United States of America -- New Jersey -- Union -- Summit
Date:
1900
Varying Form:
The Clearing, formerly known as.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Brown Foundation. Funding for the digitization of this collection was provided by the Terra Foundation for American Art.
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
on back: a description of Genoa and the cemetery on the Bisagno River.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
on back: Photographed and Published by B. W. Kilburn, Littleton, N.H.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Historic Series title : American Views/Standard Series
Historic Image #: 2487
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
on back: Boehl & Koenig's Views of Shaw's Missouri Botanical Garden, Tower Grove Park, Fair Grounds, Lafayette Park, Arsenal Grounds &c. No. 707 North 4th Street, St. Louis.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
on back: Boehl & Koenig's Views of Shaw's Missouri Botanical Garden, Tower Grove Park, Fair Grounds, Lafayette Park, Arsenal Grounds &c. No. 707 North 4th Street, St. Louis.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
on back: Photographed and Published by B. W. Kilburn, Littleton, N. H.
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
The papers of Southern California architectural historian, critic, and writer Esther McCoy measure 44.0 linear feet and date from 1876 to 1990 (bulk 1938-1989). McCoy was interested in both Italian and Mexican architecture as well as the folk art and crafts of Mexico and South America. The collection documents McCoy's career, as well as her family and personal life through biographical material, extensive correspondence, personal and professional writings, project files, Southern California architects' files, clippings and other printed material, a large collection of photographs and slides, and taped interviews of Southern California modern architects.
Scope and Content Note:
The papers of Southern California architectural historian, critic, and writer Esther McCoy measure 44.0 linear feet and date from 1876 to 1990 (bulk 1938-1989). McCoy was interested in both Italian and Mexican architecture as well as the folk art and crafts of Mexico and South America. The collection documents McCoy's career, as well as her family and personal life through biographical material, extensive correspondence, personal and professional writings, project files, Southern California architects' files, clippings and other printed material, a large collection of photographs and slides, and taped interviews of Southern California modern architects.
Biographical and family material consists of awards, resumes, identification documents, and other documentation of McCoy's personal life. Included are a transcript of a 1984 interview of McCoy by Makoto Watanabe and material relating to her friend, Theodore Dreiser.
Correspondence focuses on her personal relationships with family, friends, and lovers, and general correspondence relating primarily to her work as a writer. McCoy's personal correspondence is valuable to researchers who are interested in her personal life, her struggles as a young writer, and the way in which her family, friends, lovers, mentors, and colleagues helped to shape her work and career. As documented in this correspondence, her life offers a glimpse into twentieth-century American social and political history, especially the radical leftist movements of the 1920s and 1930s. Researchers interested in the roots of feminism in the United States should also find these papers useful in documenting the life of a creative and productive woman who was successful in a field then almost entirely dominated by men. Correspondents of note include her husband Berkeley Tobey, lovers Geoffrey Eaton and Albert Robert, writers Ray Bradbury and Theodore Dreiser, and artists and architects, such as Dorothy Grotz, Craig Ellwood, A. Quincy Jones, Hans Hollein, and J. R. Davidson. General correspondence is primarily with researchers, professors, architects, publishers, and professional organizations.
Personal writings include McCoy's diaries, notebooks, and memoirs, and writings by others including friends, lovers, and colleagues. Also included are drafts of McCoy's fictional works, both published and unpublished, including short stories, teleplays, and novels.
The collection contains in-depth documentation of McCoy's pioneering study of the modernist work of twentieth-century architects in Southern California. The bulk of her papers consist of her writing files for books, exhibition catalogs, articles, and lectures on architecture. Because many of the architects about whom McCoy wrote were her contemporaries, she developed personal relationships with several of them through her research and writing. Her writing files include drafts, notes, research material, photographs, and correspondence. McCoy also traveled extensively, particularly in Italy and Mexico, and wrote about architecture, craft, and culture in those countries. Project files document McCoy's other activities related to architectural history, such preservation projects, juries, grants, the Dodge House Preservation Campaign and related film project, her work for the Society of Architectural Historians and the Historic American Buildings Survey (HABS), and her work at the UCLA School of Architecture and Urban Planning, compiling a slide library and cataloging the Richard Neutra's papers. McCoy also maintained architect files which may contain correspondence, notes, photographs, research material, interview transcripts, about architects and their works. Among these extensive records, the files documenting the careers of R. M. Schindler, Irving Gill, Richard Neutra, and Juan O'Gorman are particularly rich.
Printed material in this collection documents McCoy's career as well as her personal interests. Included are books, clippings, magazines, newsletters, press releases, as well as publications arranged by subject such as architecture, art, Italy, and Mexico. McCoy also collected literary and leftist publications. The small amount of artwork in this collection consists of artwork sent to her by friends, including a drawing of her by Esther Rollo and etchings by various artists including Thomas Worlidge.
