Search Results

Creator:

Favretti, Rudy J., 1932-1923  Search this

Extent:

31.5 Cubic feet

Type:

Collection descriptions

Archival materials

Invoices

Research

Contracts

Reports

Pamphlets

Slides (photographs)

Date:

circa 1950-2010

Summary:

The collection contains the project design records of Rudy J. Favretti. , a landscape architect and professor noted for his extensive work in historical restoration of gardens, parks, and landscapes. He donated his collection of garden design files, plans, and images to the Smithsonian's Archives of American Gardens in March 2011.

Scope and Content Note:

The collection contains the records of landscape architect Rudy J. Favretti and includes correspondence, research notes, reports, drawings, plans (some from other engineering or design firms), photographic images, contracts, invoices, newspaper clippings, copies of historic records and other items relating to Professor Favretti's professional design work. His projects range from small private gardens to extensive garden restorations of eighteenth and nineteenth century gardens, parks, and historic sites. Professor Favretti also worked on a number of civic improvement and land use projects like parks and roadways. The majority of projects are located in New England (particularly Connecticut), the mid-Atlantic states and the southeastern United States. The collection also includes Professor Favretti's research files for his biography on landscape architect Jacob Weidenmann as well as numerous brochures and pamphlets he gathered during trips he took to gardens across the United States, and 35mm slides he took of some of these sites.

Arrangement note:

The collection is arranged into 4 series: Series 1: Project Files; Series 2: Administrative Files; Series 3: Jacob Weidenmann Research and Biography Filesand Biography Files; Series 4: Visited Gardens

Biographical Note:

Rudy J. Favretti was born in Mystic, Connecticut in 1932. He obtained degrees from the University of Connecticut, Cornell University, and the University of Massachusetts. Favretti holds Bachelor's degrees in horticulture, landscape design, and landscape architecture, as well as Master's degrees in ornamental horticulture, landscape architecture, and regional planning. Professor Favretti taught landscape architecture at the University of Connecticut from 1955 to 1988. Since 1988 he has been Professor Emeritus at the University of Connecticut specializing in landscape history and preservation. He has also been a visiting professor at the University of Virginia, Columbia University, and a Visiting Faculty Fellow at Yale University. In his professional career, Rudy Favretti worked on over 700 commissioned individual and collaborative design, master planning, and preservation projects. These works include notable sites such as Bartram's Garden in Philadelphia, Monticello and Mount Vernon in Virginia, the Emily Dickinson House in Massachusetts, and the Vanderbilt Estate in New York. Favretti has authored more than 20 books and monographs and over 60 journal and magazine articles on a vast range of topics though most notably on historic landscape restoration and colonial gardens He co-authored For Every House a Garden (1977) and Landscapes and Garden for Historic Buildings (1978) with his wife Joy P. Favretti. His most recent work, Jacob Wiedenmann: Pioneer Landscape Architect (2007), is a biography of the nineteenth century landscape architect.

Professor Favretti is a member of several professional and academic societies including the American Society of Landscape Architects, the National Association for Olmsted Parks, and Phi Kappa Phi. He has been awarded honors in landscape preservation by the National Trust for Historic Preservation and the Garden Club of America. He is currently a member of the National Register Review Board for Connecticut and the Director of the Connecticut Olmsted Alliance. He served as the consulting landscape architect for the Garden Club of Virginia from 1978 to 1998. The Garden Club of Virginia established the Rudy J. Favretti Fellowship in his honor to support the research and documentation of historic Virginia gardens.

Related Materials:

The Rudy Favretti Papers are available at the Thomas J. Dodd Research Center of the University of Connecticut. These include landscape plans dated 1962-1979 for numerous public spaces throughout Connecticut.

Provenance:

The records and files were generated and/or compiled by Rudy J. Favretti in the course of his landscape design, landscape restoration, and academic work.

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.

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.

Topic:

Monuments  Search this

Museums  Search this

Agriculture  Search this

Historic sites  Search this

Horticulture  Search this

Memorials  Search this

Landscape architecture  Search this

Gardens -- United States  Search this

Genre/Form:

Invoices

Research

Contracts

Reports

Pamphlets

Slides (photographs)

Citation:

Smithsonian Institution, Archives of American Gardens, Rudy J. Favretti CollectionPapers.

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.

Identifier:

AAG.FAV

See more items in:

Rudy J. Favretti collection

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6709fc29d-b7b4-425d-83ee-5cf8e4c46c35

EDAN-URL:

ead_collection:sova-aag-fav

Author:

Getty Conservation Institute  Search this

Subject:

Getty Conservation Institute  Search this

Physical description:

v. : ill. ; 31 cm

Type:

Periodicals

Date:

2009

Topic:

Historic preservation  Search this

Art--Conservation and restoration  Search this

Call number:

N8560 .G394

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_933270

Photographer:

Pratt, Adelaide Moors, d. 2004  Search this

Extent:

.18 Cubic feet (343 slides, 35mm color)

Type:

Collection descriptions

Archival materials

Date:

circa 1950-1965

Content Description:

The Adelaide Pratt garden photography slide series within The Garden Club of America Collection consists of 35mm slides of various gardens photographed by Pratt, a member of the Chestnut Hill Garden Club in Massachusetts.

Biographical / Historical:

Adelaide Moors Pratt (d. 2004) was a photographer and member of the Cohasset Garden Club and Chestnut Hill Garden Club, both in Massachusetts. In 1991 she received a Zone Historic Preservation Award from The Garden Club of America and a Club Historic Preservation Award from the Chestnut Hill Garden Club.

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.

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.

Topic:

Gardens -- California  Search this

Gardens -- New Jersey  Search this

Gardens -- Vermont  Search this

Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection, Adelaide Pratt garden photography slides

Identifier:

AAG.GCA.PRT

See more items in:

Adelaide Pratt garden photography slides

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb686c55cda-e424-424d-ba87-54e798a0be23

EDAN-URL:

ead_collection:sova-aag-gca-prt

Names:

Cino, Joe, 1931-1967  Search this

Donor:

Dominic, Magie  Search this

Extent:

1 Cubic foot (3 boxes)

Type:

Collection descriptions

Archival materials

Advertisements

Ephemera

Magazines (periodicals)

Off off broadway

Photographs

Theater programs

Place:

Broadway (New York, N.Y.)

