W. Atlee Burpee & Company Seed Contests, 1924-1925
W. Atlee Burpee & Co
These letters are presented as a window into life in 1920s and therefore may include terms and expressions that are offensive to contemporary readers. This material in no way reflects the views of the Smithsonian's Archives of American Gardens.
This description is for subseries 3.2 of the W. Atlee Burpee & Company records.
In 1924 and 1925, the Burpee Company launched a prize-contest to recognize its faithful customers by asking them to write "What Burpee's Seeds Have Done for Me." Thousands entered for cash prizes by sending letters and photographs to the Philadelphia offices of the Burpee Company. Entries came from all over the world to express the impact of these special seeds in their lives.
Smithsonian Institution, Archives of American Gardens, W. Atlee Burpee & Company Records
The administration of the United States National Museum required curators to submit regular reports on the activities of the departments, divisions, and sections. Prior to about 1900 these reports were often made monthly and semi-annually as well as annually. The reports were traditionally submitted to the Director of the National Museum to be used in preparing the published Annual Report of the United States National Museum. The individual reports, however, were not reproduced in their entirety in the published Annual Report and generally contain more information than is to be found in the published version.
Reports were stored by the Division of Correspondence and Documents, and later by the Office of the Registrar.
Includes reports submitted to the Director of the United States National Museum by curators and administrators.
Negative log book number 3, or "green book," documenting various Smithsonian museums and events. Information includes negative numbers, subjects of the photographs, persons and departments for whom the pictures were taken, dates the pictures were taken, photographers, and dates the information was entered into the log books.
Smithsonian Institution Archives, Accession 10-001, Negative Log Book Number 3, 1972
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974
Jacques Seligmann & Co.
Waegen, Rolf Hans
de Hauke, César
Parker, Theresa D.
Mackay, Clarence Hungerford
Liechtenstein, House of
Schiff, Mortimer L.
La Fresnaye, Roger de
MM. Jacques Seligmann & fils
Eugene Glaenzer & Co
Germain Seligmann & Co
De Hauke & Co., Inc
Place of publication, production, or execution:
203.1 linear feet
Following is an outline of the arrangement of the collection by series and corresponding box numbers and extent. More detailed information for each series and subseries, along with a box and folder inventory, is found in the Series Descriptions/Container Listings, which can be found by following the series links below. Series 1: Correspondence, 1913-1978 (1-174, 80 linear feet); Series 2: Collectors Files, 1875, 1892-1977, undated (Boxes 175-252, 35 linear feet); Series 3: Auction Files, 1948-1975, undated (Boxes 253-259, 2.75 linear feet); Series 4: Exhibition Files, 1925-1977, undated (Boxes 260-272, 5.5 linear feet); Series 5: Reference Files, 1877-1977, undated (Boxes 273-278, 2.25 linear feet); Series 6: Inventory and Stock Files, 1923-1971, undated (Boxes 279-289, 4.5 linear feet); Series 7: Financial Files and Shipping Records, 1910-1977 (Boxes 290-357, 30.5 linear feet); Series 8: Contemporary American Department, 1932-1978 (Boxes 358-381, 10 linear feet); Series 9: De Hauke & Co., Inc., Records, 1925-1949, undated (Boxes 382-416; 16 linear feet); Series 10: Modern Paintings, Inc., Records, 1927-1950 (Boxes 417-420, 1.25 linear feet); Series 11: Gersel Corp. Records, 1946-1969 (Box 421, 0.25 linear feet); Series 12: Germain Seligman's Personal Papers, 1882, circa 1905-1984, undated (Boxes 422-459, OV 460, 17.1 linear feet)
Access Note / Rights:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
The Jacques Seligmann & Co., Inc., records measure approximately 203.1 linear feet and date from between 1904 and 1978, with bulk dates of 1913-1974. The records include extensive correspondence files, reference material on American and European collectors and their collections, inventory and stock records, financial records, exhibition files, auction files, and the records of subsidiary companies, including de Hauke & Co., Inc., and Modern Paintings, Inc.