There are personal photographs of family and friends and of McCoy at different times in her life, as well as photographs gathered during the course of her research on architecture. Found here are photographs of architects and their works, including a large number depicting the work of Gregory Ain, Luis Barragan, J. R. Davidson, Irving Gill, Bernard Maybeck, Juan O'Gorman, R. M. Schindler, and Raphael Soriano. Many of these photographs were taken by notable architectural photographers Julius Shulman and Marvin Rand. Also found are photographs of architecture designed for the Case Study House program of Arts & Architecture magazine; exhibition photographs, primarily for the exhibition "Ten Italian Architects" in 1967; and other research photographs primarily documenting architecture and craft in other countries and the history of architecture in California. This series also includes approximately 3,600 slides of architecture.
Audio and video recordings include a videocassette of McCoy's 80th birthday party and 55 taped interviews with architects, people associated with architectural projects, and artists.
Arrangement:
The collection is arranged into 10 series:
Missing Title
Series 1: Biographical and Family Material, 1881-1989 (boxes 1, 48; 0.6 linear feet)
Series 2: Correspondence, 1896-1989 (boxes 1-6, 4.9 linear feet)
Series 3: Personal Writings, 1919-1989 (boxes 6-14; 8.1 linear feet)
Series 4: Architectural Writings, 1908-1990 (boxes 14-24, 42, 49, 50; 10.2 linear feet)
Series 5: Projects, circa 1953-1988 (boxes 24-26, 47, FC 53-56; 2.5 linear feet)
Series 6: Architect Files, 1912-1990 (boxes 26-28, 42; 2.2 linear feet)
Series 7: Printed Material, circa 1885-1990 (boxes 28-31, 42; 2.9 linear feet)
Series 8: Artwork, 1924-1967, undated (box 31; 0.4 linear feet)
Series 9: Photographs and Slides, circa 1876-1989 (boxes 31-38, 41-46, 51; 8.3 linear feet)
Series 10: Audio and Video Recordings, 1930-1984 (boxes 38-40, 47; 2.5 linear feet)
Biographical Note:
Esther McCoy (1904-1989) is remembered best for her pioneering work as an architectural historian, critic, and proponent of Southern California modern architecture of the early to mid-twentieth century. McCoy was interested in both Italian and Mexican architecture as well as the folk art and crafts of Mexico and South America. Although her professional interests ranged from writing fiction to studying the folk architecture and crafts of Mexico, McCoy achieved her most notable success for her numerous articles, books, and exhibitions about Southern California architecture and the architects associated with the modernist movement.
Born in Arkansas in 1904, Esther McCoy grew up in Kansas and attended various schools in the Midwest. In 1926 she left the University of Michigan to launch a writing career in New York, where she moved in avant-garde literary circles and conducted research for Theodore Dreiser. She began writing fiction in New York and continued to write after moving to Los Angeles in 1932, working on short stories, novels, and screenplays. She published numerous short stories between 1929 and 1962, with works appearing in the New Yorker, Harper's Bazaar, and university quarterlies. Her short story, "The Cape," was reprinted in Best Short Stories of 1950. Many of the novels that she wrote from the mid-1960s through the 1980s were related thematically to architects and architecture.
During the late 1920s and throughout the 1930s, McCoy participated in the politically radical movements of the period and wrote for leftist publications. Her interest in the lowcost housing projects of modern architects was prompted by one of her articles about slums for Epic News. During World War II she entered a training program for engineering draftsmen at Douglas Aircraft and in 1944 was hired as an architectural draftsman for the architect R.M. Schindler. As she became increasingly interested in modern architecture and design, she combined her two major career interests and began to focus her energies on architectural research, writing, and criticism. Her first article on architecture, "Schindler: Space Architect," was published in 1945 in the journal Direction.
McCoy began writing about architecture in earnest in 1950 as a free-lance contributor to the Los Angeles Times. From then until her death in 1989, she wrote prolifically for Arts & Architecture magazine, Los Angeles Times, Los Angeles Herald Examiner, Architectural Record, L'Architectura, Zodiac (Italy), Progressive Architecture, Lotus (Italy), and Architectural Forum. In addition to her numerous articles, McCoy wrote several books on Southern California modern architecture and architects. Her first major work, Five California Architects, published in 1960, is now recognized as a classic work in modern architectural history. It promoted a serious study of modern architecture in Southern California and introduced to the world several leading California architects and their work: Bernard Maybeck, Irving Gill, Charles and Henry Greene, and R.M. Schindler. That same year, she published another important book focusing on the work of the California architect Richard Neutra. Other books by McCoy include Modern California Houses: Case Study Houses (1962), Craig Ellwood (1968), Vienna to Los Angeles: Two Journeys (1979), and The Second Generation (1984).