Greenwich Village (New York, New York)

Date:

1948-2023, undated

Summary:

The collection documents Caffe Cino in Greenwich Village, New York, founded in 1958 by Joe Cino as a coffee shop and art exhibition space. The collection has materials related to and written by author and artist Magie Dominic, Caffe Cino alumni and chronicler.

Content Description:

The materials consist of printed materials, photographs, scripts, advertisements, ephemera, and theater programs.

Arrangement:

Collection is unarranged.

Biographical / Historical:

An Overview with Personal Reflections, Timeline 1958-1968, and The Archives-Key Moments were supplied by donor, Magie Dominic in April 2024

An Overview with Personal Reflections by Magie Dominic

Early Years: 1931-1958

Joe Cino was born on November 16, 1931 in Buffalo, NY. His parents, Mary and Joseph were both Sicilian. There were four brothers, Gabby, Richard, Joe, and Steve. Joe's father, Joe Cino senior, died at a very young age and Mary worked to support the family. She worked at a candy factory at night and wrapped candy in tissue and throw it out the window for the boys to catch. As a child, Joe did little shows in the backyard for the neighbors.

Michael Smith, Village Voice critic, interviewed Joe in 1965 and asked him why he came to New York City. "The opportunity arose because four friends of mine were running away from home, and two of them had some money." (1948; Joe was sixteen; his friends were Tony Vaccaro, Angelo and Stephen Lovoulo (brothers). "I had to make a decision within two hours. It was snowing. My mother was visiting a neighbor, and she came home calling me as I was leaving the house. I ran into the street and jumped into a passing car. I heard my mother calling, and I said, "I'll be back soon, there's a note on the kitchen table." The note said, "I'm going to Rochester to visit some friends."

He arrived in New York City on February 7, 1948, during a blizzard, and broke. "I had a job within three days at the YMCA in Penn Station as a counterman for $110 a month. February to summer. I was making ice cream sodas at Howard Johnson's. Hotel Statler reservations department."

Eight weeks later, April 12, he sent a long, handwritten letter to his mother explaining why he'd run away and his dream to study acting and dance, "Dear Mom, Don't read this letter until tonite when you're relaxed—don't read it half-fast—go through it quite carefully. There are 12 pages (24 sides) Love "Junior"

"When I got the job at the Statler I enrolled in the Henry Street Playhouse and took courses in everything. I was there for about two years. I went home (Buffalo) in July. She (his mother) gave me her blessing. When I left at the end of the week everything was O.K. from then on."

In 1953 Joe was given a dance scholarship to Jacob's Pillow; danced with the Mary Anthony Dance Theater and toured with Maxine Munt and Alfred Brooks.

Michael Smith asked him when he got the idea of opening a café, "I started thinking about the café in 1954. I would talk about it with close friends. My idea was always to start with a beautiful, intimate, non-commercial, friendly atmosphere where people could come and not feel pressured or harassed."

He worked two jobs, studied, and saved for ten years. In the summer of 1958, his friend Ed Franzen saw a For Rent sign on 31 Cornelia Street. He called Joe and introduced him to the landlady, Josie Leema, who was leaning out an upstairs window. Joe said 'Oh you're Italian." Josie said, Yes, what are you. Joe said Sicilian. Josie said, "I don't have to come down," and threw him the key and gave him the first month's rent free if he did all the needed repair work. Josie was Joe's landlady for the Caffe's entire existence. She often brought down pots of soup when Joe was unable to pay the rent. Her reasoning was, if Joe didn't have rent money, he probably didn't have food money. Joe opened the Caffe Cino on a Friday in December 1958. There was room for about twenty mismatched ice cream parlor tables and chairs, and a tiny kitchen with his espresso machine. The room could accommodate about forty people.

MAGIE DOMINIC: PERSONAL REFLECTIONS

In 1962 I left my home in Newfoundland, as a teenager, like Joe Cino. I was 18 and studied at the Art Institute of Pittsburgh. In 1964 I moved to New York, worked in interior design, gave poetry readings in New York venues, stage managed productions at Lighthouse for the Blind and stage managed a play at La Mama. Ellen Stewart introduced me to Tom Eyen. Tom introduced me to Joe Cino. Joe asked me my sign, (Cancer) and we began a friendship and a dialogue that lasted in one form or another to this day. I entered the Caffe that day and never left. Joe was handsome, broad-shouldered, dark hair, a quick smile; his dark brown eyes were filled with passion. He could hold you with his eyes.

I stage managed for Lanford Wilson and Tom Eyen, created roles for new playwrights, created tiny collages for the Caffe walls and worked on the sets; created the large stars and flags for the Dames at Sea set and made Joe an apron from left over stars. I was assistant director to Marshall Mason; I occasionally ran to the store for groceries for the Caffe kitchen. There was no job description. We worked for free, passed the basket after each performance and if we collected fifty dollars by the week's end, and the production had five people, we received $10. each for a week's work. We would have worked for a dollar. We would have paid to be there. The Caffe Cino ceiling was a maze of intricate lighting equipment. Lights were dimmed, stage lights appeared on a tiny performance area, and the room opened like a chakra. The walls were collages with photographs, posters, and twinkle lights. Music ranged from opera to Shirley Temple to Kate Smith, belly dancing, Christmas carols and Billie Holiday. A curtain of crystals and bells stretched in front of the espresso machine; a musical explosion by Joe before each performance with the words, "It's magic time!" And each performance was dedicated to somebody's birthday.

Eventually there was a stage, a tiny eight-foot portable wooden platform. New playwrights emerged and used the free venue Joe offered. Joe would ask them their sign, (I think it was his way of reading people), give them a date, say, "This is your week," and politely refuse to read the script. Joe was generous to the extreme. People came to him for help - and he offered it.

