Search Results

Author:

Salmon, Polly (merchant)  Search this

Former owner:

National Museum of American History (U.S.). Division of Domestic Life  Search this

Extent:

0.15 Cubic feet (1 volume)

Type:

Collection descriptions

Archival materials

Manuscripts

Account books

Place:

Boston (Mass.) -- 18th century

Date:

1785-1787

Summary:

This collection consists of one volume.

Scope and Contents:

Manuscript account book documenting payments to other individuals. 21 pp.; remainder blank. Money recorded in English currency.

Biographical / Historical:

Boston storekeeper.

Provenance:

Purchased from Goodspeed's Book Shop, Inc., August 19, 1960.

Restrictions:

Collection is open for research.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Merchants -- 18th century -- Boston (Mass.)  Search this

Genre/Form:

Manuscripts -- 18th century

Account books -- 18th century

Citation:

Polly Salmon Account Book, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0040

See more items in:

Polly Salmon Account Book

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8e441e13d-fc85-4deb-b2c3-225c3a5c56d0

EDAN-URL:

ead_collection:sova-nmah-ac-0040

Collector:

National Museum of American History (U.S.). Division of Domestic Life  Search this

Extent:

0.15 Cubic feet (1 volume)

Type:

Collection descriptions

Archival materials

Account books

Place:

New England

Date:

1813-1859

Summary:

This collection consists of one volume from a New England merchant.

Scope and Contents:

Account book of an unidentified merchant and farmer from New England includes entries for items purchased and sold, and a record of persons employed.

Provenance:

Purchased from Goodspeed's Book Shop, Inc., August 19, 1960.

Restrictions:

Collection is open for research.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Agriculture -- 1810-1860  Search this

Domestic and family life  Search this

Farmers -- 19th century  Search this

Merchants  Search this

Genre/Form:

Account books -- 19th century

Citation:

New England Merchant and Farmer Account Book, 1813-1859, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0039

See more items in:

New England Merchant and Farmer Account Book

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep83f71b5d2-c70e-4adf-85d1-aa270659ac91

EDAN-URL:

ead_collection:sova-nmah-ac-0039

Creator:

Underwood & Underwood  Search this

Publisher:

American Stereoscopic Co.  Search this

H. C. White Co.  Search this

Killela, J.J.  Search this

Underwood, Bert, 1862-1943  Search this

Underwood, Elmer, 1859-1947  Search this

Photographer:

Ponting, Herbert George, 1870-1935  Search this

Underwood, Bert, 1862-1943  Search this

Underwood, Elmer, 1859-1947  Search this

White, Clarence W.  Search this

Extent:

160 Cubic feet

Type:

Collection descriptions

Archival materials

Stereographs

Photographs

Stereoscopic photographs

Lantern slides

Date:

1895-1921

Scope and Contents:

The major part of the collection, series 1-4, contains nearly 28,000 glass plates, including original stereoscopic negatives, interpositives, and both negative and positive non-stereoscopic plates used to produce lantern slides and paper prints. The photographs were taken all over the world. The majority are from the Underwood & Underwood active files, but plates from other publishers are also included. Series 5 is a small collection of paper stereographs. Series 6 contains 4 Underwood & Underwood descriptive sales catalogs and 1 H. C. White & Co. catalog (numbers on the Underwood plates correspond to the numbers on catalog captions). Series 7 is apparatus--four stereoscopes.

The approximately 28,000 glass plates in this collection have not been completely inspected at this point due to handling problems associated with asbestos contamination of the collection. A preliminary survey, however, indicated that the selections of images cover the full range of subject matter encompassed by the "Underwood Travel System." The subject matter is most easily comprehended by consulting one of the Underwood sales catalogs which accompany the collection. The catalog captions are arranged geographically, for the most part, and generally represent an organized "tour" which could be purchased as a boxed set, complete with maps and guide book, although individual images could be purchased separately. The catalogs indicate that the Underwood files were continually updated, for extensive modifications in some of the sets can be seen from edition to edition, and actual inspection of published stereographs shows that alternate views with identical Underwood catalog numbers were substituted from time to time, and that new subjects (with new catalog numbers) were sometimes introduced into the sets and old subjects were retired. There are glass plate negatives as well as positives in this collection. The positive images were probably interpositives used for the production of duplicate negatives. Some of the original stereo negatives were cut apart and the images transposed; they were then bound with an additional glass support (in many cases the tape has deteriorated). Half stereo positives also appear in the collection: these probably were intended for use in lantern slide production. Frequently a drawer of plates contains several incarnations of a single image, including the original negative, a copy negative, an interpositive, and a positive lantern slide. In other cases a drawer may contain only a single mode, e.g., original negatives, while corresponding positives and/or lantern slides appear in separate drawers.

A small quantity of the Underwood & Underwood plates are not from the Travel System, but represent humorous and genre subjects which were cataloged and marketed separately. The work of several other publishers, usually without Underwood catalog numbers, is also represented, including H. C. White, American Stereoscopic Company, and J. J. Killela.

The arrangement of the collection seems to reflect a combination of permanent reference storage as well as active use files. The apparent anomalies or inconsistencies probably indicate the pulling of plates from permanent files into temporary work files, and the collection may consist of a combination of permanent storage and temporary working files. As the drawers do not appear to have been renumbered according to any easily discernible pattern, they have become intermixed and rearranged in storage. The contents of each drawer usually have been found in good order, however, and the plates were nearly always arranged numerically,usually with the low numbers at the rear of the drawer and the highest number at the front. As the plates have been rehoused, the reverse numerical order has been corrected. When all the plates have been rehoused and inventoried, consideration will be given to general collection rearrangement and renumbering of the containers, either strictly in numerical order or topically and/or geographically with a numerical sequence within each group.

The collection is in good condition for the most part, although conservation attention will be required. There is a certain amount of emulsion peeling or frilling at the edges of some plates, but this is a condition to which emulsions on glass frequently are prone. A few plates, bound in a sandwich arrangement between cover glass and acetate facing the emulsion, have suffered severe damage, peeling, and image losses through the apparent ferrotyping and sticking of emulsion to the plastic, probably under conditions of high humidity at some stage. There is surprisingly little glass breakage within the collection.

Most of the stereoscopic negatives and many of the positives are defaced with a double "XI' scratched into the emulsion of either the left or right side, as described above in the historical note. Of particular interest and presumed rarity are cards found interfiled with plates in many of the drawers. These cards, filed by Underwood (i.e., catalog) numbers, bear printing'or production dates and notes, along with the unique, chronological accession numbers which the company assigned to each plate, regardless of the "active" number which it might eventually receive. A check mark on a card usually refers to a plate actually in the collection and with which the card is found physically associated; additional accession numbers without check marks listed on the cards possibly refer to variant views which were discarded or may in fact be in the Keystone Mast Collection (pending further research). For ease of handling and in the interest of conservation, the cards have been separated from the plates within each drawer and are arranged as a group at the rear, but can still be located easily. Frequently when a plate and/or its original envelope does not bear both the "active" and accession numbers, the missing number can be located on one of these cards.

Photographers represented include Herbert G. Ponting and Clarence W. White. A photographer and/or publisher named J. J. Killela is also represented.

Arrangement:

This collection is arranged in seven series. Series 1, 2, and 3 are each divided into negative and positive subseries. Plates are arranged numerically in groups based on geographical and subject content. Controlled at the series level in the finding aid and at the item level in a computer database.