In addition to these books, McCoy organized and wrote catalogs for several significant exhibitions focusing on contemporary architects. Her first was the R.M. Schindler Retrospective, a 1954 exhibition at the Landau Art Gallery in Los Angeles. Her other exhibitions and accompanying catalogs include Roots of California Contemporary Architecture, 1956, Los Angeles Municipal Art Department; Felix Candela, 1957, University of Southern California, Los Angeles; Irving Gill, 1958, Los Angeles County Museum of Art; Juan O'Gorman, 1964, San Fernando Valley State College; and Ten Italian Architects, 1967, Los Angeles County Museum of Art. Moreover, McCoy contributed numerous essays to other exhibition catalogs and publications, lectured at the University of Southern California, participated in preservation projects, organized tours for the Society of Architectural Historians, and contributed to a number of documentary films. Her energy and interests also led her to catalog and transcribe Richard Neutra's papers at the University of California Los Angeles Archives.
McCoy received national recognition from the American Institute of Architects for her seminal and prolific work in the field of Southern California modern architectural history and criticism. Her interests, however, were not exclusively bound to California. She traveled the world and was interested in both Italian and Mexican architecture as well as the folk art and crafts of Mexico and South America. She made five extended trips to Italy during the 1950s and 1960s, publishing regularly about the architecture there and curating the exhibition Ten Italian Architects. She was a contributing editor to two Italian journals, Zodiac and Lotus, and was awarded the Star of Order of Solidarity in 1960 by the Republic of Italy for her research and writing.
Esther McCoy died of emphysema on December 30, 1989, at the age of eighty-five. Her last contribution was an essay for the exhibition catalog Blueprints for Modern Living: History and Legacy of the Case Study House. The show opened at the Museum of Contemporary Art in Los Angeles one month before her death.
Missing Title
1904 -- Born November 18 in Horatio, Arkansas. Raised in Kansas.
1920 -- Attended preparatory school at Central College for Women, Lexington, Missouri.
1922-1925 -- College education: Baker University, Baldwin City, Kansas; University of Arkansas, Fayetteville; Washington University, St. Louis, Missouri; University of Michigan.
1924 -- Visited Theodore Dreiser in Michigan.
1926-1938 -- Began writing in New York City.
1926-1938 -- Researched and read for Theodore Dreiser.
1926-1938 -- Worked for editorial offices and publishers.
1926-1938 -- Traveled to write in Paris (1928), Key West, Florida (1930), and Los Angeles, California (1932-1935).
1938 -- Moved to Santa Monica, California.
1941 -- Married Berkeley Greene Tobey.
1942-1944 -- Employed as engineering draftsman at Douglas Aircraft.
1944-1947 -- Worked as architectural draftsman for R.M. Schindler.
1945 -- Began architectural writing career.
1950 -- Wrote script for film Architecture West.
1950 -- Joined editorial board of Arts & Architecture.
1950-1968 -- Worked as free-lance writer for the Los Angeles Times.
1951-1955 -- Traveled to, researched, and wrote about Mexico and Mexican art and architecture.
1954 -- R.M. Schindler Retrospective exhibition at the Landau Art Gallery, Los Angeles.
1956 -- Roots of California Contemporary Architecture exhibition, Los Angeles Municipal Art Department.
1957 -- Felix Candela exhibition, University of Southern California, Los Angeles.
1958 -- Irving Gill exhibition, Los Angeles County Museum of Art. Traveled to Italy.
1959-1968 -- Contributing editor to Italian periodicals Zodiac and Lotus.
1960 -- Five California Architects (New York: Reinhold).
1960 -- Richard Neutra (New York: G. Braziller).
1960 -- Awarded Star of Order of Solidarity by the Republic of Italy for reporting on arts and crafts in Italy.
1962 -- Death of Berkeley Greene Tobey.
1962 -- Modern California Houses: Case Study Houses (New York: Reinhold) (reprinted as Case Study Houses, Los Angeles: Hennessey and Ingalls, 1978).
1963 -- Resident Fellow at Huntington Hartford Foundation.
1964 -- Juan O'Gorman exhibition, San Fernando Valley State College, Northridge, Calif.
1965 -- Consultant for the California Arts Commission.
1965-1966 -- Wrote and produced the film Dodge House.
1965-1968 -- Lecturer at University of California at Los Angeles, School of Architecture and Urban Planning.
1966 -- Resident Fellow at MacDowell Colony, New Hampshire.
1967 -- Ten Italian Architects exhibition, Los Angeles County Museum of Art.
1967 -- Honorary Associate of the Southern California Chapter of the American Institute of Architects.
1967 -- Regents' Lecturer at University of California, Santa Barbara.
1968 -- Craig Ellwood (New York: Walker).
1968 -- Distinguished Service Citation from the California Council of AIA.
1969-1970 -- Lecturer at the University of California, Santa Barbara.
1969-1989 -- Contributing editor of Progressive Architecture.
1971-1978 -- Graham Foundation Grants.
1974 -- Regents' Lecturer at the University of California,Santa Cruz.
1979 -- Vienna to Los Angeles: Two Journeys (Santa Monica, Calif.: Arts & Architecture Press).
1979 -- Guggenheim Foundation Fellowship.