For several years Joe operated the Caffe at night, while simultaneously working during the day as a typist for American Laundry Machinery Company. That salary probably sustained the Caffe. Every new playwright paving the way to the next century had roots there - Lanford Wilson, Tom Eyen, Sam Shepherd, John Guare, Robert Patrick, Doric Wilson, Paul Foster, H. M. Koutoukas, William Hoffman, among many, many others. Bernadette Peters, Marshall Mason, and Harvey Keitel began there. Performances were done for the room, with or without an audience. In the words of theater critic John Gruen, ― Caffe Cino presented the outrageous, the blasphemous, the zany, the wildly poetic, the embarrassingly trite, the childish, and frequently, the moving and the beautiful. A few years ago, someone asked me in an interview where the Caffe Cino administrative offices were located. I said they were in the kitchen, next to the expresso machine, because that's where Joe was standing. In the years following the Caffe's closing I wrote two books, co-edited a third with Michael Smith, gave several presentations on the Caffe, and raised a daughter. My artwork was exhibited in Canada and the United States, and my large fabric installation, The Gown, was presented at The United Nations. Two Caffe Cino people have fabric in the Gown, Robert Patrick and Jim Gossage. For many, the Caffe Cino was a second home. For others it was the only home they'd ever known. Awards received by those who began their careers at the Caffe Cino include the Pulitzer, the Emmy, the Grammy, the Tony, the Obie, the New York Drama Critics' Circle Award, the Robert Chesley Award, and the New York Innovative Theater Awards.

TIMELINE, PLAYWRIGHTS, KEY MOMENTS

"The one thing I never thought of was fully staged productions. I opened as the Caffè Cino Art Gallery, and we had openings every six weeks." Joe Cino

1958-1959 Primarily art exhibitions, poetry and readings of classic plays, Tennessee Williams, etc.

1960 First original play is written for the room, "Flyspray"' by James Howard. In the beginning there is no stage. Tables are moved aside, and actors perform in the space between tables. The photographer, Rowland Sherman, has his first exhibition, with mainly Caffe Cino people as his subjects.

1961 Original plays are now written for the room. Doric Wilson presents his first three plays. The Caffe receives "The Coffee Cup Award" from Show Business newspaper. Al Pacino makes his Off-Off Broadway début in the production of William Saroyan's Hello Out There. "It was a very important moment for me," Pacino, 2014, New Yorker Magazine.

1962 The official menu is designed by Michael Wiley. The $1. minimum includes a show, coffee, and pastry. The one dollar minimum is never changed. Dramatic lighting effects are achieved through the ingenious work of lighting designer John P. Dodd. Adaptation of Alice in Wonderland. "The play was one of the most beautiful things we had at the Cino. I think it was the first time we had that kind of magic." Joe Cino

1963 One-week performances. Claris Nelson writes three original plays. Lanford Willson produces his first plays. Harassment from New York City inspectors.

1964 Two week runs begin with 14 performances weekly. Caffe Cino becomes eligible for the Obie Award. There is continued harassment from New York City inspectors. They categorize the Caffe as a cabaret and insist that Joe obtain a cabaret license and sell alcohol, the requirement for obtaining the license. Joe has a valid restaurant license, wants only a caffe with expresso, and wants nothing to do with liquor. He offers to pay for the cabaret license but refuses to serve alcohol. In an attempt to stop the fines, he changes the name of the Caffe Cino to the Caffe Cino Arts Club and issues membership cards, but the fines continued, and the name change is abandoned. It is a cafe without a category. The staging of Lanford Wilson's The Madness of Lady Bright is a breakthrough hit as the play deals openly about homosexuality. The Caffé has become well known for its plays dealing with gay subject matter. For the first time in New York, and perhaps in the country, LGBT people see depictions of themselves in a more multi-dimensional and realistic light.

1965 On the night of March 3, a fire caused by a gas leak, completely destroys the caffe interior. Edward Albee and H.M. Koutoukas organize a benefit to rebuild the Caffe. Several benefits are held throughout the city. The Caffe is rebuilt and reopens on May 18. The Caffe receives special Obie Award. Playwrights include Diane di Prima, H. M. Koutoukas, David Starkweather, Lanford Wilson, Jean-Claude van Itallie, John Guare, Mary Mitchell, Robert Heide, Tom Eyen, William M. Hoffman, Sam Shepard.

1966 In May, Dames at Sea, a 40-minute musical, opens on the tiny stage, is directed by Robert Dahdah and runs for three consecutive months. It is the first New York play for a teenage Bernadette Peters and, is probably the most successful play in Off-Off-Broadway history. Unfortunately, a producer moves Dames from the Caffe Cino to an Off-Broadway theater and Joe and the Caffe are never acknowledged for its creation.

1967 In January, Joe's lover is electrocuted in an accident in upstate New York and Joe is devastated. City fines and harassment increase. At the end of 1966 and the beginning of 1967, a group of non-Caffe Cino people begin to frequent the room, bring a darkness and quantities of drugs, and although they are not welcomed by most at the Caffe, they continue to frequent the room. On the night of March 31, alone in the room, Joe Cino tries to end his own life. He survives for three days but is pronounced dead at St Vincent's Hospital on Sunday, April 2. Joe Cino cherished life. He cherished his family; the arts; and cherished his magical Caffe. He is devastated by the death of his lover, by the years of unrelenting fines, by the years of harassment, by exhaustion, and is overpowered by a lethal supply of drugs offered to him. They are all contributing factors.

On April 10th at Judson Church, the memorial program cover is wordless. Only a black and white photo of Joe smiling, and wearing an apron made from left over "Dames at Sea" stars.

