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Smithsonian Institution Castle: The Great Hall

Creator:
Smithsonian Institution  Search this
Type:
YouTube Videos
Uploaded:
2009-10-29T20:00:18.000Z
YouTube Category:
Education  Search this
Topic:
Museum administration  Search this
See more by:
SmithsonianCastle
Data Source:
Smithsonian Institution
YouTube Channel:
SmithsonianCastle
EDAN-URL:
edanmdm:yt_XQqXAqDZioQ

CrossLines Trailer

Creator:
Smithsonian Institution  Search this
Type:
YouTube Videos
Uploaded:
2016-05-18T13:02:50.000Z
YouTube Category:
Education  Search this
See more by:
SmithsonianVideos
Data Source:
Smithsonian Institution
YouTube Channel:
SmithsonianVideos
EDAN-URL:
edanmdm:yt_Jvili_XyPgw

Willi Smith: On the Record

Creator:
Cooper Hewitt, Smithsonian Design Museum  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2021-09-25T07:31:43.000Z
YouTube Category:
Entertainment  Search this
Topic:
Design  Search this
See more by:
cooperhewitt
Data Source:
Cooper Hewitt, Smithsonian Design Museum
YouTube Channel:
cooperhewitt
EDAN-URL:
edanmdm:yt_qTIyQcpK7pw

Symposium Perspectives

Creator:
National Museum of the American Indian  Search this
Type:
YouTube Videos
Uploaded:
2021-10-25T16:17:03.000Z
YouTube Category:
Education  Search this
Topic:
Native Americans;American Indians  Search this
See more by:
SmithsonianNMAI
Data Source:
National Museum of the American Indian
YouTube Channel:
SmithsonianNMAI
EDAN-URL:
edanmdm:yt_J90qyRg7-MM

Records

Extent:
5.66 cu. ft. (9 document boxes) (2 tall document boxes)
Type:
Collection descriptions
Archival materials
Manuscripts
Letterpress copybooks
Date:
1882-1907
Descriptive Entry:
These records include copies of disbursement vouchers, statements, abstracts of disbursements, monthly disbursement statements, cash vouchers, and summary balance and debit statements; also correspondence regarding the history of the disbursement clerk position. Disbursement of funds included both the private and federal side of the Smithsonian, in particular, the operations of the USNM, National Zoological Park, and International Exchange Service. Form vouchers are also signed by Secretaries Spencer F. Baird and Samuel P. Langley. Most volumes are individually indexed. A volume list follows.
Historical Note:
Prior to 1873 all accounts for the National Museum were paid by the Smithsonian Institution and audited by the Executive Committee. From 1873 until 1888, bills for the United States National Museum (USNM) were approved by the Secretary and disbursed by the disbursing agent at the Department of the Interior. In a similar fashion, beginning in 1874, the Secretary of the Treasury disbursed Smithsonian funds and made payment on checks signed by the Secretary. In 1888, funds for the Museum and International Exchange Service as well as those from the Treasury Department were turned over to the Disbursement Clerk for the Smithsonian. Funds appropriated for North American Ethnology were transferred to the Smithsonian Disbursement Clerk in 1892.

Records of the Disbursement Clerk include outgoing letterpress financial statements, most of which were signed by William W. Karr. Karr was appointed to the position of "factotum" in 1879. His assignment included time-keeping, keeping accounts of expenditures, and making out bills for payment for the contractors during the construction of the Arts and Industries Building. As a result of his efficiency, Karr was appointed to the USNM staff as a clerk, November 1880, although he was also called bookkeeper, assistant, and cashier. In 1884 he became Accountant for the Smithsonian. Karr became Disbursement Clerk in 1888, and from 1888 to 1905 he held the joint position of Accountant and Disbursement Clerk, with his salary coming from both Smithsonian private and Museum federal funds. In 1905 Karr was discharged from his duties on charges of embezzlement, and W. I. Adams was appointed to fill Karr's position.
Topic:
Museums -- Administration  Search this
United States -- Appropriations and expenditures  Search this
Budget process  Search this
Budget  Search this
Genre/Form:
Manuscripts
Letterpress copybooks
Citation:
Smithsonian Institution Archives, Record Unit 165, Smithsonian Institution, Disbursement Clerk, Records
Identifier:
Record Unit 165
See more items in:
Records
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-faru0165

Barbara S. Janssen Collection of Singer Manufacturing Company Correspondence

Creator:
Janssen, Barbara Suit  Search this
Extent:
0.5 Cubic feet
Type:
Collection descriptions
Archival materials
Correspondence
Date:
1868 - 1875
Summary:
Correspondence to the Singer Manufacturing Company.
Scope and Contents:
Correspondence to the Singer Manufacturing Company. Most of it relates to problems with the machines, or are requests for replacement parts or repairs. Many are receipts or invoices for machines or parts, or relate to payment for machines or parts. Also includes an advertisement for Singer Manufacturing Company, featuring the Smithsonian's National Museum (later the Arts and Industries Building).
Provenance:
Donated to the Archives Center in 2012 by Barbara Janssen. She had purchased the collection from an internet auction site.
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.
Genre/Form:
Correspondence
Citation:
Barbra S. Janssen Collection of Singer Manufacturing Company Correspondence, 1868-1875, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1299
See more items in:
Barbara S. Janssen Collection of Singer Manufacturing Company Correspondence
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1299

American Relief Administration, European Children's Fund Collection

Creator:
American Relief Administration. European Children's Fund  Search this
Extent:
0.3 Cubic feet (1 box, 1 oversize folder)
Type:
Collection descriptions
Archival materials
Photographs
Pamphlets
Place:
Austria
Date:
1919 - 1921
Summary:
The collection consists of photographs and printed materials (almost exclusively in German), documenting the relief efforts of the American Relief Administration (A.R.A.), European Children's Fund (E.C.F.) (Mission to Austria), 1920-1921, to feed malnourished children in Europe in the post-World War I era. The photographs, publications and charts in this collection specifically relate to children in Vienna and other Austrian cities.
Scope and Contents:
The collection consists of photographs and printed materials (all in German), documenting the efforts of the American Relief Administration, European Children's Fund (Mission to Austria), to feed malnourished children in Europe in the post-World War I era. The photographs, publications and charts in this collection specifically relate to children in Vienna and other Austrian cities.

Series 1, Photographs, 1920-1921, consists of black and white copy prints documenting children being fed or playing, kitchen scenes, and dormitory scenes throughout Austria. There are two images depicting the Pedilisi score for two unidentified boys. Some of the prints are captioned.

Series 2, Printed Materials and Charts, 1919-1921, includes writings by Clemens Peter Freiherr von Pirquet (1874--929) an Austrian scientist and pediatrician best known for his contributions to the fields of bacteriology and immunology. Pirquet worked with the American Relief Administration, European Children's Fund in Austria and developed the Pedilisi method of determining a child's level of malnourishment.
Arrangement:
The collection is divided into two series.

Series 1, Photographs, 1920-1921

Series 2, Printed Materials and Charts, 1919-1921
Biographical / Historical:
The American Relief Administration (A.R.A.) was formed by the United States Congress in 1919 as a relief mission to Europe after World War I. Herbert Hoover, future president of the United States, was the program director. A humanitarian organization, A.R.A. was tasked with alleviating the suffering of European children in the years after World War I.