1981 -- Los Angeles Chapter Women's Architectural League Honorary Member.
1982 -- Los Angeles County Museum of Art's Modern and Contemporary Art Council Award for Distinguished Achievement.
1983 -- Home Sweet Home: The California Ranch House exhibition at California State University.
1984 -- The Second Generation (Salt Lake City: Peregrine Smith Books).
1985 -- American Institute of Architects, Institute Honor.
1986 -- High Styles exhibition at the Whitney Museum of American Art.
1987 -- Vesta Award for outstanding scholarship.
1989 -- Award from the Historical Society of Southern California.
1989 -- Award from the City of Los Angeles Department of Cultural Affairs.
1989 -- Blueprints for Modern Living: History and Legacy of the Case Study House exhibition at the Museum of Contemporary Art, Los Angeles. Died in Santa Monica, California, December 30.
Related Material:
Also in the Archives of American Art are eight sound cassettes of a transcribed interview with Esther McCoy conducted by Joseph Giovannini, June 8-November 14, 1987.
Provenance:
The collection was given to the Archives of American Art by Esther McCoy in 1986. Before her death in 1989, McCoy assisted in the organization and identification of the papers. Original pre-print film elements for Dodge House 1916 were donated to the Archives of American Art by the Academy Film Archive in 2018.
Restrictions:
Use of original papers requires an appointment. Use of audiovisual recordings without access copies requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Architectural historians -- California Search this
Esther McCoy papers, circa 1876-1990, bulk 1938-1989. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the John Randolph Haynes and Dora Haynes Foundation and the Terra Foundation for American Art.
11.35 Cubic feet (consisting of 20 boxes, 8 folder, 30 oversize folders, 17 map case folders, 3 flat boxes (partial), plus digital images of some collection material.)
Type:
Collection descriptions
Archival materials
Ephemera
Business ephemera
Date:
1750-1965
undated
Summary:
A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Tobacco Trade and Industry forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana
Scope and Contents:
This subject category, "Tobacco Trade and Industry," consists of materials related to the tobacco trade and industry. This subject category provides an extensive record of the late nineteenth to mid-twentieth century tobacco industry with materials for consumers, traders, and distributors. It forms part of the Warshaw Collection of Business Americana: Collection Division I: Business Ephemera and Division II: Oversize Materials.
Series 1, Tobacco and Tobacco Related Product Ephemera, 1781-1965, undated, is the largest portion of the tobacco related materials. This series is arranged alphabetically by manufacturer and distributor name. The materials consist of advertising cards, scraps, trade catalogs, price lists, pamphlets, labels, correspondence on letterhead stationery, bills, receipts, illustrations from periodicals, printed advertisements, periodicals, newspaper clippings, broadsides, shipping documents, handbills, premiums, promotional items, announcements, and business cards. The majority of materials are from the late nineteenth to the early twentieth- century and were created primarily for consumers, traders and distributors. Most of the materials are from the East Coast and there is a large amount of undated material. Ethnic imagery and images of women and children are prominently featured in this series. The location of the company is given when known.
Series 2, Patents and Trademarks, 1875-1904, is arranged alphabetically by patent and trademark applicants. With illustrations and descriptions, many patent and trademark documents come from East Coast patent offices during the 1870s. While this series is limited in scope, it provides numerous examples of the patenting of tobacco brand names and other related products. Additionally, it contains many images of minorities, women, and a variety of ethnic imagery.
Series 3, Bills of Lading, 1833-1925, is arranged alphabetically by location with foreign locations comprising one folder. The materials date from the late nineteenth century, and the majority is from the port of Philadelphia, Pennsylvania. This series not only tells a great deal about shipping and importing, but it also provides detailed information about the parties, countries, and people involved in the process of shipping tobacco around the world. Although the collection is somewhat varied, the majority of the bills of lading have date stamps, detailed port information, and information about the imported tobacco itself. Other locations include Maryland, New York, Cuba, and foreign locales.
Series 4, Lithographs, undated, is a series of labels for packages and products arranged alphabetically. It is a great resource for the study of early American advertising. Although most of the product labels are undated, they are probably of the late nineteenth to early twentieth- century. The majority of companies were based in New York, New York.
Series 5, Ephemera and Photographs, 1750-1957, undated, is arranged and organized by type of material. This series is comprised of general images, cigar store Indian images, auction lists, packing for tobacco products, and advertising cards, and contains a wealth of documentation of the American tobacco market. One of the best resources of this series is its collection of cigar bands. There are two photographs within this series, one depicting the exterior of a tobacco shop and another photograph of ladies working with shade grown tobacco, most likely in Connecticut. This series contains a copy of the Burr McIntosh photograph, "Leaves of Desire".