Series 1, H. C. White glass plates

Series 2, American Stereoscpopic Co. glass plates

Series 3, Underwood & Underwood glass plates

Series 4, Broken glass plates

Series 5, Original company catalogs

Series 6, Paper stereographs

Series 7, stereoscopes (viewers)

Biographical / Historical:

Underwood & Underwood was established at Ottawa, Kansas, by the young brothers Elmer and Bert Underwood in 1882. They initially operated as distributors for eastern photographers' stereographs to new markets in the West. Their activities included door to door canvassing with views by Charles Bierstadt, J. F. Jarvis, and Littleton View Co.(1) Underwood & Underwood, Publishers, opened a branch office in Baltimore in 1887.(2)

Soon Underwood & Underwood and other large stereograph publishers began recruiting college students to work as salesmen during summer months (1890). Underwood and Underwood claimed that their organization alone sent out as many as 3,000 college students in one Summer [sic]. With the other ... big companies each employing more than 1,000, it is easy to understand how the countryside of the Nation literally swarmed with stereograph salesmen throughout the summer months! ... The competition between the salesmen themselves was likewise aggressive, with no holds barred. Many successful business and professional men of today relate with considerable pride that they got their start on their careers in this practical and very effective school of salesmanship.(3)

The company moved its main office from Ottawa, Kansas to New York City (1891),(4) and gradually began to publish its own stereographs. Bert Underwood finally took photography lessons from M. Abel in Mentone, France during the same year.(5) B. L. Singley, erstwhile salesman for the Underwood & Underwood and James M. Davis & Co. firms, in 1892 formed the Keystone View Company of Meadville, Pennsylvania, which was to become Underwood & Underwood's chief competitor and imitator.(6)

Underwood & Underwood entered the education market (1895) by producing packaged sets of 100 or more stereographs with descriptive texts.(7) From 1897 the firm employed full time staff photographers as well as free lancers. By 1901 the Underwoods were publishing 25,000 stereographs per day (i.e.,total number of cards). Increasing production levels led them to gain control of the Jarvis, Bierstadt, and William H. Rau photoprinting facilities in 1897 1898.(8)

The Keystone view Company created its own Educational Department in 1898. This division sustained the Keystone View Company past the period of the stereograph's popularity. In this year Underwood & Underwood reprinted Oliver Wendell Holmes's series on the stereograph and stereoscope which originally appeared in The Atlantic Monthly between 1859 and 1863. This eighty page booklet included testimonials from eminent scholars on the value of the stereograph in education. The company had been test marketing what itlater called "The Underwood Travel System." This consisted of a boxed set of stereo views of a country or region, a guide book describing the significance of the places shown, and a map showing their location and the viewpoints from which the stereographs were taken. Captions on the backs of the stereographs were sometimes printed in six languages.(9) As stereographs began to be used in schools as visual aids, the firm promoted its Travel System with endorsements from prominent educators, citing the usage of the system by various schools and universities.(10)

The H. C. White Company, which had manufactured stereoscopes for several decades, entered the stereo publication field in 1899.(11) Much of its production seemed to imitate Underwood & Underwood cards, including typography and the color of mount stock. Underwood & Underwood expanded into news photography by 1910 and gradually decreased its stereographic work. Few new stereo negatives were added to the file after 1912 except for a flurry of activity during the early war years, 1914 1916. The total number of Underwood & Underwood "titles" in stereo were from 30,000 to 40,000 (there might be a substantially larger number of actual negatives, since the files frequently were updated with newer views for old catalog numbers).(12)

Underwood & Underwood sold a portion of its negative file to the educational division of Keystone View Company in 1912,(13) and between 1921 1923 conveyed to this competitor their remaining stereo stock (presumably both cards and negatives) and rights.(14) In addition to its involvement as a news photographic agency, the company eventually opened portrait studios which flourished during the World war II years. A former Smithsonian employee, Vince Connolly, worked for Underwood & Underwood, which competed with Harris & Ewing in general portrait work during that period: he did portraiture and other photography, but says he was unaware of his employer's earlier stereo publishing activities.

Underwood & Underwood donated approximately 6000 negatives to the Section of Photography of the Division of Graphic Arts (1964). These photographs are primarily 4" x 5", captioned glass plate and film negatives. The subjects are news events and theatrical, sports, and political subjects of the early 20th century. In a letter to the Smithsonian of March 25, 1966 (in accession number 270586), Mrs. John M. Stratton described another collection of Underwood & Underwood photographs, stating that her husband had been a partner in Underwood & Underwood Illustrations and owned Underwood & Underwood News Photos. In November of the same year Mr. and Mrs. Stratton donated this collection of glass plates by Underwood & Underwood and other publishers to the Division of Photographic History (then the Section of Photography of the Division of Graphic Arts) . This material consists of both negative and positive stereographic plates, as well as non stereoscopic plates, chiefly copies made from the stereographs, with some catalogs, stereoscopes, and other material. The donor estimated 12,900 plates, but in 1983 the Smithsonian Institution inventory yielded a total of approximately 28,000 plates.

The Keystone View Company's stereoscopic production continued much later than Underwood & Underwood's. It was not until 1939 when declining interest in stereography led the firm to discontinue stereograph production and enter the field of visual optometrics. The stereoscopic negative collection, including material obtained from Underwood & Underwood and other firms, was placed in storage in concrete vaults. The Mast family of Davenport, Iowa, eventually purchased the collection in 1963, and in 1977 donated the collection to the University of California for its California Museum of Photography in Riverside. The University took physical possession of this vast collection in 1979.(15)

Many of the Underwood & Underwood plates donated by the Strattons (which were transferred to the Archives Center in 1983), in effect have been cancelled by having diagonal lines (double "X" marks) scratched into the emulsion of either the left or right image of each stereo pair (never both sides). These cancellation marks do not appear on the Underwood & Underwood plates in the Keystone Mast Collection in Riverside. This leads to several theories: (a) that these cancellations were in fact the reason that the Smithsonian plates were not purchased by Keystone in either 1912 or 1921, since Keystone clearly intended to use the Underwood material for stereograph production and the defaced plates would be of no value to them for this purpose; or (b), as stereo collector John Waldsmith suggests, that the cancellations were part of an agreement between Underwood & Underwood and Keystone: Keystone may have asked Underwood & Underwood to cancel one side of each stereoscopic plate not being sold to Keystone so that Underwood & Underwood would no longer be able to compete with Keystone in the stereo market. The defaced plates, as well as other material which Keystone did not purchase, apparently remained in Underwood custody and eventually were acquired by Mr. and Mrs. Stratton. The cancellation marks in the Smithsonian's collection are the subject of further conjecture. Edward Earle at Riverside feels that, since Underwood & Underwood sought to abandonded stereograph production much earlier than Keystone's departure from the field in order to enter the non stereoscopic lantern slide market, the cancellation may have served to indicate which side of each sterescopic pair should be converted to lantern slide production use; the existence of the 4" x 5" copy negatives and positives from stereographs in this collection seem to corroborate this. The Underwood & Underwood conversion from stereograph to lantern slide materials seems to coincide with the ascendance of lantern slide projection as visual aids in schools. The company apparently modified the type of photographic product which they published at least partially in recognition of this new educational trend.

NOTES

1. edward W. Earle, ed., Points of View: The Stereograph in America A Cultural @ Visual 'g . E!Ltory, Rochester, F.Y., Th Studies Workshop ress, 1979, p. 60; William Culp Darrah, The World of Stereographs, Gettysburg, Pa., 1979, p. 46.

2. Tbid., p. 62.

3. George E. Hamilton, Oliver Wendell Holmes, His Pioneer SLtuereoscope and Later Industry, New York, New )men Society, 1949, p. 17, quoted in Points of 1=e w:, 6 4 . P.

4. Points of View., p. 66.

5. Darrah, p. 47.

6. points of View, p. 66.

7. Ibid., p. 68.

8. Darrah, p. 47.

9. Points of View, p. 70.

10. Howard S. Becker, "Steteographs: Local, National, and International Art Worlds," in Points of View, p. 95. 11. points of View, p. 72.

12. Darrah, p. 48.

13. Darrah, p. 48, quoted in Points of View, P. 82.

14. Darrah, p. 48.

15. Chris J. Kenney, introduction to "Perspective and the Past: The Keystone Mast Collection," CMP Bulletin, Vol. 1, No. 2, 1982.

Related Materials:

California Museum of Photography, University of California--Riverside, Riverside, California 92521.

Underwood & Underwood stereographs in this collection and the Smithsonian Underwood & Underwood Collection originally were components of the same company file.

Provenance:

Collection donated by June Stratton (Mrs. John M.) on December 19, 1966.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Traveling sales personnel  Search this

Travel photography -- 1890-1930  Search this

Genre/Form:

Stereographs -- 1890-1930

Photographs -- Interpositives -- Glass -- 1890-1930

Photographs -- Black-and-white negatives -- Glass -- 1890-1930

Photographs -- 1900-1950

Stereoscopic photographs -- Glass -- 1890-1930

Lantern slides

Photographs -- 1890-1900

Citation:

Underwood &Underwood Glass Stereograph Collection, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0143

See more items in:

Underwood & Underwood Glass Stereograph Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep86e358e26-e305-49a6-bf9b-f2d38d995ae0

EDAN-URL:

ead_collection:sova-nmah-ac-0143

Author:

Leland, Daniel M. (merchant)  Search this

Collector:

National Museum of American History (U.S.). Division of Domestic Life  Search this

Extent:

1 Item (1 volume)

Type:

Collection descriptions

Archival materials

Business records

Account books

Manuscripts

Place:

Shippensburg (Pa.)

