Correspondence, printed material, writings, and other personal papers collected by Carl Zigrosser and Leila Mechlin and later added to by others, all relating to American art.
REELS P10-P11 and P14: Letters to Leila Mechlin, Henry Schnakenberg and Hudson Walker. Correspondents include Robert Abbe, John Taylor Arms, Cecelia Beaux, Paul Bartlett, Gifford Beal, Paul Cadmus, Charles Curran, Royal Cortissoz, Kenyon Cox, Philip Evergood, John David Graham, Reginald Marsh, Joseph Pennell, John Sloan and many others. Some letters include printed material and photographs. Mechlin material includes writings, photographs and letters from Mary Augusta Mullikin describing her life and travels in China, 1933. Also included are letters from Adolph Dehn and Jose de Creeft to Juliana Force; from Ernest Haskell and Kenneth Hayes Miller to Carl Zigrosser; miscellaneous letters from Marc Chagall, Thomas Wilmer Dewing, Louis Eilshemius and Childe Hassam; an autobiography of William Sartain; and material on Thomas Eakins, including letters, a list of expenses, 1867, and motion study material,including writings, sketches and photographs taken with a camera invented by Eakins.
REEL 4547: Charles Burchfield letters; Susan and Thomas Eakins material; Jacques Lipchitz correspondence; Henry McCarter letters; and Carl Zigrosser correspondence. The Burchfield letters consist of 41 items, 1929-1947, from Burchfield regarding exhibitions, sales, and his paintings. The Eakins material includes letters from Susan Eakins to the Milch Galleries, 1933-1935, regarding the sale of Thomas Eakins' work, receipts from the Milch Galleries, Thomas' expense book, ca. 1866, for daily living in Paris and Switzerland and an autographed account of expenses while at school in Paris, April 12, 1867, a photograph of Susan Eakins by Carl van Vechten, a photograph of Eakins, and 71 engraved portraits from the collection of Thomas Eakins.
The Lipchitz correspondence is with R. Sturgis Ingersoll regarding Lipchitz's commission for the sculpture "Prometheus." Also included are 8 letters from Curt Valentin to Ingersoll regarding Lipchitz. The McCarter material includes 66 letters, 1933-1942, some containing sketches, from McCarter to Mrs. George B. Roberts regarding paintings, frames, exhibitions, and offering painting advice. The Zigrosser correspondence is regarding the purchase of prints from the regional projects of the WPA for the Philadelphia Museum of Art, and later included in the exhibition "Between Two Wars" at the Whitney Museum of American Art. Included are invoices and inventories of the prints from the various offices.
Provenance:
Material on reels P10-P11 and P14 lent for microfilming, 1954, by the Philadelphia Museum of Art. Additional material on reel 4547 was microfilmed in 1991 as part of AAA's Philadelphia Arts Documentation Project. The idea for the archives originated with Carl Zigrosser, who donated material, solicited it from others (mainly Henry Schnakenberg, Leila Mechlin and Hudson Walker), or pulled it from the files of the Philadelphia Museum of Art. The Museum continues to add to the collection. It is not connected to the Archives of American Art at the Smithsonian Institution.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Rights:
Authorization to publish, quote or reproduce requires written permission from Philadelphia Museum of Art Archives. Contact Reference Services for more information.
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.
Robert R. Newlen was an art historian from Washington, D.C.
Provenance:
Donated by Newlen, 1979.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Photographs of 19th century artists, including Thomas Sully, Rembrandt Peale, Frederick de Bourg Richards, Edward Moran, John Moran, William Trost Richards, Edmund Darch Lewis, George Bacon Wood, Isaac Williams, James Reid Lambdin, Samuel Bell Waugh, Peter Frederick Rothermel, the Sartain family, the Sartain home, John Sartain, Samuel Sartain, William Sartain, Emily Sartain, Thomas Buchanan Read, Thomas Eakins's motion studies, the Pennsylvania State Capitol, group portraits of women from the Pennsylvania Academy of the Fine Arts, the Artists Fund Society, James S. Earle and Son, and the Fine Art Gallery at the Great Sanitary Fair.
Biographical / Historical:
Archive repository; Philadelphia, Pa.