In 1919, a special Children's Relief Bureau was organized within the A.R.A. Many European children being cared for were orphans, and many had suffered malnourishment during the war. Hoover insisted that aid be provided to them. Although the new A.R.A. European Children's Fund (E.C.F) was an outgrowth of the A.R.A. which acted as an agent of the United States government, the European Children's Fund was a private volunteer organization for the promotion of charitable causes. While the E.C.F. did not have a formal charter, the food supplies were donated from the Congressional appropriation and the president's National Security and Defense Fund. The E.C.F. operated for five years, from 1919 to 1924. It was headquartered in New York City with a branch office in London and began operations in August, 1919. Field missions were located in Finland, Estonia, northwest Russia, Latvia, Lithuania, Poland, Czechoslovakia, Austria, Hungary, Romania, and Yugoslavia. The E.C.F. relied heavily upon the assistance and cooperation of other organizations such as the European Relief Council, Red Cross, American Friends Service Committee, and the Y.M.C.A. A system of central and regional warehouses was maintained . Children needing aid met the following requirements: registration through a school, investigation by a local committee, and a physical examination by a local physician. All feeding of children was done in special kitchens setup at institutions, orphanages, or hospitals. In most countries a noonday meal was served and every child was issued a card which was punched for each meal received.

Child-feeding programs in Austria began on May 5, 1919. The method for feeding and selecting children in Austria was developed by Dr. Clemens von Pirquet (1874-1929) of Vienna University Children's Hospital. Pirquent's method was known as the Pelidisi formula which is the ratio between the sitting height and the weight of the child. The Pelidisi norm was expressed as 100, but with children it was 94.5 since they did not carry as much fat. Children with a Pelidisi of 94 were considered underfed and those under 93 were admitted to a feeding center immediately. Examinations of children were repeated at frequent intervals.
Related Materials:
Materials at Other Organizations

Hoover Institution Archives, Stanford University

Register of the American Relief Administration. European Operations Records, 1919-1923
Provenance:
Donated to the United States National Museum by the American Relief Administration, through Mr. Messerole on February 6, 1922.
Restrictions:
The 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:
Children -- Austria  Search this
Humanitarian assistance -- 1920-1930 -- Austria  Search this
Relief and volunteer organizations -- 1920-1930 -- Austria  Search this
Genre/Form:
Photographs -- 1920-1930
Pamphlets
Citation:
American Relief Administration, European Children's Fund Collection, 1919-1921, Archives Center, National Museum of American History
Identifier:
NMAH.AC.1199
See more items in:
American Relief Administration, European Children's Fund Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1199

U.S. Steel Corporation Photograph Albums

Creator:
Aikins, Russell Chorley, 1896-  Search this
U.S. Steel Corporation  Search this
Extent:
3 Cubic feet (8 boxes)
Type:
Collection descriptions
Archival materials
Photograph albums
Photographs
Date:
circa 1940s
Scope and Contents:
The collection comprises of 21 albums depicting the steel making and finishing operations of the United States Steel Corporation. All of the images were made by Russell Aikins around 1940. The albums contain photographic prints (8" x 9-1/2"). The majority of prints are mounted on spiral-bound pages. The photographs were created for public relations purposes and provide visual documentation of American steel making technology, production practice, and worker manager relationships. Subject matter varies widely, depicting the process of manufacturing steel or steel-related products. The photographs have a strong human and dramatic emphasis. The strongest theme is industrial mobilization for the war effort. Many photographs document female wartime work in industry, and African American workers are also represented. The theme of worker safety is well documented with images depicting safety glasses and protective garments. Printed captions below each photograph usually identify workers by name and occupation.
Arrangement:
The collection is arranged into one series, chronologically by album number.
Biographical:
Russell Chorley Aikins was born in Philadelphia on December 7, 1896. He began his photographic career at the Philadelphia Inquirer as a news photographer in 1917. Two years later, Aikins joined the New York Times Sunday Rotogravure Section and the World Wide Syndicate as a staff photographer. In the early 1920s, Aikins organized and ran the New York Times Washington picture bureau. Aikins served briefly, in 1929, as an editor for the newly developing Associated Press (AP) photo service. Following the growing trend in the photo news industry Aikins left the AP and became a freelance photographer. He opened his studio in New York City and did work for Fortune, Time, Life, and Colliers.

Aikins career shifted in 1937 when he decided to "devote all my time to the portrayal of business and industry." Aikins noted the need for big business to be represented and saw his images as tools for business self-promotion: "It had been a growing conviction with me that industry in addition to its product advertising should promote its fitness to serve the public and its ability to make quality goods." He started to recruit companies to combat the stereotypical cold, unfeeling edge of big business. Aikins called this new style of photography "camera-reporting," which he thought could transport stockholders, customers, and the public into the mills, giving the viewer greater confidence in the corporation and its products. A few companies Aikins represented included Chrysler Corporation, General Electric Company, Johnson & Johnson, and the United States Steel Corporation. After World War Two the demand for the technique Aikins helped to pioneer began to diminish as public and labor attitudes changed. After 1948, there is no record of Aikins' activities.

Source

Division of Work and Industry staff.
Historical:
The United States Steel Corporation was created in 1901 by the purchase and consolidation of several companies by financier J.P. Morgan. At the time of formation, it was the largest company in the world. U.S. Steel represented Morgan's attempt to bring stability to the volatile steel market. Morgan purchased Andrew Carnegie's highly aggressive Carnegie Steel and brought it together with Federal Steel, National Tube, American Steel and Wire, American Sheet Steel, American Hoop Steel, American Tin Plate, American Bridge, and the Lake Superior Consolidated Iron Mines. Other companies were added later.

Capitalized at $1.4 billion, U.S. Steel was in 1901 the largest company in the world. It controlled over 50% of American Steel production but was in many ways hamstrung by its size. While the operation of Carnegie Steel was characterized by technological efficiency, US Steel avoided innovation. Some in the company referred to the Corporation's policy as "no inventions, no innovation." The company was thought by many to be driven by a banker's vision of protecting investment, not an industrialist's vision of increasing production. Always sensitive about public antitrust action, Elbert Gary, the leader of the company, sought to cast U.S. Steel as a "good trust." In 1936, the CIO formed the Steel Workers Organizing Committee (SWOC), and began a massive union drive. Although strongly antiunion, U.S. Steel, under Myron Taylor was the first major steel company to recognize the steelworkers union in 1937.

An industry once characterized by low wages and harsh conditions emerged by the late 1940s as one of the highest-paying blue collar employers, forced to negotiate with one of the nation's most powerful unions. Following recognition of the union U.S. Steel followed a corporate strategy of paying for wage settlements by increasing steel prices. This often put the giant company at odds with governmental economic policy.

Source

Division of Work and Industry staff.
Related Materials:
Materials at Other Organizations

Baker Library Historical Collections, Harvard Business School

1934 Art and Industry Exhibition photograph collection

The 1934 Art and Industry Exhibition photograph collection contains photographs that were on display in New York City and Chicago in an exhibition sponsored by the National Alliance of Art and Industry.

United States Steel Corporation photographs, circa 1940-1960

A large collection of black and white gelatin silver prints depicting the United States Steel Corporation's steel plants, works, personnel, machinery, mining operations, buildings, warehouses and production of the numerous products manufactured by the company, circa 1940-1960.

Industrial Life Photograph Collection, 1920-1941

Photographs collected by the Business Historical Society to document major industries in the United States and industrial processes.

Lowell National Historical Park

Youngstown Center for Industry and Labor
Provenance:
Immediate source of acquisition is 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:
World War, 1939-1945  Search this
World War, 1939-1945 -- War work  Search this
Safety  Search this
Steel industry and trade  Search this
Genre/Form:
Photograph albums -- 1940-1950
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1940-1950
Citation:
U.S. Steel Corporation Photograph Albums, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.1037
See more items in:
U.S. Steel Corporation Photograph Albums
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1037
Online Media:

Jake Jacobson "Heart & Hands" Color Iris Photoprints

Creator:
Northlight of Colorado, Inc.  Search this
Jacobson, Jake  Search this
Extent:
8 Framed print
3.42 Cubic feet (2 boxes, 1 map-folder)
Type:
Collection descriptions
Archival materials
Framed print
Photographs
Sound recordings
Inkjet prints
Iris prints
Ink jet printing
Compact discs
Digital images
Cd-roms
Color prints (photographs)
Date:
1996-2000
Summary:
Collection consists of photoprints and other materials created by Jacob Jacobson for the "Heart & Hands: Musical Instrument Makers of America" exhibition circulated by the Smithsonian Institution Traveling Exhibition Service (SITES), from April 2000 to early 2004.
Scope and Contents:
The collection consists of photoprints and other materials created by Jacob Jacobson for the "Heart & Hands: Musical Instrument Makers of America" exhibition circulated by the Smithsonian Institution Traveling Exhibition Service (SITES), from April 2000 to early 2004. The materials are arranged into two series.