Historians and researchers will find the collection an invaluable resource in tracing the provenance of particular works of art. Although in the early 1940s many records in the Paris office were destroyed by Seligmann staff to keep them from falling into the hands of the occupying German military forces, many records survive, as much of the firm's business had previously come to center in the New York office. In all, the remaining records provide a comprehensive view of the activities and transactions of collectors and art dealers in the years leading up to and following World War II.
Correspondence (Series 1) is the largest series of the collection (80 linear feet) and is comprised of extensive correspondence files, primarily between Germain Seligman and his New York office staff with domestic and foreign private clients, collectors, dealers, individuals representing public museums and collections, and international scholars. The New York Office Correspondence (Series 1.1) concerns a wide variety of topics, including routine business matters, but focuses primarily on potential and realized sales and purchases and provenance documentation. Also found is detailed information on financial transactions, commissions, stock inventory, and the travel of Germain Seligman and other staff. Paris Office Correspondence (Series 1.2) is separated into a small subseries and contains correspondence written primarily by Jacques Seligmann from Paris. The subseries General Correspondence (Series 1.3) is the largest subsection of the Correspondence series and contains letters written to and received from clients and other business associates concerning business transactions and inquiries. The subseries Museum Correspondence (Series 1.4) contains letters between the firm and art institutions and museums. The subseries >Germain Seligman's Correspondence (Series 1.5), also arranged in this series, contains not only personal letters but a wealth of information concerning the affairs of the firm. Much personal correspondence was marked "private."
Also of note in the Correspondence series are the Legal Correspondence Files (Series 1.6) and the Inter-Office Correspondence (Series 1.9) and Inter-Office Memoranda (Series 1.13). The Legal Correspondence Files subseries houses correspondence with both U.S. and Paris attorneys and concerns legal affairs and specific lawsuits. Of particular interest are Germain Seligman's attempts to recover Seligmann family and Paris gallery artwork and other assets stolen or confiscated by the Germans in World War II. This small subseries also contains limited information on the stock and inventory holdings of several of the firm's and Germain Seligman's subsidiary corporations, family legal affairs and lawsuits, and other related legal matters. The subseries Inter-Office Correspondence and Inter-Office Memoranda (called fiches by Seligmann staff) include memos between Germain Seligman and his staff about clients, collectors, sales, acquisitions, and other matters. These offer interesting commentary clearly intended to be read by staff only.
Also prominent is Collectors Files (Series 2), which contains numerous reference files documenting the collections of existing and potential clients with whom Seligmann & Co. maintained contacts. The files are arranged by either individual name or institution and reflect the wide scope of collector references maintained by the firm throughout its operating years. The files contain a variety of reference materials, such as photographs, provenance notes, and sales, purchase, and inventory information in cases where the collector purchased from the firm or the firm purchased from the collector. Researchers will find that many of the private and public names that appear in General Correspondence (Series 1.3) appear in the Collectors Files as well. Also found in this series are specific files relating to the Duc d'Arenberg Collection, the Clarence H. Mackay Collection, the Mortimer L. Schiff Collection, and the Prince of Liechtenstein Collection. The firm either handled substantial estate sales for these collections or purchased and sold important pieces from these collections.
Auction Files (Series 3) and Exhibition files (Series 4) trace the sales and exhibition activities undertaken by Jacques Seligmann & Co., Inc. In the Auction files, researchers will find documentation of auctions of individual works of art owned by the firm and handled by Christie's, Parke-Bernet, and other auction houses. Of particular interest is the 1948-1949 Parke-Bernet auction of the C. S. Wadsworth Trust, a "dummy" trust set up by the firm to dispose of a portion of its unsold inventory. The Exhibition Files house a variety of documentation, such as catalogs and correspondence, concerning the firm's active exhibition history. Many of the exhibitions featured works of art recently acquired by the firm, such as the 1937 exhibition, Twenty Years in the Evolution of Picasso, which included a number of Picassos the firm acquired from Madame Jacques Doucet that year.
Reference Files (Series 5) includes a card catalog to books and catalogs in the library maintained by Jacques Seligmann & Co., Inc., and a photograph reference index of works of art. Inventory and Stock Files (Series 6) tracks the firm's inventory through a series of stock books and supporting documentation that include sales and provenance information.