Provenance:
Microfilmed in 1986 as part of AAA's Philadelphia Arts Documentation Project. Photographs were compiled from various collections of the Print Dept. of the Library Company of Philadelphia.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Photograph collections -- Pennsylvania -- Philadelphia -- Photographs Search this
Photography -- Early works to 1900 -- Pennsylvania -- Philadelphia -- Photographs Search this
Artists -- Pennsylvania -- Philadelphia -- Photographs Search this
Correspondence; photographs; drawings; sketches and designs; typescripts; exhibition announcements and clippings.
REELS 430-433: Correspondence; ca. 1000 photographs of Davis's paintings, plastic mobiles, motion studies; 13 notebooks containing photos and notes on his films, visual design, plastics, Frank Lloyd Wright and other subjects; exhibition announcements; and clippings. Correspondents include Rosalind Kossoff (Director AF Films and FilmImages), John Marin, Frank Lloyd Wright, Len Lye, Sibyl and Laszlo Moholy-Nagy, Norman De Marco, Alfred Stieglitz, Wynant Vanderpool, Edward Steichen, and others.
REEL N712: Sketches, designs, and working papers relating to Davis's plastic constructions, mobiles, and abstract art films; photos of works; a file on Davis's exhibition at Princeton, 1963; statements on his work; and typescripts, "Notes on Frank Lloyd Wright," and "Notes on John Marin."
REEL N738: Selection of drawings, 1919-1950, with explanatory notes by Davis.
REEL N68-86A: Sixteen letters from John Marin, 1940-1947.
UNMICROFILMED: Slides and miscellany.
Biographical / Historical:
Painter, photographer, filmmaker; Princeton, New Jersey. Davis's specialty was abstract art. He studied with Andre Lhote in Paris.
Provenance:
Material on reels N172, N68-86A, N738 lent 1967-1968 for microfilming by James E. Davis. Material on reels 430-433 donated 1969 by Davis and Rosalind Kossoff, Davis's agent.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Crowe Name Plate Manufacturing Company Search this
General Motors Corporation. Fisher Body Division Search this
Extent:
2 Cubic feet (4 boxes)
Type:
Collection descriptions
Archival materials
Black-and-white photographs
Laboratory notebooks
Letters
Reports
Test reports
Date:
1924-1951
Summary:
The collection documents the life and work of engineer and inventor James Nicol Halkett.
Content Description:
The collection documents the life and work of engineer and inventor James Nicol Halkett. The collection includes blueprints, photographs, his notes about machines, papers relating to his work with Crowe Name Plate Manufacturing Company, papers relating to his work in time and motion studies while employed at the Fisher Body plant, lab notes, notebooks with some illustrations, formulas, reports, brochures from the machine companies, and trade literature such as brochures and catalogs.
Arrangement:
The collectioon is arranged into one series.
Provenance:
Collection donated to the Archives Center by Kim Gillet, Muffie Austin, Jan Truitt and Scott Halkett in 2018.
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.
The collection consists primarily of glass plate slides (negative and positive), photo prints, and stereographs documenting the work undertaken by Frank and Lillian Gilbreth from 1910 to 1924 in the fields of motion study, shop efficiency, and factory organization. Also included are slides dcoumenting the Gilbreth Family, their travels, residences, and friends. The collection also contains the film "The Original Films of Gilbreth The Quest for the One Best Way," 1968 by James S. Perkins.
Scope and Contents:
The collection consists primarily of glass plate slides (negative and positive), photo prints, and stereographs documenting the work undertaken by Frank and Lillian Gilbreth from 1910 to 1924 in the fields of motion study, shop efficiency, and factory organization. As scientific managers, the Gilbreth's introduced new techniques to analyze work, the workplace, and work practices with the goal of eliminating waste to maximize productivity. The collection illustrates these new techniques and their application to a wide variety of studies. The collection is diverse and provides insight into understanding how Gilbreth approached his studies. Also included are slides documenting the Gilbreth Family, their travels, residences, and friends. The collection also contains the film "The Original Films of Gilbreth The Quest for the One Best Way," 1968 by James S. Perkins.
Series 1, Background Information, 1892-1997, includes biographical materials about Frank B. Gilbreth; copies of some of Frank Gilbreth's patents, 1892-1916; and printed materials, 1907-1997, that contain articles, newspaper and magazine clippings about Frank and Lillian Gilbreth and time and motion study generally. Black-and-white photo prints of Gilbreth or work Gilbreth documented from collections held at Purdue University and Ohio State University are included.