Series 1: Iris (Inkjet) Digital Photoprints, dates, consists of eighty six color Iris (inkjet) items. The subjects are primarily individual musicians and craftsmen, although several instrument companies are included, notably the venerable Selmer Company of Elkhart, Indiana, which has manufactured band instruments for many decades. These digital prints were made from Jacobson's 35mm color transparencies (although print number one is monochrome, rather than full color). The prints are from a limited edition of 350, and are signed by the photographer in the lower right beneath the image, and numbered on the lower left. Some prints bears Northlight Atelier blind stamp in the margin and an identifying label with the print number and subject's name is affixed to each print on the verso at the bottom. Most of the prints have an image size of 20" in the long dimension and from approximately 13-1/4" to 14-1/4" on the short side; on heavy, textured archival paper, ranging in size from about 16"x 23" to 19"x 24". Eight larger prints, with image sizes of approximately 21-22" x 31-32" in size, were received matted and in 28" x 40" frames. Some representative image and print sizes are included. Most prints are in one large flat box; prints in the "folder" are stored separately because the paper is slightly too large for the box. The large framed prints are necessarily stored separately and are less accessible.

Series 2: Other Materials, dates, includes a loose-leaf notebook containing inventory of the Smithsonian Institution Traveling Exhibition Services (SITES) exhibit prints with titles and thumbnail images for identification (except item 55, which is omitted), plus a CD-ROM containing the images in pocket. Note that the images for numbers 81 and 85 in the notebook are reversed. There is also a compact disk in plastic jewel case of the same name ("Heart & Hands: Musical Instrument Makers of America"), which contains sixty tracks of instrument makers playing their instruments and interviews with some of them. Compact disk in plastic jewel case, "Heart & Hands: Musical Instrument Makers of America; Music and Interviews Recorded Live; Taken from the Book..." (produced by Northlight). Containing music and selected interviews with instrument makers, produced for commercial distribution by Northlight Atelier; 60 tracks. Compact disk in plastic jewel case, "Heart & Hands: Musical Instrument Makers of America; Music and Interviews Recorded Live; Taken from the Book..." (produced by Northlight). Containing music and selected interviews with instrument makers, produced for commercial distribution by Northlight Atelier; 60 tracks.
Arrangement:
The collection is divided into two series.

Series 1, Iris (Inkjet) Digital Photoprints

Series 2, Other Materials
Biographical / Historical:
"Heart & Hands: Musical Instrument Makers of America" was an exhibition of photographs by Jake Jacobson, circulated by the Smithsonian Institution Traveling Exhibition Service (SITES), from April 2000 to early 2004 to at least fourteen venues. The first site was April 8, 2000, at the Georgia Mountains History Museum, and the last venue for the show was the Elkhart County Historical Museum, Bristol, Indiana, ending April 6, 2004. Selections from the exhibition were on view from June 4 to 8, 2001, in the Rotunda of the Russell Senate Office Building, and it was shown in the Smithsonian's Arts and Industries building, March 2-April 28, 2002.

The field work for the project was begun in 1996, culminating in 1998. "Traveling coast to coast, in an extensive two-year journey across the United States, Jake Jacobson and research collaborator Trisja Malisoff recorded the images, words, and music of over 300 contemporary musical instrument makers. Documenting the diversity of American music, Jacobson's photographs reveal a complex, living tradition-a heritage that draws upon Latin, Native American, European, African and Asian music influences."

Following this project, Jacobson engaged in a related photographic documentation, "Heart & Hands: Musical Instrument Makers of China." He has established a "Heart & Hands Foundation." Music has been an important part of Jacobson's life throughout his career as a photographer, printmaker, and jazz musician. During the mid-1960s he operated a backyard print shop, producing rock concert posters. As an advertising and editorial photographer, he pioneered new techniques for special effects and printmaking. His continuing passion for photographing musical artists is evident in the portraits in the "Heart & Hands" project.

A graduate of Brooks Institute of Photography, Jacobson has taught photography at UCLA and Cypress College in Orange County. A longtime practitioner and teacher of Yoga, he is the owner of the Center for Yoga in Los Angeles. He operated a "state-of-the-art" photography, printmaking, and video production studio, Northlight of Colorado, in the mountains near Telluride, Colorado, before relocating the Northlight Atelier to Santa Barbara, California, in 2003.

Another project of Jacobson's is entitled, "Oh, Baby--Celebrating Birth Rites around the World."
Provenance:
Collection donated by Mr. Jacobson.
Restrictions:
The collection is open for research use.

Physical Access: Researchers must handle unprotected photographs with gloves.

Technical Access: Do not use original
Rights:
Jake Jocobson retains copyright. 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:
Musical instruments -- 20th century  Search this
Musical instrument makers  Search this
Genre/Form:
Photographs -- Inkjet prints -- 1990-2000
Sound recordings -- Compact disks
Inkjet prints
Photographs -- Digital prints -- 20th century
Iris prints
Ink jet printing
Compact discs
Digital images
CD-ROMs
Color prints (photographs)
Citation:
Jake Jacobson "Heart & Hands" Color Iris Photoprints, Archives Center, National Museum of American History,
Identifier:
NMAH.AC.0866
See more items in:
Jake Jacobson "Heart & Hands" Color Iris Photoprints
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0866
Online Media:

Domestic Life Stereograph and Photograph Collection

Creator:
Centennial Photographic Co.  Search this
Roth, Rodris  Search this
Myers, Susan H.  Search this
Names:
Appalachian Exposition. (Knoxville, Tennessee: 1911)  Search this
California-Pacific International Exposition (San Diego, California: 1935-1936)  Search this
Centennial Exhibition (1876 : Philadelphia, Pa.)  Search this
Exposition universelle de 1867 (Paris, France)  Search this
International Exhibition of 1862 (London, England)  Search this
Louisiana Purchase Exposition (1904: Saint Louis, Mo.)  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Former owner:
National Museum of American History (U.S.). Division of Cultural History  Search this
Extent:
2 Cubic feet (9 boxes)
Type:
Collection descriptions
Archival materials
Stereographs
Place:
Sturbridge (Mass.)
Date:
circa 1862-1920
Summary:
Hundreds of stereographs and other photographic imagery, especially a large number of the 1876 Centennial Exhibition in Philadelphia; other subjects include: the World's Columbian Exhibition (1893); the Louisiana Purchase Exposition, the Great Sanitary Fair; a large number on Massachusetts, including a set of images from Old Sturbridge; buildings and scenery; miscellaneous other subjects.
Scope and Contents note:
The collection is composed largely of photographs related to world's fairs, especially the Philadelphia Centennial Exposition, particularly in the form of stereographs. Other photographs document Williamsburg, Old Sturbridge, Mass., and other locations.
Arrangement:
Collection is arranged into one series. Arranged geographically and topically.
Historical:
Stereographs were employed to document and popularize the great world's fairs of the second half of the nineteenth century and the early years of the twentieth century in the United States and Europe. The Centennial Photographic Company, in particular, was formed essentially to disseminate information about the 1876 fair and to profit from its "educational" products. More generally, the three-dimensional photographic medium was considered an ideal way to provide views of regional attractions in the United States. This collection contains both subjects.
Provenance:
Collection donated by Susan Myers.
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.