Date:

1789-1791; 1837.

Summary:

This collection consists of one account book.

Scope and Contents:

Includes account of Daniel M. Leland, Shippensburg, Pa., a general merchant dealing in food and dry goods. Also includes account, 1837, of a merchant from Lexington, ?.

Provenance:

Immediate source of acquisition unknown.

Restrictions:

Collection is open for research.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Dry-goods  Search this

Merchants  Search this

Genre/Form:

Business records -- 18th century

Account books -- 19th century

Account books -- 18th century

Manuscripts -- 19th century

Manuscripts -- 18th century

Citation:

Daniel M. Leland Account Book, Archives Center, National Museum ofAmerican History.

Identifier:

NMAH.AC.0029

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep88aeacc5b-6e9a-4d01-b85a-cf9913abbaa5

EDAN-URL:

ead_collection:sova-nmah-ac-0029

Creator:

Hillis, Alice Rogers  Search this

Names:

New York World's Fair (1939-1940 : New York, N.Y.)  Search this

Extent:

1 Motion picture film (350 feet, silent, color (Kodachrome), camera original reversal, 16mm )

Container:

Reel OF 531.1

Reel OF 531.1

Type:

Collection descriptions

Archival materials

Moving Images

Motion picture films

Motion pictures (visual works)

Kodachrome

Place:

New York (N.Y.) -- 1930-1940

Date:

1939

Summary:

This collection consists of one reel of color film shot at the 1939 World's Fair in New York City, New York.

Scope and Contents:

Home movie footage documenting the 1939 World's Fair, shot by Alice Rogers Hillis.

Provenance:

The collection was donated by Mrs. Donald L. (Elizabeth) Rasmussen, June 14, 1995.

Restrictions:

The collection is open for research use. Research viewing of reference copy only.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

World's fairs  Search this

Exhibitions -- 1939 -- New York  Search this

Genre/Form:

Motion pictures (visual works) -- 1930-1950

Kodachrome

Citation:

Alice R. Hillis World's Fair Film, Archives Center, National Museum of American History, Smithsonian Institution

Identifier:

NMAH.AC.0531

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep85e0bff64-2b81-4be6-8956-0bd79d65d8ac

EDAN-URL:

ead_collection:sova-nmah-ac-0531

Creator:

Puente, Tito  Search this

Puente, Margaret  Search this

Extent:

0.33 Cubic feet (1 box )

Type:

Collection descriptions

Archival materials

Passports

Photographs

Date:

1962-2001, undated

Summary:

The collection consists of photographs and personal papers documenting the career of Latin Jazz musican Tito Puente.

Scope and Contents:

The collection consists primarily of photographs. The locations and dates of most of the photographs are unknown and include Puente in concert and with Celia Cruz. Some of the photographs are portraits of Puente as a young performer. Personal papers consist of a cancelled United States passport and a radio license issued in Venezuela in 1965. There is a calendar published by Latin Percussion, Incorporated with photographs of several jazz musicians, including Puente in 1969 and 1970. The materials are arranged by type.

Arrangement:

The materials are arranged in five folders.

Biographical / Historical:

Tito Puente (1923-2000) was a New York born jazz, mambo and salsa percussionist, nicknamed "King of the Timbales." During his career, Puente recorded 120 albums, composed more than 450 songs, and has been credited with some 2,000 arrangements. His contributions to Latin jazz earned him the title "El Rey del Timbal" (The King of the Timbal) and "King of Latin Music" along with numerous honors, including five Grammy Awards, the National Medal of Arts, and the Library of Congress Living Legend award. Puente was featured in the films The Mambo Kings in 1992 and Calle 54 in 2000. He was honored with a star on the Hollywood Walk of Fame in 1990.

Related Materials:

The materials in this collection complement the Goya Foods Incorporated Collection, Paquito D'Rivera Papers, Chico O'Farrill Papers, Mongo Santamaria Papers and Latino Music Collection.

Separated Materials:

Several artifacts were donated to the Museum's Division of Culture and the Arts t including a sequined jacket worn by Puente when he won the Grammy Award for Best Tropical Latin Performance. See accession number 1996.0304.

Provenance:

Tito Puente's widow, Margaret Puente, donated this collection in 2004.

Restrictions:

The collection is open for research use.

Physical Access: Researchers must handle unprotected photographs with gloves.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Mambos (Music)  Search this

Jazz musicians  Search this

Salsa -- (Music)  Search this

Genre/Form:

Passports

Photographs -- 1960-1970

Citation:

Tito Puente Papers, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0894

See more items in:

Tito Puente Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep81b16323a-3ffb-4476-9fea-0a812c67c400

EDAN-URL:

ead_collection:sova-nmah-ac-0894

Creator:

Orr, Craig  Search this

Extent:

3 Items

Type:

Collection descriptions

Archival materials

Place:

Atlantic City (N.J.) -- 1920-1940

Date:

1929-1933

Summary:

This collection consists of three snapshot photographs of an unidentified African American family.

Scope and Contents:

Collection consists of three photographic prints of unidentified African American women and children. It is unclear if the people in the images are related or know the individuals in the other photographs. The dates and captions of the photographs are written on the print surfaces with no known photographer. The earliest photograph is of a boy and girl sitting on the steps in front of a house in an unknown location and is dated 1929. The second photograph is of two women standing in front of the Lily White Company in Atlantic City, New Jersey in 1930. The last photograph is of a woman posing in swim wear beside an automobile. The print is dated 1933 and the automobile behind her has a New York state license plate. Materials are housed in one folder.

Arrangement:

Collection is arranged into one series.

Biographical/Historical note:

Collection was acquired at a flea market in Hagerstown, Maryland on October 24, 1999. The owners, subjects, and photographers of the prints are unknown.

Related Materials:

National Museum of American History, Archives Center

African American Portrait Tintypes NMAH.AC0515

African American Family Photograph Collection NMAH.AC1127

Scurlock Studio Records NMAH.AC0618

G. Dwoyid Olmstead Photonegatives NMAH.AC0270

Provenance:

Gift.

Restrictions:

Collection is open for research and access on site by appointment. Unprotected photographs must be handled with gloves.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Automobiles -- 1930-1940  Search this

African American children -- 1920-1940  Search this

African Americans -- 1920-1940  Search this

Identifier:

NMAH.AC.0732

See more items in:

African American Snapshots: Photoprints

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8099fc97e-a232-4340-b774-0eafb33f1428

EDAN-URL:

ead_collection:sova-nmah-ac-0732

Creator:

Philadelphia and Reading Coal and Iron Company  Search this

Names:

Anthracite Water Company  Search this

Extent:

17 Cubic feet (52 boxes)

Type:

Collection descriptions

Archival materials

Correspondence

Reports

Circular letters

Letterpress copybooks

Place:

Shamokin (Pa.)

Reading (Pa.)

Pennsylvania -- Anthracite coal industry

Pottsville (Pa.) -- Anthracite coal industry

Ashland (Pa.) -- Anthracite coal industry

Mahanoy City (Pa.) -- Anthracite coal industry

Schuylkill River (Pa.) -- Anthracite coal industry

Date:

1866-1927

Scope and Contents:

This collection consists of approximately seventeen cubic feet of records of the Philadelphia & Reading Coal & Iron Company, dating from the period 1866-1927. The bulk of the collection comprises 124 letterpress copybooks from the company's Engineering Department. These contain letters and reports sent by engineers located at the major centers of the company's operations in the Schuylkill coal field — Ashland, Mahanoy City, Pottsville, and Shamokin. They also include the Chief Engineer, the Assistant Engineer, division engineers, resident engineers, associate engineers, mining engineers and their assistants, and transitmen. Among these were George S. Clemens, Joseph B. Garner, John R. Hoffman, James F. Jones, Henry M. Luther, Roland C. Luther, Henry Pleasants, John H. Pollard, John H. Strauch, and S. B. Whiting.