Four people, led by Charles Stanley - Ken Burgess, Robert Patrick, and Magie Dominic are joined by a few others and work to keep the Caffe open, following the schedule Joe had planned. An unexpected classic comic book production of Snow White. Charles Stanley is the magic mirror; Ken Burgess is all the magical forest creatures; Robert Patrick, playwright, is both Doc and the haunted forest; H.M. Harry Koutoukas, the Greek playwright, is the evil queen; Magie Dominic is Snow White. At every performance the dwarfs are different, and the number is always changing. City harassment and fines intensify. Michael Smith and Wolfgang Zuckerman take over management of the Caffe.

1968 City harassment and fines reach a breaking point. "The summonses cost $250 each. We could not get them to stop, and we could not afford to pay them. So in March, after a final, beautiful production of "Monuments" by Diane di Prima, directed by James Waring and Alan Marlowe, with lighting by John P. Dodd, the Caffè Cino closed for good." (Michael Smith) The Caffe Cino closes on March 17, 1968. Michael Smith, in the days after the Caffe's closing in 1968, takes pictures and programs from the Caffé walls and brings them to Library for the Performing Arts, Lincoln Center.

THE ARCHIVES. KEY MOMENTS

1972. Off-Off Broadway Book by Albert Poland and Bruce Mailman, published with a chapter on Caffe Cino, research and scripts. 1977. Magie Dominic contacted photographer Jim Gossage, a main photographer of Caffe Cino and 1960s OOB theater, regarding existing Caffe Cino photographs. Together, they began assembling documentation. 1979. The newspaper Other Stages published a series of articles about Caffe Cino. 1979. Dorothy Swerdlove, Curator of the Billy Rose Theatre Division of New York Public Library for the Performing Arts (LPA) was shown Caffe Cino documentation by Magie Dominic, and established a 1985 exhibition date in the Astor Gallery, Lincoln Center. For the following six years, 1979-1985, and with the assistance of several Caffe Cino people; Ken Burgess - designer of Caffe show posters; the photographer Jim Gossage; the LPA curatorial staff and Richard Buck, Magie Dominic co-curated the exhibition Caffe Cino and Its Legacy. 1985 Caffe Cino and Its Legacy, March 5 - May 11, Astor Gallery, New York Public Library for the Performing Arts, Lincoln Center.

AIDS devastated the Caffe Cino people during the 1980s and into the 1990s. Over sixteen playwrights, actors and designers were lost.

2000: The Queen of Peace Room, memoir by Magie Dominic, published, with a chapter depicting Caffe Cino; and loss of people to AIDS; nominated for three literary awards. 2005. The New York Innovative Theatre Awards established The Caffe Cino Fellowship Award. 2005: Caffe Cino: The Birthplace of Off-Off-Broadway, by Wendell Stone, published. 2006. Bernadette Peters, in Legends of Broadway Compilation, related working on Dames at Sea at Caffe Cino. 2006 CUNY TV, Conversations with William M. Hoffman: Caffe Cino/Off-Off Broadway interviews. 2007. In The Life: Channel 13 TV, fifteen-minute documentary on Caffe Cino's impact on New York theatre and gay theatre in New York. 2007. Return to the Caffe Cino, co-Edited by Steve Susoyev and George Birimisa, published. 2008. Thirty-minute video by Library for the Performing Arts, documenting Greenwich Village Society for Historic Preservation's tribute to Caffe Cino's historic importance; plaque designed by playwright Robert Patrick installed. 2010. H.M. Koutoukas Remembered by His Friends, co-edited by Michael Smith and Magie Dominic, published. 2011. Caffe Cino documentation entered into Library for the Performing Arts permanent archives including the show posters designed by Ken Burgess. 2011. Fales Archives, NYU, enters Magie Dominic writing and art documentation into their permanent archives. 2016. New York Press Association awarded Second Place for Coverage of the Arts to The Villager newspaper for their story, "Magie Dominic - Magic Time at the Caffe Cino". 2017. Caffe Cino placed on The National Register of Historic Places for its significance to LGBT history. It was placed on The State Register of Historic Places the same year. 2019. Caffe Cino designated a New York City Landmark by the Landmarks Preservation Commission. 2019: Lifetime Achievement Award from New York Innovative Theater Awards awarded to Magie Dominic for her contribution to the arts, and Caffe Cino archival work. 2022. Nov 16. A plaque honoring Caffe Cino's placement on The National Register of Historic Places installed on 31 Cornelia Street. It was also Joe Cino's 91st birthday. Research and documentation are ongoing. In 2017, the Cino family found among Mary Cino's papers, the 24-page letter Joe had written to her in 1948.

The Caffe Cino brought theatre into the modern era, created Off-Off Broadway, and from its humble, little eight foot by eight-foot wooden stage, forever altered the performing arts worldwide.

Provenance:

Collection donated by Magie Dominic, 2024.

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:

Experimental theater  Search this

Genre/Form:

Advertisements

Ephemera

Magazines (periodicals) -- 20th century

Off Off Broadway

Photographs

Theater programs -- 20th century

Citation:

Magie Dominic Caffe Cino Collection, Archives Center, National Museum of American History

Identifier:

NMAH.AC.1596

See more items in:

Magie Dominic Caffe Cino Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8fafdcaf8-93f5-45c6-bb27-f93a1c883546

EDAN-URL:

ead_collection:sova-nmah-ac-1596

Correspondent:

Basto, Arthur  Search this

Bauxar (Finkelstein), J. Joe  Search this

Beardsley, Richard K. (Richard King), 1918-1978  Search this

Barnett, Homer Garner, 1908-  Search this

Bartel, Brad  Search this

Bartlett, Katherine  Search this

Bass, George F.  Search this

Collins, Henry B. (Henry Bascom), 1899-1987  Search this

Chapman, Carl H. (Carl Haley), 1915-1987  Search this

Cheek, Anetta L.  Search this

Clark, M. Margaret  Search this

Clements, Forrest Edward  Search this

Bell, Earl H.  Search this

Bell, Robert E. (Robert Eugene), 1914-2006  Search this

Chambers, Moreau Browne Congleton  Search this

Champe, John L. (John Leland), 1895-  Search this

Antle, H.R.  Search this

Ayres, J.E.  Search this

Anderson, Duane  Search this

Angus, John A.  Search this

Bailey, John H.  Search this

Bennett, John William  Search this

Babcock, Willoughby M.  Search this

Baerreis, David A., 1916-1989  Search this

Fitzhugh, William W., 1943-  Search this

Adams, Richard E.W.  Search this

Barka, Norman F.  Search this

Adovasio, J. M.  Search this

Amsden, Charles  Search this

Deuel, Thorne, 1890-  Search this

Di Peso, Charles Corradino  Search this

DeJarnette, David Lloyd  Search this

Dellinger, Samuel Claudius  Search this

Day, H. Summerfield  Search this

Dean, Jeffrey S.  Search this

Davis, Edward Mott  Search this

Davis, Hester A., 1930-  Search this

Dworsky, Don  Search this

Dyck, Ian  Search this

Downer, Alan  Search this

Dumand, Don E.  Search this

Dixon, Keith A.  Search this

Dorrance, Frances  Search this

Dickson, Don F.  Search this

Dincauze, Dena F.  Search this

Cooper, Paul L. (Paul Lemen), 1909-1961  Search this

Cook, Persifor M.  Search this

Conner, Stuart W.  Search this

Colton, Harold Sellers, 1881-1970  Search this

Collier, Donald, 1911-1995  Search this

Cole, Fay-Cooper  Search this

Coggins, Clemency  Search this

Davidson, D. S.  Search this

Daugherty, Richard D.  Search this

Daniels, Helen Sloan  Search this

Cummings, Calvin R.  Search this

Culbert, T. Patrick  Search this

Cross, Dale R.  Search this

Cordell, Linda S.  Search this

Corbyn, Ronald C.  Search this

Greywacz, Kathryn B.  Search this

Green, Ernestene  Search this

Grayson, Donald K.  Search this

Goodyear, Albert C.  Search this

Goldschmidt, Walter, 1913-2010  Search this

Gladwin, Harold Sterling  Search this

Gladfelter, Bruce G.  Search this

Gilbert, William Harlen, 1904-1988  Search this

Gerald, Rex E.  Search this

Garvey, Robert R.  Search this

Gaines, Sylvia W.  Search this

Beals, Ralph L. (Ralph Leon), 1901-1985  Search this

Frost, Janet A.  Search this

Frost, Everett  Search this

Frison, George C.  Search this

Brew, J. O. (John Otis), 1906-1988  Search this

Breternitz, Donald A.  Search this

Buckner, John L.  Search this

Broadbent, Sylvia M.  Search this

Boudeman, Donald O.  Search this

Blossom, F.H.  Search this

Bray, Warwick  Search this

Brand, Donald Dilworth  Search this

Black, Glenn A. (Glenn Albert), 1900-1964  Search this

Birdsell, Joseph B.  Search this

Blom, Frans  Search this

Bliss, Robert Woods  Search this

Berlin, Heinrich  Search this

Bennett, Wendell Clark, 1905-1953  Search this

Berry, J. Brewton  Search this

Bernal, Ignacio  Search this

Ford, Richard I.  Search this

Fowler, Don D.  Search this

Fox, George R.  Search this

Fisher, Reginald G.  Search this

Fitting, James E.  Search this

Flannery, Kent Vaughn  Search this

Cahill, Edgar D.  Search this

Campbell, Elizabeth W.C.  Search this

Cate, William  Search this

Fewkes, Vladimir Jarolslav  Search this

Buikstra, Jane E.  Search this

Burrill, A.C.  Search this

Butler, Mary  Search this

Byers, Douglas S., 1903-1978  Search this

Farrand, William R.  Search this

Fejos, Paul, 1897-1963  Search this

Dyson, Robert H.  Search this

Edwards, Robert Q.  Search this

Eggan, Fred, 1906-1991  Search this

Ellis, H. Holmes  Search this

Ezell, Paul Howard  Search this

Fagan, Brian M.  Search this

Fairbanks, Charles H. (Charles Herron), 1913-1985  Search this

Ford, James Alfred, 1911-1968  Search this

Creator:

Barnett, Clifford  Search this

Society for American Archaeology  Search this

Eaton, Jack  Search this

McGimsey, Charles R.  Search this

Di Peso, Charles Corradino  Search this

Schwartz, Douglas W., 1929-  Search this

Wendorf, Fred  Search this

Steponaitis, Vincas P.  Search this

Goldstein, Lynne  Search this

Smith, Bruce David  Search this

Rippeteau, Bruce D.  Search this

Lipe, William D.  Search this

Names:

American Antiquity  Search this

Society for American Archaeology  Search this

Extent:

146.25 Linear feet (135 record storage boxes)

Type:

Collection descriptions

Archival materials

Date:

1935-2010

Summary:

The Society for American Archaeology (SAA) is an international membership organization founded in 1934 to advance research and training in archaeology and to promote the conservation of archaeological resources of the Americas. It publishes American Antiquity, one of the premiere journal of archaeology of North America, since 1935, and has hosted an Annual Meeting since that same year. Other areas of activity include the development of professional standards and ethics, promotion of the public's understanding of archaeology, advocacy for Federal legislation protecting archaeological resources, and encouragement of connections between professional and avocational archaeologists. The Society for American Archaeology records contain materials related to the ongoing administration, management, and interests of the SAA through mainly correspondence, reports, research, mailings, financial records, and program planning documents.

Scope and Contents:

The Society for American Archaeology (SAA) records contain administrative and professional correspondence, reports, surveys, publication records, journals, books, member and grant applications, programs, memorandums, contracts, ballots, mailings, research, notes, planning materials, certificates and awards, press releases, financial records, meeting minutes, teaching materials, sound recordings, video recordings, and photographs. These materials relate to a wide range of the SAA's activities including administration and management, finances, publishing, membership, awards, the Annual Meeting, public education, public archaeology, professional standards, government affairs and cultural property law, work with allied organizations, ethics, and special workshops.