Rights situation uncertain. Probably in public domain, applicable copyrights expired.
Topic:
Exhibitions  Search this
Exhibitions -- Missouri  Search this
World's fairs  Search this
Genre/Form:
Stereographs
Citation:
Domestic Life Stereograph and Photograph Collection, circa 1862-1920, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0725
See more items in:
Domestic Life Stereograph and Photograph Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0725
Online Media:

Edward J. Orth Memorial Archives of the World's Fair

Collector:
Orth, Edward J.  Search this
Exhibition Collectors Historical Organization  Search this
Names:
New York World's Fair (1939-1940 : New York, N.Y.)  Search this
Extent:
130 Cubic feet (417 boxes, 25 map-folders)
Type:
Collection descriptions
Archival materials
Souvenirs
Photographs
Pamphlets
Guidebooks
Exhibition posters--1930-1940
Diaries
Ephemera
Film transparencies
Motion picture film
Posters
Place:
Flushing Meadows Park (New York, N.Y.)
New York (N.Y.)
Date:
1835-2000, undated
Summary:
Collection documents the 1939 New York World's Fair in Flushing Meadows, New York. Also includes material relating to other fairs, the Exhibition Collectors Historical Organization (ECHO), New York City tourism and The Walt Disney Company.
Scope and Contents:
Collection primarily documents the conception, planning, construction, management, and operations of the 1939 New York World's Fair located in Flushing Meadows, New York. Materials provide historical context and cultural significance as recorded in publications, artwork, photographs, ephemera, postcards, maps, plans, exhibitor's literature, souvenirs, and motion picture film. Most of the materials were primarily created for people who attended the fair. Some of the materials include scrapbooks created by fair visitors to document their experiences. There is a significant amount of material relating to other fairs, New York tourism, the Exhibition Collectors Historical Organization (ECHO) and the World's Fair Collector's Society. Other forms of entertainment such as festivals, the Olympic games, and Disney World are also found among these materials. There is little information relating to Edward Orth's personal and professional life as a city planner. The collection is arranged into eleven series.
Arrangement:
The collection is arranged into eleven series.

Series 1, Edward J. Orth Personal Papers, 1915-1989, undated

Subseries 1.1, Correspondence, 1939-1989

Subseries 1.2, Other Materials, 1915-1989, undated

Series 2, Exhibition Collectors Historical Organization (ECHO) and World's Fair Collector's Society, Incorporated Records, 1942-1990, undated

Subseries 2.1, General Information, 1960-1988, undated

Subseries 2.2, Correspondence, 1942-1990, undated

Subseries 2.3, Classified and Wanted Advertisements, 1956-1988, undated

Subseries 2.4, Financial Records, 1976-1989

Subseries 2.5, Newsletters, 1969-1988, undated

Subseries 2.6, Membership Materials, 1970s-1989, undated

Series 3, New York World's Fair, Incorporated Records, 1900-1988, undated

Subseries 3.1, Administrative Files, 1900-1977, undated

Subseries 3.2, Amusement Zone, 1937-1940, undated

Subseries 3.3, Communications and Business Systems Zone, 1939-1965, undated

Subseries 3.4, Community Interest Zone, 1939-1949, undated

Subseries 3.5, Food Zone, 1939-1975

Subseries 3.6, Government Zone, 1939-1940

Subseries 3.7, Production and Distribution Zone, 1939-1940

Subseries 3.8, Transportation Zone, 1939-1940

Subseries 3.9, Ephemera, 1938-1988, undated

Series 4, Photographic Materials, 1939-1968, undated

Subseries 4.1, General, 1939-1940, undated

Subseries 4.2, Amusement Area, 1939-1940, undated

Subseries 4.3, Business Systems Zone, 1939-1940, undated

Subseries 4.4, Communications Zone, 1939-1940, undated

Subseries 4.5, Community Interest Zone, 1939-1940, undated

Subseries 4.6, Food Zone, 1939-1940, undated

Subseries 4.7, Government Zone, 1939-1940, undated

Subseries 4.8, Production and Distribution Zone, 1939-1940, undated

Subseries 4.9, Transportation Zone, 1939-1940, undated

Subseries 4.10, Miscellaneous, 1939-1940, undated

Subseries 4.11, Oversize Photographs, 1939-1940, undated

Subseries 4.12, Color Slides, 1939-1940, undated

Subseries 4.13, Color Transparencies, 1940-1942, undated

Subseries 4.14, Edward Orth, 1967-1968

Series 5, Scrapbooks, 1938-1981

Series 6, Postcards, 1906-1985, undated

Subseries 6.1, Amusement Area, 1939-1940, undated

Subseries 6.2, Business Systems Zone, 1939-1940, undated

Subseries 6.3, Communications Zone, 1939-1940, undated

Subseries 6.4, Community Interest Zone, 1939-1940, undated

Subseries 6.5, Food Zone, 1939-1940, undated

Subseries 6.6, Government Zone, International, 1939-1940, undated

Subseries 6.7, Government Zone, Federal and States, 1939-1940, undated

Subseries 6.8, Production and Distribution Zone, 1939-1940, undated

Subseries 6.9, Transportation Zone, 1939-1940, undated

Subseries 6.10, General, 1940, undated

Subseries 6.11, By Type, 1906-1985, undated

Series 7, Publications Related to World's Fairs, 1922-1989, undated

Subseries 7.1, Magazines, 1922-1988, undated

Subseries 7.2, Newspaper Articles, 1935-1989, undated

Subseries 7.3, Other Publications, 1937-1989, undated

Subseries 7.4, Other Subjects, 1962-1989

Series 8, Materials Relating to Other Fairs, 1851-2000, undated

Subseries 8.1, Great Exhibition of the Works of Industry of All Nations or Crystal Palace Exhibition, 1851

Subseries 8.2, Exhibition of the Industry of All Nations, 1853-1853

Subseries 8.3, International Exhibition of Arts, Manufactures, and Products of the Soil and Mine or Centennial International Exhibition, 1876

Subseries 8.4, World's Columbian Exposition or Chicago World's Fair, 1893

Subseries 8.5, Exposition Internationale D'Anvers, Antwerp, Belgium

Subseries 8.6, Tennessee Centennial and International Exposition, 1897

Subseries 8.7, Trans-Mississippi and International Exposition, 1898

Subseries 8.8, Expositions, 1901

Subseries 8.9, Louisiana Purchase Exposition, 1906

Subseries 8.10, Jamestown Tercentennial Exposition, 1907

Subseries 8.11, Alaska, Yukon, Pacific Exposition, 1909

Subseries 8.12, Panama-California Exposition, 1915-1916

Subseries 8.13, Bronx International Exposition of Science, Arts, and Industries, 1918

Subseries 8.14, Sesquicentennial Exposition, 1926

Subseries 8.15, Barcelona International Exposition, 1929

Subseries 8.16, L'Exposition Coloniale, Paris, 1931

Subseries 8.17, Olympics, 1932

Subseries 8.18, A Century of Progress International Exposition, 1933

Subseries 8.19, Expositions, 1933-1935

Subseries 8.20, Expositions, 1936-1937

Subseries 8.21, Exposition Internationale des Arts et Techniques dans la Vie Moderne, 1937

Subseries 8.22, Golden Gate International Exposition, 1939

Subseries 8.23, Festival of Britain, Britain, London, United Kingdom, 1951

Subseries 8.24, Milan Fair, 1955

Subseries 8.25, Exposition Universelle et venti Internationale de Bruxelles, 1958

Subseries 8.26, American National Exhibition, 1959

Subseries 8.27, New York's World Fair, 1961-1977, undated

Subseries 8.28, Century 21 Exhibition, 1961-1962

Subseries 8.29, International and Universal Exposition or Expo 67, 1967

Subseries 8.30, Long Beach, California, 1967-1968

Subseries 8.31, HemisFair 68, 1968

Subseries 8.32, Expo 70 or Japan World Exposition, 1970

Subseries 8.33, Expo 74 or International Exposition on the Environment

Subseries 8.34, Expo 75 or International Ocean Exposition, 1975

Subseries 8.35, American Revolution Bicentennial, 1776-1976, 1976

Subseries 8.36, Queen's Bicentennial Festival, 1975-1976

Subseries 8.37, Plovdiv International Exhibition of 1981 or Expo 81

Subseries 8.38, Kobe Port Island Exposition or Portopia 81, 1981

Subseries 8.39, Knoxville International Energy Exposition or 1982 World's Fair, 1982