Their letterpress copybooks reflect the evolving organization of the Engineering Department, as job titles were changed and individuals were promoted or transferred from one post to another. The copybooks either accompanied the man when he took up a new post or remained in the office, where they were used by his successors. The copybooks in this collection have been arranged into series by person and position. Several additional volumes have been placed in a series of miscellaneous records at the end of the collection.

The correspondence in these volumes deals with all aspects of mining construction and operations, engineering personnel matters, and coordination with the Railroad for the shipment of coal, as well as periodic reports of operations and wagon accounts detailing how much coal had been shipped. Also included is correspondence relating to the formation and operation of the Schuylkill Coal Exchange Committee, which was set up to ease competition among the railroads in the Schuylkill region.

The collection also includes eight letterpress copybooks kept by S. B. Whiting while he was General Manager and General Superintendent of the company (1882-ca. 1888) . Whiting also kept letterbooks in which he pasted letters received from his superiors: Series 1 of the collection consists of two volumes of letters received (1879-1883) from Franklin B. Gowen, President, and one volume of letters received (1881-1884) from George DeB. Keim, General Solicitor and Vice President. In addition, there are eight letterpress copybooks kept by Roland C. Luther during his tenure as General Superintendent (ca. 1888-1902) and one volume from his tenure as the company's Second Vice President (1903-1905) . Also included is a volume of printed circular letters from both the Philadelphia & Reading Railroad and from the Philadelphia & Reading Coal & Iron Company (1874-1887), which is located in Series 16.

Of additional interest is the inclusion of letters relating to the operation of the Anthracite Water Company among the letterpress copybooks of George S. Clemens, who served as that company's manager in the 1910s. In addition, several of the circular letters pertain directly to the 1888 anthracite coal strike.

Arrangement:

The collection is organized into 16 series.

Series 1: Letters received, S. B. Whiting, 1881-1883

Series 2: George S. Clemens, Shamokin, Ashland, and Pottsville, Pennsylvania, 1875-1921

Series 3: Ashland, Pennsylvania, 1866-1881

Series 4: John H. Pollard, Ashland, Pennsylvania, 1881-1905

Series 5: John H. Pollard, T. R. Spinney, and Joseph Garner, Ashland, Pennsylvania, 1888-1911

Series 6: John H. Pollard and T. B. Van Buren, Ashland and Mahanoy City, 1902-1913

Series 7: Division Engineer, Ashland, Pennsylvania, 1902-1927

Series 8: Henry M. Luther and John H. Pollard, Ashland, Pennsylvania, 1881-1905

Series 9: Joseph S. Harris, Pottsville, 1871-1877

Series 10: J. Price Wetherill, Pottsville, Pennsylvania, 1879-1881

Series 11: James F. Jones and Roland C. Luther, Pottsville, Pennsylvania, 1881-1891

Series 12: John R. Hoffman and Roland C. Luther, Pottsville, Pennsylvania, 1883-1909

Series 13: Henry Pleasants and S. B. Whiting, Pottsville, Pennsylvania, 1874-1880

Series 14: S. B. Whiting and Roland C. Luther, Pottsville and Reading, Pennsylvania, 1877-1905

Series 15: George A. Brooke and John H. Strauch, Pottsville, Pennsylvania, 1879-1909

Series 16: Miscellaneous Records, 1873-1987

Biographical / Historical:

The Philadelphia & Reading Coal & Iron Co. was organized in order to ensure its parent company, the Philadelphia & Reading Railroad, a dominant position in the transportation of anthracite coal from the Schuylkill fields of eastern Pennsylvania. For thirty years after its incorporation in 1833, the Philadelphia & Reading had been the main carrier of coal from this region, shipping anthracite coal from independently owned mines to Philadelphia. By the mid-1860s, however, the company faced increasing competition from other railroads as well as interruptions in supply due to miners' strikes. In response, Franklin B. Gowen, President of the Philadelphia & Reading, decided to gain control of enough coal acreage to ensure the company's survival. However, since it was illegal for railroads to directly own coal fields or operate mines in Pennsylvania, the company had to organize a separate company for the purpose. Accordingly, the Laurel Run Improvement Company was incorporated in May 1871. By taking advantage of a loophole in the Laurel Run company's charter, the Philadelphia & Reading purchased it in November 1871, and thus circumvented the legal restrictions on railroad ownership of coal lands. The newly-acquired company was renamed the Philadelphia & Reading Coal & Iron Company in December 1871.

The company quickly acquired coal lands: by 1872, 80,000 acres had been purchased; by 1874, almost 100,000 acres - approximately one-third of the entire Schuylkill coal field. Originally, the company did not intend to mine coal itself; rather, it would rent the collieries it had acquired to independent operators, with the stipulation that the end product must be shipped over the Philadelphia & Reading railroad's lines. Unfortunately, this arrangement did not prove to be either practical or profitable and the company had to take direct control of its mining operations. Despite this step, however, the Coal & Iron Company continued to be unprofitable. In 1913 the United States government brought suit against the Philadelphia & Reading Railroad under the Sherman Anti-Trust Act, claiming that its ownership of both the Coal & Iron Company and the Railroad were a monopoly of trade. The case went to the U.S. Supreme Court, which ruled against the railroad in 1920. Under the terms of an agreement worked out by the Court, in December 1923, the Philadelphia & Reading transferred its interests in the Coal & Iron Company to a new company formed for the purpose — the Philadelphia & Reading Coal & Iron Corporation.

Related Materials:

Materials at the National Museum of American History

The Division of Work & Industry has a collection of photographs from the Philadelphia and Reading Coal and Iron Company, 1866-1927.

Materials at Other Organizations

Hagley Museum and Library, Wilmington, Delaware The bulk of the surviving records of the Philadelphia and Reading Coal and Iron Company and its parent company, the Philadelphia and Reading Railroad Company.

Provenance:

These records were obtained by the National Museum of American History sometime prior to 1978. They were transferred from the Division of Agriculture and Natural Resources to the Archives Center in July 1989. An additional thirty-five volumes were transferred to the Archives Center in July 1996.

Restrictions:

The collection is open for research use.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Anthracite coal industry  Search this

Coal -- Pennsylvania  Search this

Coal mines and mining -- Pennsylvania  Search this

Anthracite Coal Strike, Pa., 1902  Search this

Engineers  Search this

Engineering  Search this

Genre/Form:

Correspondence -- 1930-1950

Reports

Circular letters

Letterpress copybooks

Citation:

Philadelphia and Reading Coal and Iron Company Records, 1866-1927, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0282

See more items in:

Philadelphia and Reading Coal and Iron Company Records

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep80bbae1ea-089b-4ec0-9c26-723d1e244fb3

EDAN-URL:

ead_collection:sova-nmah-ac-0282

Creator:

Valentine, P. O. (33 Homestead, Park, Newark)  Search this

Gilbert, Cass, 1859-1934  Search this

Belden & Company (45 Clinton Street, Newark, N.J.)  Search this

Former owner:

National Museum of American History (U.S.). Division of Mechanical and Civil Engineering  Search this

Names:

New York Life Insurance Building.  Search this

Seaside Sanatorium (Waterford, Conn)  Search this

Supreme Court Building (Washington, D.C.)  Search this

Woolworth Building (New York, N.Y.)  Search this

Extent:

15 Cubic feet (71 boxes)

Type:

Collection descriptions

Archival materials

Drawings

Business records

Clippings

Contracts

Personal papers

Photographs

Pastels (visual works)

Pencil works

Pamphlets

Booklets

Specifications

Correspondence

Statistics

Sketchbooks

Date:

1897-1963

bulk 1897-1936

Scope and Contents:

The contents of the collection date from 1897 to 1936. The bulk of the collection consists of loose-leaf binders of photo prints of forty-one Cass Gilbert buildings under construction between 1908 and 1936. (This represents less than half of his firm's total output.) The volumes are arranged alphabetically by name of building. A few additional photo prints of buildings under construction are found in the unbound materials.