Series 6, Publications, 1742-1962, undated, consist of articles, books, pamphlets, magazines, and periodicals. One of the most useful portions of this series is the anti-tobacco related publications. The series contains tobacco-related articles. In addition to a few articles about tobacco companies, there are publications that contemplate the issues behind smoking. This series also contains tobacco related clippings from magazines and periodicals. Directories are also included in this series. The sheer variety of the material is vast, including essays from The Farm Quarterly and United States government documents. Tobacco is the only unifying factor. Researchers may be interested in La Santa Yerba, a late nineteenth-century book containing verses and other reflections on the tobacco plant itself.
Brand Name Index:
The following is a list of brand names for various tobacco products and related names that appear on this list is a compilation of those found on materials in the vertical document boxes. It is not a complete list of all the brand names for tobacco. The list is intended to assist researchers locate desired materials when only the brand name is known.
Brand Name -- Manufacturer/Dealer
Adonis -- Waldorf-Astoria Sugar Company
A. Hussey -- Leaf Tobacco Company
All Red Scrap -- Spaulding & Merrick
Alligator -- Pierre Lorillard
Almighty Dollar -- Roig & Langsdorf, LTD.
American Eagle -- Barker, K.C. & Company
Anglo-Egyptian -- Anderson, John & Company
Ante Fine (Cut) -- Pierre Lorillard
Apollo Egyptian -- Crescent Tobacco Company
Ateshian Bagdad -- Ateshian Company
Bagdad -- Pierre Lorillard
Bag Pipe -- Pierre Lorillard
Banner -- Banner Company
Banner -- American Tobacco Company
Bay State -- Brewer, Clarks & Sons
Bee -- Pierre Lorillard
Beech-Nut -- Pierre Lorillard
Belle of Turkey -- Pierre Lorillard
Between the Acts -- Pierre Lorillard
Between the Acts -- Thomas Hall Company
Bibber Cigarettes -- American Tobacco Company
Bijou -- S. Busnitz & Company
Birdseye -- British-American Company
Birdseye -- Akhbar Shah
B & L -- S. Busnitz & Company
Black Bird -- Baumann-Ashley Company
Black Joe Dark Plug -- American Tobacco Company
Black & Tan -- Pierre Lorillard
Black & Tan -- Annen Tobacco Company
Blended Stock -- American Tobacco Company
Blot -- Pierre Lorillard
Blue Peter -- Blue Peter Company
Bock y Ca -- Benson & Hedges
Boot Jack -- John Finzer
Boss Bite -- Pierre Lorillard
Brand M -- S. Monday & Son
Briar -- Spaulding & Merrick
Bright Sweet Emerald -- Pierre Lorillard
Briggs -- Pierre Lorillard
Brotherhood -- Pierre Lorillard
Buffalo Head -- Bland Tobacco Company
Bull Durham -- American Tobacco Company Smoking Tobacco
Bull's Eye -- Pierre Lorillard
Bull's Eye -- Peerless (Kimball)
Buzz Long -- Pierre Lorillard
Cabana -- Brewer, Clark & Sons
Cabanas -- Benson & Hedges
Cabarga -- Brewer, Clark & Sons
Cameo -- W. Duke & Son
Canada -- American Tobacco Company
Canoe -- Spence
Cap Sheaf -- Pierre Lorillard
Capadura -- R.C. Brown & Company
Capadura De La Reina -- R.C. Brown & Company
Capadura Olivette -- R.C. Brown & Company
Capadura Patience -- R.C. Brown & Company
Capital -- G.W. Gail
Captive -- Pierre Lorillard
Catlin's Twin Sisters -- American Tobacco Company
Cavendish -- Pierre Lorillard
Century -- Peter Lorillard
Challenge -- Pierre Lorillard
Chesterfield -- Ligget & Myers
Circassian Girls -- Pierre Lorillard
Clay, Henry -- Benson & Hedges
Climax -- Peter Lorillard
Clipper -- American Tobacco Company
Coca -- Drummond
Comet -- Pierre Lorillard
Common Sense -- American Tobacco Company
Conchas -- Brewer, Clark & Sons
Consols -- Consolidated Co.