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.

Arrangement:

The Society for American Archaeology records are arranged into 13 series: 1) Records of the Secretary-Treasurer and Secretary, 1934-1962; 2) Records of the Treasurer, 1935-1950; 3) President's correspondence, 1947-1948; 4) Executive Committee Meeting minutes, 1945-2003; 5) Records of Officers, 1950-2000; 6) Administrative records, 1934-2022; 7) Annual conference, 1935-2020; 8) Public and professional program committees, 1966-2016; 9) Government affairs, 1968-2021; 10)Affiliated and allied organizations, 1968-2005; 11) Special conferences, workshops, and projects, 1974-2006; 12) Published materials, 1983-2007; and 13) Photographs, 1985-2018

Historical note:

The Society for American Archaeology grew out of the Committee on State Archaeological Surveys of the National Research Council's Division of Anthropology and Psychology. Appointed in 1920 to "encourage and assist" eastern and midwestern states in the organization of archaeological surveys, the Committee came to act as a coordinating body and information clearinghouse for archaeologists and government agencies engaged in archaeological field work. The Committee expanded its activities and network through the 1920s but lacked long-term financial support. By 1933 its leaders identified the need for a permanent, independent organization to take up the work of the Committee and address the lack of standards, training, and communication among professional researchers and avocational archaeologists, which they saw as impediments to the preservation of archaeological data. Carl E. Guthe, then Chairman of the Committee, led the work of establishing the new organization.

In 1934, Guthe drafted a constitution and bylaws for the nascent group and distributed the documents among the Committee's network to solicit comments and generate interest among potential members. The Society for American Archaeology was formally established at an "organizational meeting" on December 28, 1934, when attendees approved Guthe's final version of the constitution and bylaws and elected the first cohort of officers: Arthur C. Parker, President; M. R. Harrington, Vice President; Carl E. Guthe, Secretary-Treasurer; W. C. McKern, Editor. In keeping with its goal of bridging the divide between professional and non-professional archaeologists, anyone with an interest in "furthering the objects of the Society" could apply for membership, regardless of professional affiliation. The SAA is governed by a constitution and bylaws which are voted on by members and implemented by an Executive Committee, referred to as the Council in the early years. The Executive Committee composition has varied through the years. Until the 1960s, most administrative duties were carried out by the Secretary, who assembled the minutes of Executive Committee meetings, circulated background materials among its members, and collected reports from SAA committees. The Secretary's office also acted as a "clearinghouse and advisory center on archaeological matters" for SAA members and the public. Without a true business headquarters, the Secretary's office essentially served as the SAA's central office, with the outgoing Secretaries passing on their files to the incoming Secretaries at the end of their terms.

In the 1960s, SAA began contracting with the business office of the American Anthropological Association (AAA) to manage its business operations. That arrangement lasted until the early 1980s, when AAA stopped providing business services to smaller organizations and offered SAA the option to become part of AAA. SAA members voted against merging with AAA, and in 1983 SAA contracted with Bostrom Management to administer its business affairs, an arrangement that included hiring a part-time Executive Director. In 1987, the Executive Committee enlisted a management consultant to conduct a business analysis and identify options for improving SAA's finances and administration. The result of this analysis, referred to as "The Evans Report," was circulated the following year, leading to a major reorganization that would occupy the Executive Committee through the early 1990s. Those efforts ultimately resulted in the establishment of a central office in Washington, D.C., and the hiring of SAA's first full-time Executive Director in 1992. It was during this intense period of reorganization that the structure and governance of SAA began to resemble that of the present day.

Works Consulted:

"Archival Sources Sought." Bulletin of the Society for American Archaeology 1, no 4 (September 1983): 5. https://documents.saa.org/container/docs/default-source/doc-publications/saa-bulletin/1983_volume-1/saa-bulletin-1-4_sept.pdf?sfvrsn=d6c0f71a_2

"Articles of Incorporation." SAA Records, Acc 1998-85, Box 4, folder: 1972 (mimeograph from Lehman/AAA) - Final box/folder location TBD. Society for American Archaeology records, National Anthropological Archives, Smithsonian Institution.

"The Constitution of the Society for American Archaeology." American Antiquity 1, no. 2 (1935): 146–48. http://www.jstor.org/stable/276027.

"Constitution and By-Laws of the Society for American Archaeology." American Antiquity 13, no. 2 (1947): 198–200. http://www.jstor.org/stable/275700.

Dincauze, Dena F. "Office of the President: 52nd Annual Meeting." Bulletin of the Society for American Archaeology. 5, no. 3 (July 1987): 1-2. https://documents.saa.org/container/docs/default-source/doc-publications/saa-bulletin/1987/saa-bulletin-5-3.pdf?sfvrsn=30b9179d_4

Fowler, Don D, and Green, Dee. "Change in SAA Management Announced." Bulletin of the Society for American Archaeology 1, no 4 (September 1983): 1-4. https://documents.saa.org/container/docs/default-source/doc-publications/saa-bulletin/1983_volume-1/saa-bulletin-1-4_sept.pdf?sfvrsn=d6c0f71a_2

Goldstein, Lynne. "The Structure of the SAA." Bulletin of the Society for American Archaeology. 9, no. 8 (June 1988): 8. https://documents.saa.org/container/docs/default-source/doc-publications/saa-bulletin/1991/saa-bulletin-9-3_june.pdf?sfvrsn=b101aaac_2

Guthe, Carl E. "Prospectus." Department of Anthropology Records. Division of Archaeology. Office Files. Box 14, Museum-Misc. Lists - O. Folder: National Research Council [ca. 1932-1945], folder 2 of 2. Society for American Archaeology records, National Anthropological Archives, Smithsonian Institution.

Guthe, Carl E. "Reflections on the Founding of the Society for American Archaeology." American Antiquity 32, no. 4 (1967): 433–40. https://doi.org/10.2307/2694072.