The collection also includes correspondence (1919-1932), contracts, statistical data, news clippings, booklets, and other miscellaneous Gilbert papers. There are three volumes of correspondence, specifications and blueprints, 1932-1935, for the construction of the U.S. Supreme Court Building, Washington, D.C. Also included are twenty pencil and pastel sketch books of Gilbert's travels in Europe, 1897 to 1932, and miscellaneous loose sketches (including photo prints and negatives of his studies for the George Washington Bridge. The photographic prints are mostly mounted on cloth in loose-leaf binders. Some of the photographers are identified, although many are not. Photographers included P.O. Valentine of 33 Homestead Park, Newark, New Jersey.

Arrangement:

Collection arranged into six series.

Series 1: Correspondence, 1919-1932

Series 2: Personal Papers, 1914-1963

Series 3: New York Life Insurance Building Contracts, 1934-1935

Series 4: Woolworth Building, 1911-1913

Series 5: Sketches and Sketch Books, 1897-1932

Series 6: Photoprints, 1908-1936

Biographical / Historical:

Cass Gilbert, 1859-1934, was a prominent American architect best known for his commercial and public buildings. Gilbert was born in Zanesville, Ohio and educated in St. Paul, Minnesota. After only a year of study at the Massachusetts Institute of Technology and subsequent travels in Europe, he began working for the New York firm of McKim, Mead, and White in 1880. In 1883 he returned to St. Paul where he practised briefly with James Knox Taylor, a classmate at M.I.T., designing private homes, churches, and commercial buildings. His first major commission was the Minnesota State Capitol (1895), which he modeled after the National Capitol and the dome of St. Peter's, Rome. Gilbert returned to New York in 1899 when he won the prized commission for the design of the U.S. Customs House. This was followed by many other major projects. The most famous of these was the Woolworth Building in New York (1913); with its fifty‑five stories and Gothic ornament it is considered Gilbert's greatest achievement. Firmly supportive of the European tradition and eastern academic architecture, Gilbert continued his numerous and successful designs until his death in 1934. Among his many familiar public buildings are the Treasury Annex and the Supreme Court in Washington, DC, the state capitol buildings of West Virginia and Arkansas, and the public libraries of St. Louis and Detroit.

Related Materials:

Materials at Other Organizations

Library of Congress

Cass Gilbert Archive, 1890-1939

Montana Historical Society

Cass Gilbert Papers, 1902-1910

Oberlin College Archives

Cass Gilbert Collection, 1903-1984, 2000

University of Minnesota, Archives and Special Collections

Cass Gilbert Collection, 1909-1910

United States Supreme Court, Office of the Curator

Provenance:

Gift of Emily Gilbert and Cass Gilbert, Jr. through Mr. Silvio Bedini, November 30, 1961, January 15, 1962, and later in 1962.

Restrictions:

Collection is open for research.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Engineering -- 1890-1940 -- U.S.  Search this

Bridges -- 1890-1940  Search this

Civil engineering -- 1890-1940 -- U.S.  Search this

Civil engineers  Search this

Commercial buildings -- 1890-1940 -- U.S.  Search this

Architects -- 1890-1940  Search this

Architecture -- 1890-1940 -- United States  Search this

Public architecture -- 1890-1940 -- U.S.  Search this

Genre/Form:

Drawings -- 1890-1940

Business records -- 1880-1950

Clippings -- 1900-1950

Contracts -- 1890-1940

Personal papers -- 1890-1940

Photographs -- Black-and-white photoprints -- 1900-1950

Pastels (visual works)

Pencil works

Pamphlets

Booklets

Specifications

Correspondence -- 1900-1950

Statistics

Sketchbooks -- 1890-1940

Citation:

Cass Gilbert Collection, 1897-1936, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0214

See more items in:

Cass Gilbert Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8476cd02d-1b0d-4583-a43f-663208d06e16

EDAN-URL:

ead_collection:sova-nmah-ac-0214

Creator:

Hamily, David  Search this

Names:

Erie Railroad Company  Search this

New York, New Haven, and Hartford Railroad.  Search this

Pennsylvania Railroad.  Search this

Philadelphia and Western Railroad.  Search this

Piedmont and Northern Railroad.  Search this

Sorocabana Railway.  Search this

Takata and Company Railroad.  Search this

Former owner:

National Museum of American History (U.S.). Division of Transportation  Search this

Extent:

1.5 Cubic feet (5 boxes)

Type:

Collection descriptions

Archival materials

Statistics

Correspondence

Blueprints

Place:

Pennsylvania

New Haven (Conn.)

New York

Philadelphia (Pa.)

Hartford (Conn.)

Date:

1912-1949

Scope and Contents:

This collection consists of statistics on electric train operation, drawings, blueprints, technical papers, train classifications, research and development reports, business and financial correspondence (1933, 1939-1948, 1940-1941), installation and operation instructions, locomotive system test procedures, locomotive operations data and calculations, records of locomotive mileages and part failures, suggested locomotive improvements, locomotive specifications, plans for fire extinguishing systems, tonnage ratings and includes material from the New York, New Haven, and Hartford Railroad, Piedmont and Northern Railroad, Pennsylvania Railroad, Takata and Co. Railroad, Philadelphia and Western Railroad, Sorocabana Railway, and Erie Railroad Co.

Arrangement:

The collection is divided into 8 series.

Series 1: New York, New Haven, and Hartford Railroad

Series 2: Piedmont and Northern Railway Company

Series 3: Takata and Company

Series 4: Philadelphia and Western Railway Company

Series 5: Sorocabana Railway

Series 6; Pennsylvania Railroad

Series 7: Miscellaneous Westinghouse Reports

Series 8: Erie Railroad Company

Provenance:

This collection was donated by David Hamily of Pittsburgh, Pennsylvania in 1986.

Restrictions:

The collection is open for research use.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Reproduction permission from Archives Center: reproduction fees may apply.

Topic:

Locomotives -- Design and construction  Search this

Railroads  Search this

Engineering  Search this

Locomotive industry  Search this

Genre/Form:

Statistics

Correspondence -- 1930-1950

Blueprints

Citation:

Division of Transportation: Railroads' Engineering Data, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0207

See more items in:

Division of Transportation: Railroads' Engineering Data

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8fd4d5a0f-c3f6-4017-850d-1088af4ca8b6

EDAN-URL:

ead_collection:sova-nmah-ac-0207

Creator:

Procter & Gamble Company  Search this

Leyendecker, J. C., 1874-1951  Search this

Smith, Jessie Willcox, 1863-1935  Search this

Elliott, Elizabeth Shippen Green  Search this

Extent:

10 Cubic feet (30 boxes)

Type:

Collection descriptions

Archival materials

Advertisements

Photomechanical reproductions

Date:

1883-1998

Summary:

Print advertisements covering almost the entire history of Ivory Soap, including advertisements designed by artists including Jesse Wilcox Smith, Elizabeth Shippen Green, and J. C. Leyendecker.

Scope and Contents:

The collection consists of print advertising and publications covering almost the entire history of Ivory Soap. Researchers may use this collection to examine the evolution of advertising strategies and techniques from the very early days of mass-produced brand-name consumer products to the present. From the beginning, Ivory advertisements proclaimed the product's "99 and 44/100%" purity, its ability to float, and its versatility. The collection, however, is much more than a glimpse into advertising history. It is an extremely rich resource for a wide range of cultural studies. Ivory advertising was primarily aimed at women, and it contains many images of women, babies, and young children. The depictions reflect contemporary attitudes toward class structure, race, immigrants and residents of other countries, cleanliness, and domestic relationships. The advertisements often play upon the guilt of women, suggesting that their main concerns should be their husbands, children, and dishpan hands. Many advertisements associate cleanliness with social and religious propriety, physical fitness, and athleticism. There also are many images of men and women performing every-day tasks in gender-defined situations.

Arrangement:

The collection is arranged into two series.

Series 1: Ivory Soap Products Advertisements, 1883-1998, undated

Series 2: Publications, 1883-1969, undated

Biographical / Historical:

In 1837, candle maker William Procter and soap maker James Gamble formed a partnership in Cincinnati, Ohio, to sell their products. The new company prospered, and by 1859 Procter & Gamble sales reached one million dollars. Contracts with the United States Army during the Civil War to supply soap and candles increased Procter & Gamble's customer base and reputation. In 1879, James Norris Gamble, son of the founder, developed an inexpensive pure white soap. A factory worker who forgot to shut off the soap-making machine when he left for lunch inadvertently improved the product. When he returned, the soap mixture was frothy due to the air that had been whipped into it, and the resulting soap cakes floated in water. There was immediate demand for the "floating soap." After considering many names for the new product, Harley Procter, son of the founder, finally named the soap "Ivory" after Psalms 45:8: "All thy garments smell of myrrh and aloes and cassia, out of the ivory palaces whereby they have made thee glad." Chemical analyses of the soap in 1882 revealed that 56/100 of the ingredients were not pure soap. Harley Procter subtracted that amount from one hundred and the slogan "99 and 44/100% pure" was born. The first ads appeared in 1882 in The Independent, a weekly newspaper.