Continental Cubes -- Continental Tobacco Company
Cools -- Brown & Williams Company
Cork (Number 1) -- Benson & Hedges
Cork Tip #2 -- Benson & Hedges
Cornucopia -- American Tobacco Company
Corona -- Brewer, Clark & Sons
Crown -- Benson & Hedges
Cute -- Merchants Cigar Factory
Dainties -- Allen & Ginter
Dainties -- American Tobacco Company
Defiance -- D. Hirsch
Derby -- Felener, F.W. Company
Diamond -- Allen & Ellis
Dixie -- Dixie Allen & Ginter
Dogtail -- Peter Lorillard
Drawing Room -- Pierre Lorillard
Dubec -- Allen & Ginter
Dubec -- American Tobacco Company
Duke of Durham -- American Tobacco Company
Duke's Best -- American Tobacco Company
Duke's Cameo -- American Tobacco Company
Duke's Mixture -- American Tobacco Company
Eagle Principe -- Brewer, Clark & Sons
Egyptian -- Pierre Lorillard
Egyptian Deities -- American Tobacco Company
Egyptian Dreams -- Rappaport
Egyptian Luxury -- American Tobacco Company
Egyptian Temple Lorillard, Peter -- Pierre Lorillard
Egyptian Straights -- American Tobacco Company
El Muezzin #1 -- Benson & Hedges
El Muezzin #2 -- Benson & Hedges
Embassy -- Pierre Lorillard
Emerald -- Pierre Lorillard
Etc., Etc. -- Brewer, Clark & Sons
Eureka -- Peter Lorillard
Excelsior -- American Tobacco Company
Extra Eagle -- B. Leidersdorf & Company
Excelsior #1 -- American Tobacco Company
Extra Mild #3 -- Benson & Hedges
Extra Mild Mild #4 -- Benson & Hedges
Fair Play -- American Tobacco Company
Favorite -- Cameron & Cameron
Felgner's Mohawk -- American Tobacco Company
Fine Brother -- Finzer, John
Flagman -- American Tobacco Company
Fontica -- Brewer, Clark & Sons
Forget-Me-Not -- Pierre Lorillard
Fortunato Bianco -- American Tobacco Company
Fragrant Vanity Fair -- American Tobacco Company
Friends -- Pierre Lorillard
Full Dress -- American Tobacco Company
Gaiety -- Bland Tobacco Co.
Gail & Ax's Navy -- American Tobacco Co.
Genuine Durham -- Blackwell, W.T. & Co.
Globe -- McGraw, Walker
Gold Extra Fine #1 -- Benson & Hedges
Gold #2 -- Benson & Hedges
Gold Rope -- Wilson & McNally
Golden Back -- Pioneer Tobacco Co.
Golden Bell -- Pierre Lorillard
Golden Bright -- Pierre Lorillard
Golden Culprit -- Peter Lorillard
Golden Light -- American Tobacco Co.
Golden Light -- Kimball & Co.
[Golden S?] -- [Unknown]
Golden Thread -- American Tobacco Co.
Good Luck -- Cotterill & Fenner Co.
Good Luck -- Drummond
Good Smoke -- Pierre Lorillard
Gondola -- Pierre Lorillard
Greek Slave -- Commonwealth Tobacco Co.
Green Turtle -- Pierre Lorillard
Greenback -- American Tobacco Co.
Greenback -- Marburg Brothers
Grizzly -- Pierre Lorillard
Gypsy Queen -- Goodwin
Happy Thought -- Pierre Lorillard
Happy Thought -- Wilson McNally
Hard A Port -- Thompson & C. Moors
Hard Plan -- H.M. Ferguson
Hard Tack -- American Tobacco Co.
Havana Consul Penete -- Pierre Lorillard
Havana Mixture -- Allen & Ginter
Havana Segar -- Waldorf-Astoria Segar Co.
Havannah -- Amber & Co.
Hazel Nut -- John J. Bagley
Helma -- Pierre Lorillard
Helmar Turkish -- American Tobacco Company
His Majesty's -- Benson & Hedges
Hoffman House Magnum -- Pierre Lorillard
Honest -- American Tobacco Co.
Honey Dew -- John Anderson & Co.
Horse Shoe -- Cotterill & Fenner
Horse Shoe -- Drummond
Hoyt's Medium -- American Tobacco Co
Hunki-Dori -- Chapin Stuart & Co.
Hunter -- H.M. Ferguson
Ideal -- Pierre Lorillard
Imperial Cavendish -- Allen & Ginter
Imperialette -- S. Monday
Imported -- Benson & Hedges
Improved Shorts -- Pierre Lorillard
India House -- Pierre Lorillard
Indian -- Amber & Company
Ivanhoe -- American Tobacco Co.
I. X.L. -- American Tobacco Co.
Jack & Jill -- American Tobacco Co.
Jack Rose -- Pierre Lorillard
John Dew -- Kaufmann, A.G
Jolly Tar -- Continental Tobacco Co.
Just Suits -- Pierre Lorillard
Kaiser (Gold Tip) -- A.B.C. Importation Co.
Karam -- Aslan Brothers
Kensington -- Brucker & Boghein
Kismen -- Strater Brothers
Kool -- Kool Brown & Williamson Co.
La Corona (Plain) -- A.B.C. Importation Co.
La Corona -- Benson & Hedges
La Flor de Cuba -- Benson & Hedges
La Marquise -- American Tobacco Co.
La Rosa -- Clark Brewer & Sons
Latest English -- American Tobacco & Sons
Leather Stocking -- C. Bickel
Level Head -- Pierre Lorillard
Libertad -- Clark Brewer & Sons
Lime Kiln Club -- Bagley & Company
Little Drummer -- Drummond
Little Joker -- American Tobacco Co.
Little Joker -- G.W. Gail
Little Rhody -- Pierre Lorillard
Little Sparks -- F.W. Felener
London Life -- American Tobacco Co.