Subseries 8.40, Louisiana World Exposition, 1984

Subseries 8.41, Games of the XXIII Olympiad, 1984

Subseries 8.42, The International Exposition, Tsukuba, Japan or The International Science Technology Exposition, 1985

Subseries 8.43, Queen's Festival, 1985

Subseries 8.44, 1986 World Exposition on Transportation and Communication or Expo 86, 1986

Subseries 8.45, World Expo 88, 1988

Subseries 8.46, Universal Exposition of Seville or Expo 92, 1992

Subseries 8.47, Expo 2000, 2000

Subseries 8.48, Other Events and Celebrations, 1886-1989

Subseries 8.49, Combined Fairs, 1968-1994

Subseries 8.50, General information about world's fairs, 1964-1980

Series 9, Ephemera, 1892-1989, undated

Subseries 9.1, New York and New York World's Fair, 1892-1989, undated

Subseries 9.2, Other States and Countries, 1835, 1939, undated

Subseries 9.3, Motion Picture Film and Entertainment, 1937-1981, undated

Series 10, Audio Visual Materials, 1939, 1964-1965, undated

Subseries 10.1, Moving Images, 1939, 1964-1965, undated

Subseries 10.2, Sound Recordings, undated

Series 11, Oversize, 1835-1992, undated
Biographical / Historical:
Biographical / Historical

Edward Joseph Orth grew up with a strong interest in history, particularly the history of the 1939 New York World's Fair. Orth's visit to the fair as a twelve-year-old boy led to a life-long passion of collecting. At the time of his death, he had amassed enough materials to fill two homes in California. Orth also collected materials from several other fairs. In addition, he saved some of the records of the Exhibition Collectors Historical Organization (ECHO) and the World's Fair Collector's Society.

Orth was born April 19, 1927, to Andrew Joseph Orth and Florence Minnie Gordon Orth in Glendale, New York. In the 1930s, the Orth family lived in several locations in New York including Ridgewood, Brooklyn, Glendale, and Queens. The home that made the most impact in young Orth's life came in 1935 when the family moved to St. Albans, Queens seven miles from Flushing Meadow Park, the future site of the 1939 fair. Sadly in 1939 there were several deaths in the family including three grandparents. The severe loss of life limited family social activities but a drive by the future site of the fair provided Orth a glimpse of the Trylon and Perisphere. He would later remark that the sight appeared to be magic. In the summer of 1939, he went to the fair with his classmates from Public School 136. The next summer Orth and his father purchased a 10-admission ticket from an elementary school in Hollis, Queens, New York. He saved every souvenir and any information he could find about the fair. He filled scrapbooks with images from newspapers and postcards from the Curt Teich and Manhattan Postcard companies. When his family moved from an apartment to a house, he acquired a fair bench which was kept in the backyard.

In 1941, Orth attended Newton High School in Elmhurst, and Queens, New York. The high school offered a college preparatory program with heavy emphasis on mathematics, science, mechanical drawing, and workshop courses. Orth's education and training combined with the knowledge he gained from motion picture films viewed at the fair, including Thomas Edison's "The City of Light," Ford Motor Company's "Road of Tomorrow," "Democracy," and General Motors' "Futurama" provided the foundation and inspiration for a career in architecture and landscaping. He ultimately became a city planner for the state of California. By 1943, Orth was exploring used magazine and bookstores in New York City to acquire more fair materials before enlisting in the United States Army in 1945. Upon his discharge he resumed buying and trading fair postcards. From 1948-1953, Orth attended the University of California and the University of Connecticut where he studied architecture and landscape design. During these years he posted advertisements in various publications in his continued pursue for fair materials.

In March 1953, Mr. Orth moved to Los Angeles, California. There he formed lasting friendships with other collectors. By 1967, Orth and several of his closest friends including Peter Warner, Oscar Hengstler, David Oats, Larry Zim, and Ernest Weidhaas conceived the idea of a fair collector's organization. By the summer of 1968, the group had formally created the Exhibition Collectors Historical Organization (ECHO).

As time passed Orth became increasing concerned about the welfare of his collection. He wanted it to go to a museum rather than be sold in parts. In his will he stipulated that the collection would be given to the Smithsonian Institution upon his death. Jon Zackman, former Smithsonian employee, interviewed Orth's brother George and fair collector Peter Warner. Orth and Warner corresponded and traded objects over many years. Mr. Orth primarily covered the west coast area while Peter Warner was his east coast counterpart. Edward Orth died on September 6,1989 in Los Angeles, California at the age of sixty-two.
Related Materials:
Materials in the Archives Center

New York World's Fair Collection, NMAH.AC.0134

Landor Design Collection, NMAH.AC.0500

Warshaw Collection of Business Americana, Subject Category, World Expos, NMAH.AC.0060

Larry Zim World's Fair Collection, NMAH.AC.0519

Alice R. Hillis World's Fair Film, NMAH.AC.0531

Borden Company 1939 New York World's Fair Collection, NMAH.AC.1063

Memories of the New York World's Fair, NMAH.AC.0592

Archives Center World Expositions Collection, NMAH.AC.0825

Daniel H. Meyerson World's Fair Collection, NMAH.AC.0745

Division of Community Life World's Fairs Collection, NMAH.AC.1132

Princeton University Posters Collection, NMAH.AC.0433

Hills Bros. Coffee Company, Incorporated Records, NMAH.AC.0395

Smithsonian Speech Synthesis History Project, NMAH.AC.0417

Messmore and Damon Company Records, NMAH.AC.0846

Thomas Norrell Railroad Collection, NMAH.AC.1174

William L. Bird Holidays on Display Collection, NMAH.AC.1288

Wurlitzer Company Records, NMAH.AC.0469

Victor A. Blenkle Postcard Collection, NMAH.AC.0200

Materials at Other Organizations

New York Public Library The New York World's Fair 1939 and 1940 Incorporated Records, 1935-1945, MssCol 2233.

New York City 1939 World's Fair architectural drawings, circa 1935. Museum of the City of New York. Museum of the City of New York.

New York City 1939 World's Fair Collection, 1939-1940. Museum of the City of New York. New York World's Fair 1939/40 Collection. Queens Museum.

1939 New York World's Fair Postcards, Identifier: 1972-320, Audiovisual Collections Repository, Hagley Museum & Library
Separated Materials:
Materials at the National Museum of American History