Innovations in production, distribution, and market research contributed to Procter & Gamble's success. Procter & Gamble also developed other products such as Ivory Flakes, Chipso (the first dishwasher soap), and Crisco. By 1945, Procter & Gamble had become a nearly $350 million company. The company also was an innovator in advertising, developing creative print advertisements aimed at different target groups, sponsoring radio shows and comic strips, and airing its first television commercial (for Ivory Soap) during the first televised major league baseball game. Procter & Gamble is now a global company, selling more than 250 products, including Ivory Soap, to five billion customers in 130 countries.

Related Materials:

Several collections in the Archives Center have materials relating to Ivory Soap. The J. Walter Wilkinson Papers contain art he created for Ivory Soap advertisements. The Ivory Soap 1940 Essay Contest Collection consists of documents relating to the contest and its winner, Helen Nixon. The Procter & Gamble Product Packaging Collection, 1940s-1970s, includes Ivory brand products. The Warshaw Collection of Business Americana's "Soap" subject category contains documents relating to Procter & Gamble and other manufacturers. About twenty-five per cent of the advertisements in this collection are reproduced in the Archives Center's digital image library.

Separated Materials:

Artifacts donated to the Division of Medicine and Science.

Provenance:

Procter & Gamble donated this collection to the Archives Center, National Museum of American History, Smithsonian Institution on October 24, 2001.

Restrictions:

Collection is open for research.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

advertising  Search this

Soap  Search this

Genre/Form:

Advertisements -- 20th century

Photomechanical reproductions

Advertisements -- 19th century

Citation:

Ivory Soap Collection, 1883-1998, undated; Archives Center, National Museum of American History. Gift of Procter & Gamble.

Identifier:

NMAH.AC.0791

See more items in:

Ivory Soap Advertising Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep88550648b-e85c-4b62-9ccb-f8e6872e4a86

EDAN-URL:

ead_collection:sova-nmah-ac-0791

Creator:

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Custom Craft  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Names:

Howard University -- 20th century  Search this

DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this

Washington, Booker T., 1856-1915  Search this

Extent:

320 Boxes

Type:

Collection descriptions

Archival materials

Photographs

Matrices, color separation

Dye transfer process

Studio portraits

Color separation negatives

Place:

Washington (D.C.) -- Small business -- 20th century

Washington (D.C.) -- African Americans

Shaw (Washington, D.C.)

Date:

undated

Summary:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). Subseries 4.1 includes black and white silver gelatin negatives. An overview to the entire Scurlock collection is available here: Scurlock Studio Records

Scope and Contents:

Subseries 4.1 includes black and white silver gelatin negatives. The majority of the negatives, not all, have been scanned.

Arrangement note:

The negatives are not arranged in a clear order, and the negatives document clients and subjects. Researchers will need to look in two different box sizes for negatives of different sizes that were originally housed together in freezer boxes but are now housed separately according to size. A number of freezer boxes are missing, this is the reason for box number gaps, and contain varying numbers of negatives. The physical number of boxes was condensed during rehousing but the original freezer box numbers were retained in combination on the new boxes. The beginning and end of a freezer box are indicated inside the new box by blue dividers.

Biographical/Historical note:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, DC. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). More...

Forms Part Of:

Subseries 4.1 forms part of Series 4, within the Scurlock Studio Records group.

Scurlock Studio Records

Series 1: Black and White Photographs

Series 2: Color Photographs

Series 3: Framed Prints

Series 4: Black-and-White Silver Gelatin Negatives

Series 5: Color Negatives

Series 6: Color Transparencies, Slides, and Other Formats

Series 7: Black-and-White Color Separation Negatives and Matrices

Series 8: Scurlock Studio Business Records

Series 9: Custom Craft Business Records

Series 10: Capitol School of Photography

Series 11: Washington Stock

Series 12: Background Materials and Publications

Restrictions:

Collection is open for research.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

African Americans -- History -- 20th century  Search this

Commercial photography -- 20th century -- Washington (D.C)  Search this

Segregation  Search this

Photography -- 20th century -- Washington (D.C.)  Search this

Portraits -- 20th century  Search this

Politicians -- 20th century  Search this

African American photographers  Search this

African American entertainers -- 20th century  Search this

Genre/Form:

Photographs -- 20th century

Matrices, color separation

Dye transfer process

Studio portraits

Color separation negatives

Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0618.S04.01

See more items in:

Scurlock Studio Records, Subseries 4.1: Black-and-White Silver Gelatin Negatives

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8ec458f4e-274d-4d12-859d-aaea7f7fc0ed

EDAN-URL:

ead_collection:sova-nmah-ac-0618-s04-01

Creator:

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Custom Craft  Search this

Scurlock Studio (Washington, D.C.)  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, George H. (Hardison), 1919-2005  Search this

Names:

Howard University -- 20th century  Search this

DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this

Washington, Booker T., 1856-1915  Search this

Extent:

2 Boxes

The subseries consists of black and white silver gelatin negatives.

Type:

Collection descriptions

Archival materials

Photographs

Matrices, color separation

Studio portraits

Color separation negatives

Dye transfer process

Place:

Washington (D.C.) -- African Americans

Washington (D.C.) -- Small business -- 20th century

Shaw (Washington, D.C.)

Date:

1948-1949

Summary:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). Subseries 4.9 consists of negatives used for publication. An overview to the entire Scurlock collection is available here: Scurlock Studio Records

Scope and Contents:

The materials document negatives used for publication.

Arrangement:

The negatives appear to be arranged by ascending page numbers in a publication.

Biographical / Historical:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). More...

Forms Part Of:

Subseries 4.9 forms part of Series 4, within the Scurlock Studio Records group.

Scurlock Studio Records

Series 1: Black and White Photographs

Series 2: Color Photographs

Series 3: Framed Prints

Series 4: Black-and-White Silver Gelatin Negatives

Series 5: Color Negatives

Series 6: Color Transparencies, Slides, and Other Formats

Series 7: Black-and-White Color Separation Negatives and Matrices

Series 8: Scurlock Studio Business Records

Series 9: Custom Craft Business Records

Series 10: Capitol School of Photography

Series 11: Washington Stock

Series 12: Background Materials and Publications

Restrictions:

Collection is open for research.

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Segregation  Search this

Portraits -- 20th century  Search this

Photography -- 20th century -- Washington (D.C.)  Search this

Politicians -- 20th century  Search this

African Americans -- History -- 20th century  Search this

African American photographers  Search this

African American entertainers -- 20th century  Search this

Commercial photography -- 20th century -- Washington (D.C)  Search this

Genre/Form:

Photographs -- 20th century

Matrices, color separation

Studio portraits

Color separation negatives

Dye transfer process

Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0618.S04.09

See more items in:

Scurlock Studio Records, Subseries 4.9: Black and white negatives for publication

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep833f3f8f4-d03f-4426-a5e5-f5dbaded12c8

EDAN-URL:

ead_collection:sova-nmah-ac-0618-s04-09

Creator:

Scurlock, George H. (Hardison), 1919-2005  Search this

Custom Craft  Search this

Scurlock, Addison N., 1883-1964  Search this

Scurlock, Robert S. (Saunders), 1917-1994  Search this

Scurlock Studio (Washington, D.C.)  Search this

Names:

Howard University -- 20th century  Search this

DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this

Washington, Booker T., 1856-1915  Search this

Extent:

25 Boxes

The subseries contains black and silver gelatin negatives.

Note:

Cold Storage

Type:

Collection descriptions

Archival materials

Color separation negatives

Photographs

Studio portraits

Dye transfer process

Matrices, color separation

Place:

Washington (D.C.) -- Small business -- 20th century

Washington (D.C.) -- African Americans

Shaw (Washington, D.C.)