Londres -- Clark Brewer & Sons
Long Cut -- W. & Son Duke
Lorillard's Stripped -- Pierre Lorillard
Louisiana Perique -- Allen & Ginter
Lucky Strike -- American Tobacco Co.
Lucky Strike -- R.A. Petterson
Luscious Luxury -- Pierre Lorillard
Luxury -- American Tobacco Co.
Lyceum -- Duke & Son
Mail Pouch -- Block Brothers
Manilla -- Amber & Company
Matinee -- Oliver & Robinson
Match -- Bland Tobacco Co.
Mecca -- American Tobacco Co.
Mechanic's Delight -- Pierre Lorillard
Melachrino -- L. Melachrino
Mellowleaf -- Commonwealth Tobacco Co.
Melrose -- British-American Co.
Melrose -- Marburg Brothers
Mercedes (Gold Tip) -- A.B.C. Importation Co.
Mexican -- Amber & Co.
Mild Number 2 -- Pierre Lorillard
Miner's Stript -- Pierre Lorillard
Mogul Egyptian -- American Tobacco Co.
Moon Spot -- Van Slyke & Horton
Mule Ear -- Wellman & Dwire Co.
Murad -- American Tobacco Co.
Myrtle Navy -- American Tobacco Co.
Napoleons -- Allen & Ginter
Navy -- G.W. Gail
Nebo -- Pierre Lorillard
Neptune -- Adams, J.L.
Neptune -- Buchanan & Lyalls
New Cross Bar -- Drummond
Nigger Head -- American Tobacco Co.
Night Watch -- Banner Co.
Night Watch -- American Tobacco Co.
Number 1 -- Benson & Hedges
Number 1 -- Pierre Lorillard
Old Egypt -- Pierre Lorillard
Old English -- American Tobacco Co.
Old Fashion -- American Tobacco Co.
Old Gold -- American Tobacco Co.
Old Gold -- British American Co.
Old Gold -- Kimball & Co.
Old Gold -- Pierre Lorillard
Old Guebeck -- Benson & Hedges
Old Guebeck Gold -- Benson & Hedges
Old Honesty -- American Tobacco Co.
Old Honesty -- John Finzer
Old Judge -- British-American Co.
Old Judge -- Kimball & Co.
Old Judge -- Goodwin Co.
Old Judge -- Allen & Ginter
Old Nut -- Pierre Lorillard
Old Rip -- British-American Co.
Old Rip -- Allen & Ginter
Old Sledge -- Edel
Old Tom -- Pierre Lorillard
Old Virginia Cheroots -- American Tobacco Co.
Old Virginia Cheroots -- Whitlock Co.
Olympia -- Gail, G.W.
Omar Turkish -- American Tobacco Co.
Omega Kentucky -- Pierre Lorillard
Opera -- Kerbs, Werthim & Schiffer
Opera Puff -- Allen & Ginter
Oronoko -- Pierre Lorillard
Our Country's Pride -- Collins Cigar Co.
Our game -- Alex Cameron
Our Little Beauties -- Allen & Ginter
Our Pet Nave -- Goddard Co.
Owl -- Straitron & Storm
Pall Mall -- American Tobacco Co.
Panetelas -- S. Monday & Son
Parliament -- Benson & Hedges
Parole -- Pierre Lorillard
Pastime -- John Finzer Co.
Pearl -- Pierre Lorillard
Peerless -- Kimball & Co.
Pedro -- American Tobacco Co.
Pedro Murias -- Benson & Hedges
Perfection -- Allen & Ginter
Perfection Mixture -- Pierre Lorillard
Perique Mixture -- Allen & Ginter
Pet -- Allen & Ginter
Peter Schuyler -- Van Slyke & Horton
Pink -- Pierre Lorillard
Pioneer Crown -- Allen & Ellis
Piper Heidsieck -- American Tobacco Co.
Pippin -- Banner Company
Pippins -- H. Traisser & Co.
Plain Light -- Pierre Lorillard
Planet -- Buchannan & Lyalls
Polar Bear -- Pierre Lorillard
Preferred Stock -- American Tobacco Co.
Prince Albert -- R.J. Reynolds
Princess Charlotte -- A.B.C. Importation Co.
Pure Virginia -- Pierre Lorillard
Purity -- Cameron & Cameron
Quality Puffs -- S. Monday & Sons
Queen of the Seas -- Alex Cameron & Co.
Raleigh -- Brown & Williamson Co.