Financial Files and Shipping Records (Series 7) consists primarily of records of the New York office, but some Paris office documents can be found scattered throughout. Found in this series is a wide variety of financial records including purchase receipt files, credit notes, invoices, consignment invoices and books, invoices, consular invoices, sales and purchase account books, ledgers, and tax records. The records appear to be quite complete and date from 1910 to 1977. Of particular interest are the purchase receipts and credit notes and memoranda that contain detailed documentation on acquisitions and sales. The consignment invoices provide information about works of art sold on behalf of other galleries and dealers, as well as which galleries and dealers were handling works of art for Jacques Seligmann & Co., Inc. Although quite large and complex, the financial records offer a comprehensive overview of the firm's business and financial transactions.
The records of subsidiary companies that were part of Jacques Seligmann & Co., Inc., such as Contemporary American Department, de Hauke & Co., Inc., Modern Paintings, Inc., and Gersel Corp. are arranged in their own series. In 1935, the firm established the Contemporary American Department to represent young American artists. Under the direction of Theresa D. Parker, a longtime gallery employee, the department initiated an exhibition and loan program. Contemporary American Department (Series 8) includes mostly correspondence files and exhibition files.
The largest subsidiary company to operate under Jacques Seligmann & Co., Inc., was de Hauke & Co., Inc. De Hauke & Co., Inc., Records (Series 9) dates from 1925 through 1949 and contains domestic and foreign correspondence with clients, collectors, and dealers; inter-office correspondence and memoranda with Jacques Seligmann & Co., Inc.; administrative and legal files; and financial records. Modern Paintings, Inc., records (Series 10) contains the legal and financial files of this subsidiary company, which was establis
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Series 1 and Series 2 of the collection were digitized in 2010 and are available via the Archives of American Art's website.
Processing of the collection was funded by the Getty Grant Program; digitization of portions of the collection was funded by the Samuel H. Kress Foundation.
Jacques Seligmann & Co. were international art galleries in New York City and Paris, France. Founded in 1880 in Paris, France and closed in 1978. The company's clients included most of the major American and European art collectors of the era, and the art that passed through its galleries often ended up in the collection of prominent American and European museums. Established as Jacques Seligmann & Cie in 1880 on the Rue des Mathurins, Paris. As American clients increased, the firm opened a New York office in 1904. In 1920, Seligmann's son Germain Seligman (who dropped the last 'n' from his name), a writer and scholar, became a partner and appointed president of the New York office. Jacques Seligmann died in 1923, and in 1924, Germain became president of both the New York and Paris offices. In 1937, the company headquarters moved from Paris to New York. The firm was active in antiquities, decorative arts, Renaissance art, and was among the first to foster contemporary European art, primarily through its subsidiary firm De Hauke & Co. (later Modern Paintings, Inc.), managed by César Mange de Hauke. In 1935, its Contemporary American Department was established, headed by longtime gallery employee Theresa D. Parker. During the years following WWII, the firm was involved in the recovery of looted artwork and property, and the sale of several significant collections. The firm ceased operations upon the death of Germain Seligman in 1978.
Donated 1978-1979 by Mrs. Germain Seligman, daughter-in-law of Jacques Seligmann. Additional material was acquired in 1994 through the Estate of Mrs. Seligman. The Paris archives of Jacques Seligmann & Co., Inc., were destroyed by the Seligmann staff in 1940 to prevent them from falling into the hands of the Nazis.
This site provides access to the records of Jacques Seligmann & Co. in the Archives of American Art, which were were digitized in 2010. The bulk of the collection has been scanned, and totals 330,752 images.
Archives of American Art, Smithsonian Institution, 750 9th St. NW, Washington, D.C. 20001
Scrapbook of early aeronautica / collected by William Upcott
Upcott, William 1779-1845
Hollond, Robert DSI
Carruthers, John Franklin Bruce 1889-1960 DSI
3 v. ( p.) : ill. (some col.), ports. ; 53 cm
Early works to 1900
Collection of prints, newspaper and journal clippings, mss., separately published tracts, and printed ephemera (in various sizes) connected with the early years of aeronautics, primarily ballooning.
Arranged in roughly chronological order, e.g., v. 1 has material mostly from ca. 1783-1802; v. 2 mostly from 1785-1837; and v. 3 mostly from 1837-1840. However, each v. also includes materials from dates outside of these ranges.
