic prints
Citation:
94th Fighter Squadron Collection [Bertoglio], Accession 2014-0034, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.2014.0034
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-2014-0034

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