Artifacts from the collection include several thousand souvenirs and examples of memorabilia commemorating the fair to include buttons and badges, ceramics, glassware, clothing, costume jewelry, coins and medals, commemorative spoons and flatware, toys and games, and philatelic material which are all part of the Division of Home and Community Life's holdings (now Division of Cultural and Community Life).
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. Viewing film portion of collection requires special appointment, please inquire. Do not use when original materials are available on reference video or audio tapes. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Exhibitions -- 1930-1940 -- New York (State) -- New York  Search this
World's fairs  Search this
Amusement parks--History  Search this
Amusement parks--New York (State)--History  Search this
Architecture--Exhibitions  Search this
Architecture--New York (State)--New York  Search this
Architecture--United States--Designs and plans  Search this
Burlesque shows--New York (State)--New York--1930-1940  Search this
Business history Business enterprises--United States--History  Search this
Chicago's Century of Progress  Search this
Construction and civil engineering  Search this
Construction industry--United States--Management--History  Search this
Corporate culture--History  Search this
Corporate culture--United States  Search this
Engineering--History--20th century  Search this
Exhibition buildings – New York (State) – New York  Search this
Exhibition buildings--1920-1940  Search this
Exhibitions -- Design  Search this
Exhibitions -- 1930-1940 -- New York (State) -- New York  Search this
Fairs -- New York (State) -- New York -- History  Search this
Fashion--History--20th century  Search this
Flushing Meadows-Corona Park (New York, N.Y.)--History  Search this
Food in popular culture--New York (State)--New York  Search this
Graphic arts--United States--History--20th century  Search this
International exhibitions  Search this
International Exhibitions Bureau  Search this
Lighting, Architectural and decorative--History--20th century  Search this
Technology -- United States -- History -- 20th century  Search this
Transportation--New York Metropolitan Area--Planning  Search this
Transportation--New York (State)  Search this
United States --Foreign relations --1933-1945  Search this
Urban parks--United States--History  Search this
Urban design  Search this
World War, 1939-1945 -- Economic aspects -- United States  Search this
Consumerism  Search this
Consumers--History--20th century  Search this
General Motors Corporation  Search this
Grand Central Parkway extension  Search this
Organizational behavior--United States--History  Search this
Public relations--History  Search this
New York World's Fair Commission  Search this
Queens (New York, N.Y.) Buildings, structures, etc.  Search this
Genre/Form:
Souvenirs -- 1930-1940
Photographs -- Black-and-white photoprints -- Silver gelatin -- 1930-1940
Pamphlets -- 1930-1940
Guidebooks -- 1930-1940
Exhibition posters--1930-1940
Diaries
Ephemera -- 20th century
Film transparencies
Motion picture film
Posters -- 1930-1940
Citation:
Edward J. Orth Memorial Archives of the New York World's Fair, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0560
See more items in:
Edward J. Orth Memorial Archives of the World's Fair
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0560
Online Media:

Materials Relating to Other Fairs, Celebrations and Events

Collection Collector:
Orth, Edward J.  Search this
Exhibition Collectors Historical Organization  Search this
Type:
Archival materials
Date:
1851-2000, undated
Scope and Contents:
Consist of programs, maps, correspondence, official guides, view books, images, publications, magazine articles, newspaper clippings, and ephemera created for and about world's fairs dating from 1851-2000. There is a small amount of material about carnivals, the Olympic games, state fairs, the American Revolution bicentennial, and festivals. In addition, Orth also collected materials that discussed more than one fair or provided general information about them. Series is arranged into fifty subseries: Subseries 8.1: Great Exhibition of the Works of Industry of All Nations/Crystal Palace Exhibition, 1851; Subseries 8.2, Exhibition of the Industry of All Nations, 1853-1853; Subseries 8.3, International Exhibition of Arts, Manufactures, and Products of the Soil and Mine or Centennial International Exhibition, 1876; Subseries 8.4, World's Columbian Exposition, 1893; Subseries 8.5, Exposition Internationale D'Anvers, Antwerp, Belgium; Subseries 8.6, Tennessee Centennial and International Exposition, 1897; Subseries 8.7, Trans-Mississippi and International Exposition, 1898; Subseries 8.8, Expositions, 1901; Subseries 8.9, Louisiana Purchase Exposition, 1906; Subseries 8.10, Jamestown Tercentennial Exposition, 1907; Subseries 8.11: Alaska, Yukon, Pacific Exposition, 1909; Subseries 8.12, Panama-California Exposition, 1915-1916; Subseries 8.13, Bronx International Exposition of Science, Arts, and Industries, 1918; Subseries 8.14, Sesquicentennial Exposition, 1926; Subseries 8.15, Barcelona International Exposition, 1929; Subseries 8.16, L'Exposition Coloniale, Paris, 1931; Subseries 8.17, Olympics, 1932; Subseries 8.18, A Century of Progress International Exposition, 1933; Subseries 8.19, Expositions, 1935; Subseries 8.20, Expositions, 1936; Subseries 8.21, Exposition Internationale des Arts et Techniques dans la Vie Moderne, 1937; Subseries 8.22, Golden Gate International Exposition, 1939 Subseries 8.23, Festival of Britain, Festival of Britain, London, United Kingdom, 1951; Subseries 8.24: Milan Fair, 1955; Subseries 8.25, Exposition Universelle et venti Internationale de Bruxelles, 1958; Subseries 8.26, New York's World Fair, 1961-1965; Subseries 8.27, American National Exhibition, 1959; Subseries 8.28, Century 21 Exhibition, 1962; Subseries 8.29, International and Universal Exposition or Expo '67, 1967; Subseries 8.30, Long Beach, California Long Beach, California; Subseries 8.31, HemisFair '68, 1968; Subseries 8.32, Expo '70, Japan World Exposition, 1970; Subseries 8.33, Expo 74, 1974; Subseries 8.34, Expo '75 or International Ocean Exposition, 1975; Subseries 8.35, American Revolution Bicentennial, 1776-1976, 1976; Subseries 8.36, Queens Bicentennial Festival, 1975-1976; Subseries 8.37, Expo 81; Subseries 8.38, Kobe Port Island Exposition or Portopia 81, 1981; Subseries 8.39, Knoxville International Energy Exposition or 1982 World's Fair, 1982; Subseries 8.40: Louisiana World Exposition, 1984; Subseries 8.41: Games of the XXIII Olympiad, 1984; Subseries 8.42: The International Exposition, Tsukuba, Japan or The International Science Technology Exposition, 1985; Subseries 8.43, Queens Festival, 1985; Subseries 8.44: Expo '86, 1986; Subseries 8.45: World Expo '88, 1988; Subseries 8.46, Universal Exposition of Seville or Expo 92, 1992; Subseries 8.47, Expo 2000, 2000; Subseries 8.48, Other Events and Celebrations, 1886-1989; Subseries 8.49, Combined Fairs, 1968-1994; and Subseries 8.50, General information about world's fairs, 1964-1980.
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. Viewing film portion of collection requires special appointment, please inquire. Do not use when original materials are available on reference video or audio tapes. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Edward J. Orth Memorial Archives of the New York World's Fair, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0560, Series 8
See more items in:
Edward J. Orth Memorial Archives of the World's Fair
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0560-ref2140

Art and Industry

Collection Collector:
Orth, Edward J.  Search this
Exhibition Collectors Historical Organization  Search this
Container:
Box 222
Type:
Archival materials
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. Viewing film portion of collection requires special appointment, please inquire. Do not use when original materials are available on reference video or audio tapes. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Edward J. Orth Memorial Archives of the New York World's Fair, Archives Center, National Museum of American History
See more items in:
Edward J. Orth Memorial Archives of the World's Fair
Edward J. Orth Memorial Archives of the World's Fair / Series 7: Publications / 7.1: Magazines
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0560-ref3553

Bronx International Exposition of Science, Arts and Industries

Collection Collector:
Orth, Edward J.  Search this
Exhibition Collectors Historical Organization  Search this
Type:
Archival materials
Date:
1918-1918
Scope and Contents:
Includes a publication relating to the commemoration of the 300th anniversary of Bronx, New York. The material dates after the fair.
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. Viewing film portion of collection requires special appointment, please inquire. Do not use when original materials are available on reference video or audio tapes. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Edward J. Orth Memorial Archives of the New York World's Fair, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0560, Subseries 8.13
See more items in:
Edward J. Orth Memorial Archives of the World's Fair
Edward J. Orth Memorial Archives of the World's Fair / Series 8: Materials Relating to Other Fairs, Celebrations and Events
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0560-ref3890

Bronx International Exposition of Science, Arts and Industries, New YorK, New York

Collection Collector:
Orth, Edward J.  Search this
Exhibition Collectors Historical Organization  Search this
Container:
Box 349, Folder 8
Type:
Archival materials
Date:
1977
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow. Viewing film portion of collection requires special appointment, please inquire. Do not use when original materials are available on reference video or audio tapes. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Edward J. Orth Memorial Archives of the New York World's Fair, Archives Center, National Museum of American History
See more items in:
Edward J. Orth Memorial Archives of the World's Fair
Edward J. Orth Memorial Archives of the World's Fair / Series 8: Materials Relating to Other Fairs, Celebrations and Events / 8.13: Bronx International Exposition of Science, Arts and Industries
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0560-ref3891