Date:

circa 1870-1989

Summary:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). Subseries 4.8 consists of black and white silver gelatin negatives. An overview to the entire Scurlock collection is available here: Scurlock Studio Records

Scope and Contents note:

The materials document negatives that cannot be connected to a client or are the commercial ventures of the Scurlock Studio. the negatives depict a variety of subject matter including art, buildings, advertising/commercial, unidentified people, and Washington, D. C.

Arrangement note:

The negatives do not appear to be organized in a clear manner; the arrangement follows alphabetical order but the alphabet starts over several times.

Biographical/Historical note:

The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994). More...

Forms Part Of:

Subseries 4.8 forms part of Series 4, within the Scurlock Studio Records group.

Scurlock Studio Records

Series 1: Black and White Photographs

Series 2: Color Photographs

Series 3: Framed Prints

Series 4: Black-and-White Silver Gelatin Negatives

Series 5: Color Negatives

Series 6: Color Transparencies, Slides, and Other Formats

Series 7: Black-and-White Color Separation Negatives and Matrices

Series 8: Scurlock Studio Business Records

Series 9: Custom Craft Business Records

Series 10: Capitol School of Photography

Series 11: Washington Stock

Series 12: Background Materials and Publications

Restrictions:

Collection is open for research.

Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Rights:

When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Commercial photography -- 20th century -- Washington (D.C)  Search this

African American photographers  Search this

African Americans -- History -- 20th century  Search this

African American entertainers -- 20th century  Search this

Segregation  Search this

Portraits -- 20th century  Search this

Politicians -- 20th century  Search this

Photography -- 20th century -- Washington (D.C.)  Search this

Genre/Form:

Color separation negatives

Photographs -- 20th century

Studio portraits

Dye transfer process

Matrices, color separation

Citation:

Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution

Sponsor:

The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0618.S04.08

See more items in:

Scurlock Studio Records, Subseries 4.8: Negatives in cold storage arranged by subject

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8216cfc11-caf4-442a-95df-e45fae7a3ce8

EDAN-URL:

ead_collection:sova-nmah-ac-0618-s04-08

Creator:

National Philatelic Collection, Smithsonian Institution.  Search this

Blenkle, Victor A., Dr., 1900-1978 (physician)  Search this

Former owner:

National Museum of American History (U.S.). Division of Extractive Industries  Search this

Extent:

10 Cubic feet (29 boxes)

Type:

Collection descriptions

Archival materials

Postcards

Picture postcards

Photographs

Photographic postcards

Place:

Europe -- Postcards

Date:

circa 1880-circa 1970

Summary:

This collection consists of postcards gathered by Dr. Victor A. Blenkle, a twentieth century physician. The postcards primarily concern geographical locations and landmarks in the United States and Western Europe, but also include materials from six other continents.

Scope and Contents:

The Blenkle Collection consists of 29 boxes of postcards, principally about geographical locations, landmarks, monuments and other buildings of interest around the world. The bulk of the cards are about the United States and Western Europe, but countries in 6 continents are represented. The earliest cards included date from the late 1880s and the latest card date from the mid-1970s. The cards are arranged in alphabetical order by state name, name of country, and then specific locations.

Arrangement:

The collection is divided into four series:

Series 1 includes 16 boxes of cards about geographical locations within the United States. These cards are organized first by state in alphabetical order, secondly by city or place name (for example, Grand Canyon). Cities or locations with fewer than three postcards are arranged into general categories such as "Cities". Cards with no clear location are grouped by illustrated subject, such as "Winter Scenes."

Series 2 consists of 9 boxes of cards about places outside the United States. These cards are in alphabetical order by name Of country, and then by city, location or geographical name,also in alphabetical order. The names of countries are used as listed on the card. For example, most of the German cards appear to date from before the division into East and West Germany, consequently, the name is listed as Germany, with no regard for the location of a place between 1945 and 1990.

Series 3 consists of 4 boxes of cards organized by subject. These are the only cards without specific geographical locations.

Series 4 consists of 1 box of cards and letters written by Dr. Blenkle or what appear to be members of his family.

Divided into 3 series: (1) U.S.A., (2) Foreign (mostly Europe), (3) Subjects. Arranged geographically and alphabetically.

Biographical / Historical:

The Blenkle Collection of Postcards was collected by Dr. Victor A. Blenkle, who lived in New Jersey. Little was known about Dr. Blenkle until Ms. Lorraine Clemente, his great-niece, supplied biographical information in 2006. All relevant curators involved in this acquisition are now deceased. Through processing, some conclusions were reached based on evidence contained within the collection itself.

Victor A. Blenkle (born December 15, 1900; died April 15, 1978) was one of six children; his siblings were Ferdinand, Herbert, Albert, Helene, and Julius. His parents, Ferdinand and Bertha, probably emigrated to the United States from Germany in the 1890s (his father was born in 1871). Victor Blenkle practiced medicine in Teaneck, N.J., where he was affiliated with Holy Name Hospital; his wife's name was Elsie. Blenkle was active in medical organizations and was a founder of Family Practice of New Jersey. He served in both World Wars, attaining the rank of lieutenant colonel. Many of the postcards in this collection were from Blenkle's patients, as well as family members. (Ms. Lorraine Clemente, great-niece of Victor Blenkle, supplied biographical information in 2006.)

We do not know when Dr. Blenkle began collecting postcards, but cards sent to him or with what appears to be his handwriting begin in the 1920s. It seems as if Blenkle also either purchased or traded for collections that were originally owned by others. For example, within the overall Blenkle collection, there are three smaller groups of cards of earlier origin. Some of these include the earliest materials in the collection, dating from the late 1880s and 1890s. These three smaller groups include a group of cards sent to (and some sent by) a Reverend Leach in Noroton, Connecticut who was a Lutheran minister. He also apparently ran some kind of a Bible study by mail program and so received a number of cards from those interested in the Bible. Another group of cards sent to addresses in Elgin, Illinois and other related Midwestern locations by members of an extended family and some of their friends between about 1895 and 1910. A third set of cards includes smaller group of cards sent by a group of family and friends in Wisconsin, apparently centering on Milwaukee. All of these include messages written on front or back and postmarks.

Provenance:

Bequeathed to the Smithsonian Institution by Victor A. Blankle in 1977.

Restrictions:

The collection is open for research use.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Monuments -- Postcards  Search this

Buildings -- Postcards  Search this

Tourism  Search this

Genre/Form:

Postcards

Picture postcards -- Photomechanical

Picture postcards

Photographs -- Photomechanical prints

Photographs -- 19th century

Photographic postcards

Citation:

Victor A. Blenkle Postcard Collection, c. 1880-c. 1970, Archives Center, National Museum of American History, Smithsonian Institution,

Identifier:

NMAH.AC.0200

See more items in:

Victor A. Blenkle Postcard Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8d59beafa-2e3c-45af-8857-05a524ac70a5

EDAN-URL:

ead_collection:sova-nmah-ac-0200

Creator:

Meigs, John  Search this

Collector:

National Museum of American History (U.S.). Division of History of Technology  Search this

National Museum of American History (U.S.). Division of Mechanical and Civil Engineering  Search this

National Museum of American History (U.S.). Division of Work and Industry  Search this

Extent:

4.5 Cubic feet (20 boxes)

Type:

Collection descriptions

Archival materials

Place:

Washington (D.C.)

Date:

1900-1905.

Scope and Contents:

Photoprints and negatives documenting the construction of several Washington, D.C. bridges. The Washington Aqueduct Bridge is the subject of most of the images. The Washington Channel Bridge, the Potomac Highway Bridge, and the 11th Street Bridge are also included among the images. Additionally, there is a letterpress book, an employee time book, and a notebook containing diagrams and measurements.

Arrangement:

1 series.

Biographical / Historical:

Meigs was a Washington, D.C. civil engineer.

Provenance:

Donated in the 1960s to the National Museum of History and Technology (now the National Museum of American History).

Restrictions:

Collection open for research on site by appointment. Unprotected photographs must be handled with gloves.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Rivers -- Washington (D.C.)  Search this

Bridges -- Washington (D.C.)  Search this

Citation:

Washington, D.C. Bridges Collection, 1900-1905, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.1095

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep809dae6b9-6971-411b-b65c-a1e72adff215

EDAN-URL:

ead_collection:sova-nmah-ac-1095

Donor:

Mosher, Robert  Search this

Names:

Lincoln Memorial (Washington, D.C.)  Search this

Muskie, Edmund S., 1914-1996  Search this

Royko, Mike, 1932-1997  Search this

Actor:

Belushi, John, 1949-1982  Search this

Moore, Clayton, 1914-1999  Search this

Extent:

0.5 Cubic feet (2 boxes)

Type:

Collection descriptions

Archival materials

Photographs

Place:

Washington (D.C.)