Page  is signed: "William Upcott of Islington, collector of engravings connected with aerostation."
Text mostly in English, with some French language materials.
Originally unbound. cf. Cat. of the Library of W. Upcott, London, 1846, p. 65.
Includes these published works bound in (each cataloged separately): Lunardi, V. An account of the first aërial voyage in England. London : Printed for the author ..., 1784 -- The Man in the moon. [S.l.? : s.n.?, ca. 1830] -- Sadler, J. Balloon, an authentic account of the ærial voyage of Messrs. Sadler and Clayfield. [Bristol] : Printed for the benefit of Mr. Sadler, by A. Brown,  -- High and low. London : Printed by L. Thompson, 1824 -- A full and correct description of this extraordinary machine ... the Eagle. London : Printed and published by J. Thompson, 1835.
A short ( p.) anonymous handwritten political allegory with an aeronautical theme, entitled: "The Dolphin carried off: a dream," is mounted on p. 7 of v. 1.
Some of the balloonists featured in this scrapbook include the Montgolfiers, Lunardi, Blanchard, Garnerin, Robert, Charles, Barrett, Hullin, Sowden, de Moret, MacGwire, Graham, Sadler, Green, Cocking, and Gypson, among others.
NASMRB copy has a leaf of viewers' signatures and their brief comments, dating from the mid-20th century, bound in at the front of v. 1.
Negative log book number 19, or "green book," documenting various Smithsonian museums and events. Information includes negative numbers, subjects of the photographs, persons and departments for whom the pictures were taken, dates the pictures were taken, photographers, and dates the information was entered into the log books.
Smithsonian Institution Archives, Accession 10-001, Negative Log Book Number 19, 1988-1989
Mary Agnes Chase correspondence and notes documenting her research on grasses in Brazil and Puerto Rico, c. 1924-1941, contains a copy of the itinerary of Carl von Martius's 1817-1820 exploring trip to Brazil. (Accession 06-208)
Mary Agnes Chase correspondence and notes documenting her research on grasses in Brazil and Puerto Rico, c. 1924-1941. (Acc. 06-208)
United States National Museum, Division of Grasses, Records, 1884, 1888, 1899-1965
Smithsonian Institution Archives
Materials relate to preparations for her travel to Brazil and Puerto Rico. This includes a list of South American Panicum by group; a letter from T. A. Sprague to A. S. Hitchcock on discussing relevant decisions of the Cambridge Congress relating to Panicum; itinerary of Carl von Martius's 1817-1820 trip to Brazil; letter from P.H. Rolfs to Mary Agnes Chase with travel advice of Brazil; list of American grasses (including introduced species) wanted by the California Academy of Sciences; map of South America showing stations of inland South American Missionary Union; October 1931 brochure Inland South America; letter to Chase from Dr. N Feinbrun about publication reprints; and a letter to Chase from William R. Maxon relating to accessioned specimens.
Many of SIA's holdings are located off-site, and advance notice is recommended to consult a collection. Please email the SIA Reference Team at firstname.lastname@example.org.
overall: 48 in x 40 in x 17 1/4 in; 121.92 cm x 101.6 cm x 43.815 cm
United States: New York, New York
This beige metal cabinet is Phyllis Diller’s gag file, a categorized archive of the jokes Diller used in her stand-up comedy routines throughout her half-century long career. A small three drawer expansion of the gag file is also in NMAH’s collection (Catalog Number 2003.0289.01.02). The 48 drawers of the gag file, along with the 3 drawer expansion, contain a total of 52,569 3-by-5 inch index cards, each holding a typewritten joke or gag. These index cards are organized alphabetically by subject ranging from accessories to world affairs and covering almost everything in between.
Phyllis Diller (1917-2012) began her comedy career in the 1950s at the age of 37 and broke barriers in the comedy world to become the first solo female comic to be a household name. She developed a stage persona of an incompetent housewife and dressed in outlandish outfits with wild hair. Her material focused on self-deprecating jokes that tackled the idealized image of American mothers and homemakers. She also created many mythical personas for her stage act including her “husband” Fang, her “neighbor” Mrs. Clean, and her “mother-in-law” Moby Dick.