John H. White, Jr. Railroad Reference Collection

Collector:
Watkins, J. Elfreth (John Elfreth), 1852-1903  Search this
National Museum of American History (U.S.). Division of Transportation  Search this
Creator:
White, John H., 1933-  Search this
Extent:
31.33 Cubic feet (94 boxes)
Type:
Collection descriptions
Archival materials
Ephemera
Manuscripts
Writings
Articles
Photographs
Photocopies
Research
Date:
1880s-1990
Scope and Contents:
The archivist has arranged the collection into five separate series: Series 1: CAR BUILDERS, arranged alphabetically by company or individual. Series 2: EQUIPMENT - ROLLING STOCK, arranged in two sections: alphabetically by White's heading: Articles in Progress and alphabetical by type of railroad car under White's heading: Research Files for Book in Progress. Series 3: LOCOMOTIVES, arranged alphabetically by Locomotive builders in two sections, first by individual company and second by individuals. Series 4: RAILROAD COMPANIES AND LINES, arranged alphabetically by railroad companies and railroad lines. Series 5: PUBLICATIONS, White's files for his book The American Railroad Freight Car, which are arranged into two sections, Illustrations and Text. Both sections are arranged numerically by chapters or sections of the book.
Arrangement:
The collection is divided into five series. Most material arranged alphabetically and chronologically.

Series 1: Car Builders

Series 2: Equipment--Rolling Stock

Subseries 2.1: Articles in progress

Subseries 2.2: Research Files for Books in Progress

Series 3: Locomotives

Series 4: Railroad Companies and Lines

Series 5: Publications
Biographical / Historical:
John H. White, Jr., (1933- ), historian and museum curator, was born in Cincinnati, Ohio. He graduated with a B.A. in history from Miami University, Ohio, in 1958. Shortly after receiving his degree, White joined the staff of the Smithsonian Institution as Assistant Curator of the Division of Transportation, Department of Science and Technology, National Museum of History and Technology (NMHT). White became Associate Curator of the Division, 1961-1966, Curator, 1967-1985, and Senior Historian, 1986-1989. White specialized in land transportation, particularly the history of railroads. He retired in 1990. His papers, the John H. White, Jr., Papers, circa 1959-1989 are at the Smithsonian Institution Archives.

This collection of railroad materials was begun many years ago by employees of the Smithsonian Institution, and maintained later by curators and museum specialists working in the Division of Transportation, NMHT, later named the National Museum of American History (NMAH).

Some of the clippings date back to the time of J. Elfreth Watkins in the 1880-1890s. In 1885 Watkins was appointed Curator of the Section of Steam Transportation, which was successively known as Transportation and Engineering, and Technological Collections. Other portions of White's collection were clearly from Carl Mitman, author of several hundred entries on inventors and engineers in the Dictionary of American Biography and a Smithsonian employee who served as Curator of Mechanical Technology in 1919. In 1921 Mitman took the title of Curator of the Divisions of Mineral and Mechanical Technology, serving in this capacity until 1931. In 1931 the Division of Engineering was established. Mitman served as Curator of the Division and in charge of Mineral Technology, 1931-1938, Head Curator of the Department of Arts and Industries, 1932-1938, and Head Curator of the Department of Engineering and Industries, 1938-1948.

Some portions of this collection were acquired under the time of Frank A. Taylor (Mitman's protégé) who was Assistant Curator, 1928-1931, Assistant Curator for Mechanical Technology, 1932, Curator of the Division and in charge of Mechanical Technology, 1932-1948, Head Curator of the Division of Engineering and Industry, 1948-1957. In 1955 Taylor was appointed Assistant Director, United States National Museum (USNM), with special responsibility for planning the new NMHT, and in 1958 was appointed the first Director of the new museum. In 1962 Taylor became Director of the USNM with responsibility for both the National Museum of Natural History and NMHT.

Smith Hempstone Oliver of the Division of Transportation also kept up the files to a degree, though his main interest was in automobiles.

When White started employment at the Museum in June, 1958, there were, perhaps, two file cabinets on railroads. As Mr. White mentions in a letter to the archivist in March of 2002, "It was and is a great mix of odds and ends -- photos, news clippings, small prints, manufacturing catalogs, post cards, etc. Some junk and some treasure."

White found the material very useful for research and greatly expanded the collection. It more than doubled in size during his years in the Division, 1958-1990. The collection was White's working file and was set up to meet his needs. According to White, the collections greatest lack was cross referencing -- which was mostly in his head. He could usually find things but the organization might be confusing to other users. It was not intended for public use.

White is the author of many books on railroads, including:

American Locomotives: An Engineering History, 1830-1880. Baltimore: Johns Hopkins Press, 1968; 1997.

Early American Locomotives, with 147 engraving. New York: Dover Publications, 1972.

American Single Locomotives and the "Pioneer". Washington: Smithsonian Institution Press, 1973.

The Pioneer, Chicago's First Locomotive. Chicago: Chicago Historical Society, 1976.

The American Railroad Passenger Car. Baltimore: Johns Hopkins University Press, 1978.

The John Bull, 150 Years a Locomotive. Washington, D.C.: Smithsonian Institution Press, 1981.

A Short History of American Locomotive Builders in the Steam Era. Washington, D.C.: Bass, 1982.

Great Yellow Fleet: A History of American Railroad Refrigerator Cars. Golden West Books, 1986

The American Railroad Freight Car: From the Wood-Car Era to the Coming of Steel. Baltimore: Johns Hopkins University Press, 1993.
Provenance:
The manuscript was donated by Jack White in 1995.
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:
Railroads -- History  Search this
Genre/Form:
Ephemera
Manuscripts
Writings
Articles
Photographs -- 19th century
Photocopies
Research
Citation:
John H. White, Jr. Railroad Reference Collection, ca. 1830-1980, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0523
See more items in:
John H. White, Jr. Railroad Reference Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0523
Online Media:

Frances Benjamin Johnston and Thomas W. Smillie Glass Plate Negatives

Printer:
MacCormack, Forrest (intern)  Search this
Talman, Hugh (photographer)  Search this
Photographer:
Smillie, T. W. (Thomas William), 1843-1917  Search this
Johnston, Frances Benjamin, 1864-1952  Search this
Collector:
National Museum of American History (U.S.). Division of Domestic Life  Search this
Names:
World's Columbian Exposition (1893 : Chicago, Ill.) -- Photographs  Search this
Extent:
2 Cubic feet (7 boxes)
Type:
Collection descriptions
Archival materials
Photographs
Contact prints
Place:
White House (Washington, D.C.)
Washington (D.C.) -- 1890-1900
Chicago Ill. -- 1890-1900
Date:
1993 - 1993
circa 1888-1899, 1906
Summary:
Twenty glass plate negatives and reference copy prints of the images taken between the late 1880s and the early 1900s by Frances Benjamin Johnston and Thomas W. Smillie. The images depict the skyline of Washington D.C., views from the 1893 World's Fair: Columbian Exposition, blueprints for the Smithsonian Arts and Industries Building, and an unidentified orchestra.
Scope and Contents:
The collection consists of twenty glass plate negatives and associated reference copy prints depicting scenes from the 1893 World's Fair: Columbian Exposition in Chicago, Illinois as well as images of the Washington D.C. skyline dating from between 1888 and 1899. The glass plate negatives range in size from 17" x 20" to 20" x 24" while the silver gelatin, resin-coated paper prints are all 20" x 24". All the images are black and white.