Red Cross -- Pierre Lorillard
Regalia -- Clark Brewer & Sons
Richmond Cavendish -- Allen & Ginter
Richmond Gem Mild -- Allen & Ginter
Richmond Gem Mixture -- Allen & Ginter
Richmond Mixture #1 -- Allen & Ginter
Richmond Mixture #2 -- Allen & Ginter
Richmond Straight -- Allen & Ginter
Richmond Straight #1 -- Allen & Ginter
Right Bower -- Allen & Ginter
Ripple Navy -- Pierre Lorillard
Robert Burns -- Straiton & Storm
Rose Leaf -- Pierre Lorillard
Royal Bengals -- Pierre Lorillard
Royal Bengals -- Pierre Lorillard
Russian #1 -- Benson & Hedges
Russian Gold -- Benson & Hedges
Russian Gold #3 -- Benson & Hedges
Russian Mouthpiece #1 -- Benson & Hedges
Russian Mouthpiece #1 -- Benson & Hedges
Russian Mouthpiece #3 -- Benson & Hedges
Rustic -- George Bell
Sailor's Delight -- Pierre Lorillard
Sailor's Pride -- Bland Tobacco Co.
Satins -- American Tobacco Co.
Seal of North Carolina -- American Tobacco Co.
Seal Skin -- Commonwealth Tobacco
Sensation -- Peter Lorillard
Siesta -- Pierre Lorillard
Silk -- Strasser Co.
Si Peu Que Rein -- Benson & Hedges
Snow Flake -- American Tobacco Co.
Solace -- John Anderson & Co.
Something Good -- James Butler Co.
Sovereign -- Butler & Butler
Spanish Puffs -- American Tobacco Co.
Spear Head -- American Tobacco Co.
Special -- American Tobacco Co.
Special Favours -- American Tobacco Co.
Splendid -- Pierre Lorillard
Sport -- H.M. Lockrow
Sporting Extra -- American Tobacco Co.
Spot Cash -- H.P. Brewster
Stag -- Pierre Lorillard
St. Ledger -- Pierre Lorillard
Straw #1 -- Benson & Hedges
Straw Extra Mild #4 -- Benson & Hedges
Straw Tip #2 -- Pierre Lorillard
Stripped -- Pierre Lorillard
Sub-Rosa -- Pierre Lorillard
Sunny South -- Allen & Ginter
Sunnyside -- American Tobacco Co.
Suwanee River -- Van Slyke & Co.
Sweet Banner -- American Tobacco Co.
Sweet Caporal -- American Tobacco Co.
Sweet Caporal -- Kinny Co.
Sweet Conqueror -- Pierre Lorillard
Sweet Golden Seal -- Buchner & Co.
Sweet Lavender -- American Tobacco Co.
Sweet Maple -- Bland Tobacco Co.
Tareyton -- American Tobacco Co.
Ten Minute -- Marburg Brothers
Three Black Cows -- Pierre Lorillard
Three Kings -- William S. Kimball Co.
Tiger -- Pierre Lorillard
Tin Tag -- Pierre Lorillard
Toko -- Bland Tobacco Co.
Tolstoi -- American Tobacco Co.
Troy -- American Tobacco Co.
Tuberose -- Pierre Lorillard
Turkey Red -- Pierre Lorillard
Turkish Cross Cut -- American Tobacco Co.
Turkish Mixture -- Allen & Ginter
Tuxedo -- American Tobacco Co.
Uncle Sam -- Nall & Williams
Union Leader -- Pierre Lorillard
Upper Cut -- L. Miller & Son
Vafiadis -- Ligget & Myers
Van Bibber -- American Tobacco Co.
Vanity Fair -- Kimballs
Velvet -- Ligget & Myers
Venable's Cockade -- S.W. Venable Tobacco Co.
Veteran -- American Tobacco Co.
Victory -- Buchner & Co.
Victory -- American Tobacco Co.
Villar y Villar -- Benson & Hedges
Virginia Brights -- Allen & Ginter
Virginia Brights -- American Tobacco Co.
Virginia Cheroots -- Pierre Lorillard
Virginia's Choice -- [Unknown]
Virginia Leaf -- John Cornish Co.
Wandering Jew -- Clark Brewer & Sons
Welcome -- Goodwin
West Virginia Mail Pouch -- Block Brothers Co.
Wings -- Brown & Williamson Co.
Winner -- H.M. Ferguson
White Puff -- Pierre Lorillard
Wild Rose Chipped -- Pierre Lorillard
XX Navy Clipping -- Pierre Lorillard
Yacht Club -- Pierre Lorillard
Yasoa -- S. Monday & Son
Yellow Jacket -- Pierre Lorillard
Yellow Kid -- National Tobacco Co.
Zira -- Pierre Lorillard
Zoo Zoo -- Wilson & McNally Co.
Zubelda -- Pierre Lorillard
Materials in the Archives Center:
Archives Center Collection of Business Americana (AC0404)
Forms Part Of:
Forms part of the Warshaw Collection of Business Americana.
Missing Title
Series 1: Business Ephemera
Series 2: Other Collection Divisions
Series 3: Isadore Warshaw Personal Papers
Series 4: Photographic Reference Material
Provenance:
Tobacco Trade and Industry is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.
Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
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:
Ephemera
Business ephemera
Citation:
Warshaw Collection of Business Americana Subject Categories: Tobacco Trade and Industry, Archives Center, National Museum of American History, Smithsonian Institution
Sponsor:
Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).