O'Brien, Michael J. and Lyman, R. Lee. "Gentle Persuasion: The National Research Council and Southeastern Archaeology." Journal of Alabama Archaeology 46, no. 1 (2000): 1-42. [https://cladistics.coas.missouri.edu/assets/pdf_articles/AlaA46.pdf]

Wendorf, Fred, and Raymond H. Thompson. "The Committee for the Recovery of Archaeological Remains: Three Decades of Service to the Archaeological Profession." American Antiquity 67, no. 2 (2002): 317–30. https://doi.org/10.2307/2694569.

"Society for American Archaeology." American Antiquity 34, no. 4 (1969): 499–506. http://www.jstor.org/stable/277764.

"The Society for American Archaeology Organization Meeting." American Antiquity 1, no. 2 (1935): 141–46. http://www.jstor.org/stable/276026.

"Organization of the Society for American Archaeology." Bulletin of the Society for American Archaeology 9, no. 2 (March 1991): 6. https://documents.saa.org/container/docs/default-source/doc-publications/saa-bulletin/1991/saa-bulletin-9-2_march.pdf?sfvrsn=75834181_2

Rice, Prudence M. "Surveying the Field." Bulletin of the Society for American Archaeology 10, no. 1 (January 1992): 3-4. https://documents.saa.org/container/docs/default-source/doc-publications/saa-bulletin/1992/saa-bulletin-10-1.pdf?sfvrsn=d095e8fd_2

List of abbreviations commonly referenced:

Includes abbrevations used throughout the Society for American Archaeology's records.

AAA - American Anthropological Association

AAAS - American Association for the Advancement of Science

AAM - American Alliance of Museums

AAQ - American Antiquity

ACHP - Advisory Council on Historic Preservation

ACOE - Army Corps of Engineers

AFFA - Association for Field Archaeology

AIA - Archaeological Institute of America

AIRFA - American Indian Religious Freedom Act

AM - Annual Meeting

A&PE - Archaeology and Public Education

ARPA - Archaeological Resources Protection Act

BLM - Bureau of Land Management

BOR - Bureau of Reclamation

CCONAS - Coordinating Council of National Archaeological Societies

CEHP - Centre for Environment, Heritage and Policy

CoAS - Council of Affiliated Societies

COPA - Committee on Public Archaeology

COSWA - Committee on the Status of Women in Archaeology

CRM - Cultural Resource Management

DCA - Departmental Consulting Archaeologist

DOI - Department of the Interior

GAC - Government Affairs Committee

ICOMOS - International Council on Monuments and Sites

LAQ - Latin American Antiquity

NCPTT - National Center for Preservation Technology and Training

NCSHPO - National Conference of State Historic Preservation Officers

NEH - National Endowment for the Humanities

NHPA - National Historic Preservation Act

NPCC -National Preservation Coordinating Council

NPS - National Park Service

NSF - National Science Foundation

OSM - Office of Surface Mining

PEC - Public Education Committee

PMOA - Programmatic Memorandum of Agreement

ROPA - Register of Professional Archaeologists

SAA - Society for American Archaeology

SHA - Society of Historical Archaeology

SOPA - Society of Professional Archaeologists

Chronology:

Includes a concise chronology of SAA events related to the content of this collection.

1920: Committee on State Archaeological Surveys created by NRC/NAS

1934: Society for American Archaeology formally established

1935: First issue of -- American Antiquity

1935: First Annual Meeting of the SAA

1937: Committee on State Archaeological Surveys disbanded

1939: First issue of the -- SAA Notebook -- distributed to membership

1942: Last issue of -- SAA Notebook

1942: Revised and amended constitution, splitting the Secretary-Treasurer into two separate roles, and eliminates Fellow/Affiliate distinction (among other changes) is approved and takes effect.

1943: No Annual Meeting; executive business conducted by mail

1969: Membership applications now handled through the AAA business office rather SAA Secretary

1970: Major revision to constitution

1972: Incorporated in D.C.

1974: The Archeological and Historic Preservation Act (APHA) and "Moss-Bennett Act" passed, with goal of providing federal funding to mitigate destruction of archeological sites in specific circumstances.

1974: Arlie House Seminars held ("Six Seminars on the Future Directions of Archaeology")

1983: Resolved against merger with AAA (aka "the break with AAA")

1983: Change from AAA to Bostrom firm to manage business activities

1983: First issue of -- SAA Bulletin

1985: SAA and SOPA co-host the Conference on Reburial Issues

1988: Evans Report on Management announced

1989: Changes to Articles of Incorporation

1989: New Bylaws adopted that change the organizational structure of SAA

1989: SAA Hosts Anti-Looting Conference in Taos

1990: First issue of -- Latin American Antiquity

1990: Executive Board approves plan to establish in-house admin/operations office

1992: Transition to "independent home office" and hiring of full-time Executive Director

1993: Last year of last term in which Editor of -- American Antiquity -- is an Officer

1997: SAA, SOPA, and Society for Historical Archaeology (SHA) approve formation of Register of Professional Archaeologist (ROPA), which begins work in 1998.

1998: Executive Board name change to Board of Directors

2000: Last issue of -- SAA Bulletin

2001: Begin publishing -- The Archaeological Record

Restrictions:

Some material in Subseries 6.6: Membership, is restricted until 2070. Born digital media is restricted due to preservation concerns, contact the repository for further information.

Access to the Society for American Archaeology records requires an appointment.

Rights:

Contact the repository for terms of use.