Series 1, Glass Plate Negatives, 1893, 1906, circa 1888-1899, is arranged by a numbering system, possibly assigned by the Smithsonian Office of Printing and Photographic Services (OPPS). The numbers were etched or written on the negatives, for example 3107. The series begins with the numbered images from Washington DC (#3101-#3107), followed by images without identifying numbers. The numbered images from the 1893 Columbian Exposition (non-inclusive #11302-11359) come next, followed by the images without identifying numbers.

The images of Washington D.C., when arranged in the following sequence, form a panorama of the Washington D.C. city: #3103, #3107, #3104, #3101, #3106, #3105, #3102. The images were taken from the tower of the Smithsonian Castle facing north, beginning with a view of the United States Capitol Building in the east (#3102) and ending with a view of the incomplete Washington Monument in the west (#3103). An unnumbered image of the United States Capitol taken after 1899 from the tower of the Old Post Office and Clock Tower looking down Pennsylvania Avenue is included. Two unnumbered blueprints dated July 19, 1906 show the second and third floor layouts of the Smithsonian Arts and Industries Building.

The images of the 1893 World's Fair: Columbian Exposition show various buildings built for the event as well as a replica of the Battleship Illinois which was constructed to illustrate advances in naval technology. Exterior views of the Administration Building, Government Building, Palace of Fine Arts, Manufactures and Liberal Arts Building as well as an interior view of the World's Fair Post Office in the Government Building are found among the negatives. A number of the images appear to have been taken from atop some of the buildings looking down.

One unnumbered and unidentified picture of a musical orchestra sitting on stage is included at the end of the series.

Series 2, Copy prints, 1993, include duplicate or, in some instances triplicate, photographic copy prints of the images from the glass plate negatives. In the case of #11311 and #11359, no copy prints exist. The silver gelatin prints on resin-coated paper were created in the fall of 1993.
Arrangement:
The collection is arranged in two series.

Series 1: Glass Plate Negatives, 1893, 1906, circa 1888-1899

Series 2: Copy prints (reference copies), 1993
Biographical / Historical:
While the origin and provenance of some of the glass plate negatives is uncertain, it is likely that the images were created by Smithsonian photographer and curator Thomas W. Smillie and by Frances Benjamin Johnston, a prominent female photographer who was a protege of Smillie's.

Thomas W. Smillie was born in Edinburgh, Scotland in 1843 and emigrated to the United States when he was five years old. He attended Georgetown University, where he studied medicine and chemistry. Shortly thereafter he became a photographer for the Smithsonian and remained with the institution until his death in 1917. In 1896 he was named "custodian" of photography for the Institution, in essence becoming its first photography curator. He staged photographic exhibits and actively collected both images and equipment related to photography.

Frances Benjamin Johnston was an early pioneer for women in the field of photography and photojournalism. Born in 1864 in Grafton, West Virginia, Johnston studied art in Maryland and later at the Académie Julien in Paris. Her high-profile family connection with the Eastman family as well as her insatiable appetite for knowledge about photographic processes quickly propelled her to a formidable professional career. Her work appeared in publications such as The Ladies' Home Journal, Harper's Weekly, and Cosmopolitan, among others. As an apprentice to Thomas W. Smillie, Johnston was engaged to photograph the 1893 World's Fair: Columbian Exposition in Chicago. She made Washington D.C. her home and had the opportunity to photograph a large number of high profile individuals and government officials, including five United States presidents. Her photography often documented mundane and commonplace aspects of life rather than spectacular or prominent ones. Later in her career she focused her photography on colonial architecture, with images of houses, barns, and other buildings that intentionally showed everyday life in the United States South rather than high profile structures which had already been well-documented. She moved to New Orleans in 1940 and died in 1952.
Related Materials:
Materials at the Smithsonian Institution

Smithsonian Institution Archives

Records, circa 1883-1984 (SIA RU000529)

Field Research Photographs, circa 1909-1924 (SIA Acc. 02-086)

Personnel Records, 1892-1952 (SIA Acc. 05-123)

Collected Registers, 1908-1912 and undated (SIA Acc. 06-138)

National Anthropological Archives

Glass Negatives of Indians (Collected by Bureau of American Ethnology)
Provenance:
Immediate source of acquisition unknown.
Restrictions:
The collection is open for research. Reference photograph copies should be used where possible. Gloves must be worn when handling unprotected photographs and negatives. Special care is required when handling the glass plate negatives both because of their large size and because some of the negatives are broken.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Washington Monument (Washington, D.C.)  Search this
Genre/Form:
Photographs -- Black-and-white negatives -- Glass -- 1890-1900
Contact prints -- 1950-2000
Citation:
Frances Benjamin Johnston and Thomas W. Smillie Glass Plate Negatives, 1888-1906, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0416
See more items in:
Frances Benjamin Johnston and Thomas W. Smillie Glass Plate Negatives
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0416

No Number, [Smithsonian Arts and Industries Building Blueprint, Second Floor]

Collection Printer:
MacCormack, Forrest (intern)  Search this
Talman, Hugh (photographer)  Search this
Collection Photographer:
Smillie, T. W. (Thomas William), 1843-1917  Search this
Johnston, Frances Benjamin, 1864-1952  Search this
Container:
Box 3, Folder 2
Type:
Archival materials
Graphic Materials
Date:
1906 July 19
Collection Restrictions:
The collection is open for research. Reference photograph copies should be used where possible. Gloves must be worn when handling unprotected photographs and negatives. Special care is required when handling the glass plate negatives both because of their large size and because some of the negatives are broken.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Frances Benjamin Johnston and Thomas W. Smillie Glass Plate Negatives, 1888-1906, Archives Center, National Museum of American History
See more items in:
Frances Benjamin Johnston and Thomas W. Smillie Glass Plate Negatives
Frances Benjamin Johnston and Thomas W. Smillie Glass Plate Negatives / Series 1: Glass Plate Negatives
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0416-ref24

No Number, [Smithsonian Arts and Industries Building Blueprint, Third Floor]

Collection Printer:
MacCormack, Forrest (intern)  Search this
Talman, Hugh (photographer)  Search this
Collection Photographer:
Smillie, T. W. (Thomas William), 1843-1917  Search this
Johnston, Frances Benjamin, 1864-1952  Search this
Container:
Box 3, Folder 3
Type:
Archival materials
Graphic Materials
Date:
1906 July 19
Collection Restrictions:
The collection is open for research. Reference photograph copies should be used where possible. Gloves must be worn when handling unprotected photographs and negatives. Special care is required when handling the glass plate negatives both because of their large size and because some of the negatives are broken.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Frances Benjamin Johnston and Thomas W. Smillie Glass Plate Negatives, 1888-1906, Archives Center, National Museum of American History
See more items in:
Frances Benjamin Johnston and Thomas W. Smillie Glass Plate Negatives
Frances Benjamin Johnston and Thomas W. Smillie Glass Plate Negatives / Series 1: Glass Plate Negatives
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0416-ref25

No Number Reference Photograph, [Smithsonian Arts and Industries Building Blueprint, Second Floor]

Collection Printer:
MacCormack, Forrest (intern)  Search this
Talman, Hugh (photographer)  Search this
Collection Photographer:
Smillie, T. W. (Thomas William), 1843-1917  Search this
Johnston, Frances Benjamin, 1864-1952  Search this
Container:
Box 7, Folder 2
Type:
Archival materials
Graphic Materials
Date:
1906 July 19
Collection Restrictions:
The collection is open for research. Reference photograph copies should be used where possible. Gloves must be worn when handling unprotected photographs and negatives. Special care is required when handling the glass plate negatives both because of their large size and because some of the negatives are broken.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning intellectual property rights. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Frances Benjamin Johnston and Thomas W. Smillie Glass Plate Negatives, 1888-1906, Archives Center, National Museum of American History
See more items in:
Frances Benjamin Johnston and Thomas W. Smillie Glass Plate Negatives
Frances Benjamin Johnston and Thomas W. Smillie Glass Plate Negatives / Series 2: Copy prints (reference copies)
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0416-ref47

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