Date:

1971-1972, 2003

Summary:

The collection consists of nine black and white silver prints by Robert Mosher of monuments in Washington, DC and Arlington, Virginia with a focus on the visitors.

Scope and Contents:

Photographs taken at the Lincoln Memorial, Jefferson Memorial, and Washington Monument in Washington, DC, as well as the JFK Memorial in Arlington, Virginia showing tourists and visitors interacting with the sites.

The photographs are on paper, fiber-based, silver gelatin, matted, and 18-1/2" x 21-1/4".

Arrangement:

Collection is arranged into two series

Series 1: Washington, DC monuments, 2003

Series 2: Chicago, 1971-1973

Biographical / Historical:

Robert Mosher is a photographer who works in black and white and focuses on filling space in his compositions.

Sources

Bonner, Heather. "Photography Opening with Robert Mosher." Thedetroiter.com. April 8, 2009. (Accessed July 22, 2016. http://www.thedetroiter.com/v3/2009/04/photography-opening-with-robert-mosher/.)

Provenance:

Donated by Robert Mosher, 2017

Restrictions:

Collection is open for research.

Rights:

RRobert Mosher retains copyright. rchives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Monuments  Search this

Thomas Jefferson Memorial (Washington, D.C.)  Search this

Tourists -- Washington (D.C.)  Search this

Tourism  Search this

Washington Monument (Washington, D.C.)  Search this

Streetscapes  Search this

Parades  Search this

Genre/Form:

Photographs -- Black-and-white photoprints -- Silver gelatin -- 2000-2010

Citation:

Robert Mosher Photoprints, 2003, Archives Center, National Museum of American History. Gift of the artist.

Identifier:

NMAH.AC.1203

See more items in:

Robert Mosher Photoprints

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8651cc7e3-6d03-4732-b7d8-bace01697c8e

EDAN-URL:

ead_collection:sova-nmah-ac-1203

Donor:

National Museum of American History (U.S.). Division of Domestic Life  Search this

Extent:

1 Cubic foot

Type:

Collection descriptions

Archival materials

Lantern slides

Photographs

Place:

Chicago (Ill.)

St. Paul (Minn.)

Washington (D.C.)

Date:

circa 1900

Scope and Contents note:

Miscellaneous glass photonegatives and lantern slides, originally housed in cardboard plate boxes, some containing newspaper clipping separators with dates as late as 1961. Subjects include a flood in 1911, family photographs and portraits, and buildings, with labels indicating locations such as Chicago, St.Paul, etc. The lantern slides depict art historical subjects and may be academic lecture materials.

Arrangement:

Organization by plate size. Unarranged at this time.

Biographical / Historical:

The lantern slides and glass photographs include miscellaneous family photographs and portraits, photographs of buildings, and art historical subjects.

Provenance:

Immediate source of acquisition unknown.

Restrictions:

Unrestricted research use on site.,Contact David Haberstich, Head of Photographic Collections, for an appointment.,As this collection is glass, it must be handled with extreme care. Researchers must handle the material with gloves.

Rights:

Photographs available for reproduction. Most probably in public domain. Fees for commercial use.

Topic:

Art -- History -- Lectures  Search this

Floods -- 1910-1920 -- Washington (D.C.)  Search this

Genre/Form:

Lantern slides -- Lectures

Photographs -- Black-and-white negatives -- Glass -- 1900-1920

Citation:

Domestic Life Glass Photograph Collection, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0292

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8d93ff87f-97b5-4051-9752-335781e10f37

EDAN-URL:

ead_collection:sova-nmah-ac-0292

Creator:

Christian, Dorothy H.  Search this

Shakespeare, William, 1564-1616  Search this

Foley, James W.  Search this

Former owner:

National Museum of American History (U.S.). Division of Political History  Search this

Names:

Harding, Warren G. (Warren Gamaliel), 1865-1923  Search this

Extent:

0.15 Cubic feet (1 box)

Type:

Collection descriptions

Archival materials

Appointment books

Diaries

Photographs

Books

Place:

Washington (D.C.)

Date:

1881, 1913-1934

Scope and Contents:

The collection contains three books and two photographs: Kitchen Diary: Your Daily Friend (Chicago: P. F. Volland & Co., 1913) contains birth dates, addresses and appointments sporadic entries, 1921 1934. The Shakespeare Birthday Book (Mary F. P. Dunbar, ed., London, 1881) has a quotation from Shakespeare for every day in the year; scattered throughout the book are names of relatives and friends. Some One Like You by James W. Foley is a book of five pages of poetry and five illustrations, copyrighted 1916, with a box. Two small portrait photographs, one dated 1923, found in Kitchen Diary, are stored separately.

Two small portrait photographs, one dated 1923, found in "The Kitchen Diary," are stored separately.

Arrangement:

Collection is unarranged.

Biographical/Historical note:

Dorothy Christian's father was secretary to President Warren G. Harding. The three books illustrate, to a small extent, events of interest to a woman in the social world of Washington, D.C. in the 1920s.

Provenance:

Collection donated by Estate of Dorothy H. Christian, through Elwood Davis, July 21, 1986.

Restrictions:

Collection is open for research.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Socialites -- Washington (D.C.)  Search this

Poetry  Search this

Portraits -- 1920-1930  Search this

Genre/Form:

Appointment books -- 20th century

Diaries

Photographs -- 1900-1950

Books

Citation:

Dorothy H. Christian Collection, circa 1881-1934, Archives Center,National Museum of American History.

Identifier:

NMAH.AC.0250

See more items in:

Dorothy H. Christian Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8c61980b0-bea6-4d6b-8c96-35c41711cb7d

EDAN-URL:

ead_collection:sova-nmah-ac-0250

Creator:

Windsor & Ford (Brick Manufacturing Company).  Search this

Charles Ford (company).  Search this

Ford & Brother  Search this

Names:

Ford, Charles  Search this

Ford, Samuel  Search this

Windsor, David A.  Search this

Extent:

4.3 Cubic feet (14 boxes)

Type:

Collection descriptions

Archival materials

Ledgers (account books)

Receipts

Correspondence

Business records

Business cards

Invoices

Account books

Place:

Washington (D.C.)

Date:

1859-1906

Scope and Contents:

The collection consists of invoices and receipts documenting the sale of bricks, purchase of supplies, and expenses for the real estate business; account books, ledgers, and a business diary showing employment records and the shipment of bricks by land and water. Records of Ford and Brother are primarily represented by Charles Ford, and later accounts are with his estate. Also in the included is correspondence concerning financial transactions of several companies and business cards of other local brick manufacturers.

Arrangement:

The collection is divided into three series.

Series 1: Windsor & Ford, 1859-1890

Series 2: Charles Ford, 1879-1900

Series 3: Ford & Brother, 1886

Series 4: Estate of Charles Ford, 1868-1906

Biographical / Historical:

Windsor & Ford, a brick manufacturing company in Washington, D. C., was operated by Charles and Samuel Ford and David A. Windsor. It supplied bricks for several federal and district buildings in the city. In addition, the Fords operated a brick manufacturing company and real estate business as Ford and Brother.

Collection documents business actcivities of David A. Windsor and Charles Ford.

Provenance:

Collection purchased through Raymond J. Staffieri, 1987.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Real estate -- Washington (D.C.)  Search this

Brickmakers -- 1850-1910  Search this

Bricks -- Manufacturing -- 1850-1910 -- Washington (D.C.)  Search this

Brickmaking -- 1859-1906 -- Washington (D.C.)  Search this

Genre/Form:

Ledgers (account books)

Receipts

Correspondence -- 1930-1950

Business records -- 1850-1900

Business cards

Invoices

Account books

Citation:

Windsor & Ford Business Records, 1859-1906, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0019

See more items in:

Windsor and Ford Business Records

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep88c9e461a-ca68-4f9e-8adf-cc123a809079

EDAN-URL:

ead_collection:sova-nmah-ac-0019