Topic:

Scholarly periodicals  Search this

Professional associations  Search this

Archaeology  Search this

Public Education  Search this

Cultural property -- Repatriation  Search this

Citation:

Society for American Archaeology records, National Anthropological Archives, Smithsonian Institution

Sponsor:

Funding for the processing of this collection was provided by the Society for American Archaeology

Identifier:

NAA.1980-55

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3ccc0ebcc-5b11-45ba-84c1-b305f9db853d

EDAN-URL:

ead_collection:sova-naa-1980-55

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

YouTube Videos

Uploaded:

2014-12-08T15:55:51.000Z

YouTube Category:

Education  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_osWy28SCwds

Creator:

National Portrait Gallery  Search this

Type:

Interviews

YouTube Videos

Uploaded:

2013-05-29T20:45:22.000Z

YouTube Category:

Education  Search this

Topic:

Portraits  Search this

See more by:

NatlPortraitGallery

Data Source:

National Portrait Gallery

YouTube Channel:

NatlPortraitGallery

EDAN-URL:

edanmdm:yt_3P17JSmVM2A

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2020-04-20T13:59:25.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_D-p96np-Pw4

Creator:

National Museum of the American Indian  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2019-12-02T19:41:48.000Z

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_0E9W1rWYJbk

Collector:

Raymond C. Gosda  Search this

Dr. Frank Mahony  Search this

Donor Name:

Raymond C. Gosda  Search this

Culture:

Trukese  Search this

Object Type:

Sling Stone

Place:

Moen Island, Chuuk Islands, Chuuk State, Federated States of Micronesia, Micronesia

Accession Date:

9 Jul 1958

Collection Date:

Dec. 18, 1954

Topic:

Archaeology  Search this

Accession Number:

224545

USNM Number:

A420460-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/326b139d4-1748-4585-bd32-9bcb080c33bb

EDAN-URL:

edanmdm:nmnhanthropology_8172699

Associated Name:

Lincoln, Abraham  Search this

Maker:

Anonymous  Search this

Physical Description:

paper (overall material)

Measurements:

overall: 20.5 cm x 25.2 cm; 8 1/16 in x 9 29/32 in

Object Name:

gelatin silver print

Place made:

United States: Illinois, Petersburg

Subject:

Historic Preservation  Search this

ID Number:

2013.0327.0401

Accession number:

2013.0327

Catalog number:

2013.0327.0401

See more items in:

Work and Industry: Photographic History

Photography

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b1-c6de-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1692302

Referenced:

Lincoln, Abraham  Search this

Physical Description:

paper (overall material)

Measurements:

overall: 20.5 cm x 25.15 cm; 8 1/16 in x 9 29/32 in

Object Name:

gelatin silver print

Place made:

United States: Illinois, Petersburg

Subject:

Historic Preservation  Search this

ID Number:

2013.0327.0402

Catalog number:

2013.0327.0402

Accession number:

2013.0327

See more items in:

Work and Industry: Photographic History

Photography

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b2-4ed4-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1813312

Referenced:

Lincoln, Abraham  Search this

Physical Description:

paper (overall material)

Measurements:

overall: 9 7/8 in x 8 1/8 in; 25.0825 cm x 20.6375 cm

Object Name:

gelatin silver print

Place made:

United States: Illinois, Petersburg

Subject:

Historic Preservation  Search this

ID Number:

2013.0327.0403

Catalog number:

2013.0327.0403

Accession number:

2013.0327

See more items in:

Work and Industry: Photographic History

Photography

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b2-5a74-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1813330

Creator:

Smithsonian American Art Museum  Search this

Type:

Symposia

YouTube Videos

Uploaded:

2020-03-31T18:10:53.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_io6snM8g4yg

Creator:

National Museum of the American Indian  Search this

Type:

YouTube Videos

Uploaded:

2013-07-02T15:14:33.000Z

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_-r6yk3yhWqk

Creator:

National Museum of the American Indian  Search this

Type:

YouTube Videos

Uploaded:

2013-07-02T15:14:33.000Z

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_bh9nNQcYGd8

Creator:

National Museum of the American Indian  Search this

Type:

Symposia

YouTube Videos

Uploaded:

2015-11-20T19:51:20.000Z

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_wScqXL77Jvs

Physical Description:

metal (overall material)

white; black; red (overall color)

circular (overall shape)

Measurements:

overall: 2 1/4 in; 5.715 cm

Object Name:

button

Decorative motif:

United States: District of Columbia, Capitol Hill, United States Capitol

Classified:

Souvenirs  Search this

Novelty  Search this

Buttons, Badges, Ribbons  Search this

Referenced:

Historic Preservation  Search this

ID Number:

2011.0227.039

Accession number:

2011.0227

Catalog number:

2011.0227.039

See more items in:

Political and Military History: Political History, General History Collection

Government, Politics, and Reform

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746ad-875c-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1419944

Creator:

Smithsonian American Art Museum  Search this

Type:

Symposia

YouTube Videos

Uploaded:

2020-03-31T18:10:53.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_ZWosHsRsPkk

Printed by:

Boorum & Pease Company, American, 1842 - 1985  Search this

Used by:

Wayman Chapel A.M.E. Church, American, founded 1887  Search this

Medium:

ink on paper

Dimensions:

H x W x D: 12 1/16 × 7 3/8 × 9/16 in. (30.7 × 18.7 × 1.5 cm)

H x W x D (closed): 12 1/8 × 7 1/2 × 5/8 in. (30.8 × 19.1 × 1.6 cm)

Type:

ledgers (account books)

Place used:

Lyles Station, Gibson County, Indiana, United states, North and Central America

Date:

late 19th - early 20th century

Topic:

African American  Search this

African Methodist Episcopal  Search this

Communities  Search this

Methodist  Search this

Religion  Search this

Rural life  Search this

The Black Church  Search this

Credit Line:

Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Lyles Station Historic Preservation Corporation

Object number:

2012.155.16

Restrictions & Rights:

No Known Copyright Restrictions

Proper usage is the responsibility of the user.

See more items in:

National Museum of African American History and Culture Collection

Classification:

Documents and Published Materials-Business and Legal Documents

Exhibition:

Power of Place

On View:

NMAAHC (1400 Constitution Ave NW), National Mall Location, Community/Third Floor, 3 051

Data Source:

National Museum of African American History and Culture

GUID:

http://n2t.net/ark:/65665/fd50ee50c8f-c269-444f-88a9-63af33261418

EDAN-URL:

edanmdm:nmaahc_2012.155.16