Series 2, Glass plate stereo slides, 1910-1924, consists of approximately 2,250 glass stereo slides photographed by Frank B. Gilbreth and others and intended for viewing through an optical viewing machine. Some are positive black and white, positive color, and negative black and white. The subject matter of the slides covers the work undertaken by Frank Gilbreth from 1910 to 1924 in the fields of motion study, shop efficiency, and factory organization. Many of the images serve as documentation for the studies the couple performed as they were hired by firms in an attempt to provide solutions to the problems of inefficiency. Also included are the Gilbreth Family, their travels, residences, and friends.
The slides are numbered sequentially. For example, a glass plate slide numbered 318949.001 will have a corresponding photoprint 318949.001 in Series 3, Photoprints of glass plate slides. Note: not all glass plate slides have corresponding photoprints. Additionally, there are Office of Photographics Services, Smithsonian Institution negative numbers assigned to many of the photo prints.
Some subject categories include:
Frank B. Gilbreth: working in motion laboratories, on factory inspections, seated in offices, with family and friends, in World War I uniform, watching and monitoring shop operations.
Lillian M. Gilbreth: with family, during university graduation ceremonies, traveling and working with Frank and observing office workers.
Gilbreth Family: family on the road in an automobile, at home seated around the dinner table, in the parlor, in the garden, and with friends and relatives.
Gilbreth ship travel: contains views on steamer voyages to Europe, deck scenes, arrivals, departures, ship officers and crew, and other passengers.
Automobile assembly study: internal and external views of a warehouse/factory, including large piles or rows of metal car frames and other parts.
Benchwork study: images of a male worker standing or sitting in a chair while filing an object secured in a vice at a workbench.
Betterment: images of efforts whcih contributed to industrial betterment (the Gilbreth chair, employee library, and the home reading box).
Bricklaying study: view of men wearing overalls and caps, shoveling, and men laying bicks.
Business and apparatus of motion study: views of lectures, meetings, film showings, demonstrations, charts, drawings, motion models, charts amd some equipment.
Disabled study: views of partially blind World War I veterans, amputees using special tytpewriter, assembling machinery, use of cructhes, and a one armed dentist.
Factory bench work: table-top machines assembly operations, hand tools, orderly arrangement of parts prior to and during assembly and a variety of bench vises.
Factory documentation: various images of the interior and edterior of factories including heavy machinery.
Golfing study: various cyclegraphs of a man swinging a golf club.
Grid boards: back drops used by Gikbreth to isolate and measure worker motions. This includes walls, floors, desktops, and drop cloths divided into grids of various densities and scales.
Handwriting and cyclegraphs: finger lights moving in patterns of script.
Ladders: include step ladders and painters' ladders shown in use near shelving.
Light assembly study: wide variety of images ranging from cyclegraphs of women working, to the factory floor as well as tools and machinery.
Materials handling study: different angles of an empty cart, a cart oiled high with boxes, and a man pushing a cart illustrating different body positions.
Military study: illustrate work on the Army foot meausring machine, gun parts, men holding a rifle.
Motion models: images of simple wire motionmodels.
Needle trade study: views of textile machinery and workers.
Office study: various shots inside of an office with tables, desks, drawers, files, and typewriters. Some of the images are cyclegraphs of femal and male workers performing tasks, such as writing, both tin the context of an office as well as in front of a grdidded background. There are several close-ups of an organizer containing penciles, paperclips, pins and rubberbands.
Packing: methods of placing and arranging goods in boxes, such as soap packing.
Panama-Pacific Exposition 1915: contains views of statuary, fountains, and architecture of the exposition held in San Francisco.
Pure light cyclegraphs: no workers or grids visible only finger lights in motion.
Rubber stamping study: hand movements and access to ink pads and stamps.
Scenic views: views of buildings, landscapes, street scenes, and fountains from around the world documenting Gilbreth's travels.
Shoe making study: laboratory studies of shoe assembly operations with an emphasis on workers access to component pieces.
Shop machinery: various shots of machines and workers working with machines.
Signage: include organizational flow charts, shop floor plans, route maps, office layouts, numbering systems, exhibit display boards illustrating Frank Gilbreth's efficiency studies and techniques.
Stacking: views of the art and science of stacking boxes, clothing, equipment, containers, and vertical storage without shelves.
Stock bins: consists of storage pips, paper, other raw materials, shelves, and corridoe shots.
Storage: images illustrate contrast between old techniques and new.
Surgical and dental studies: thester views of surgeons, assistants, nurses, hand motions in grasping, placing surgical instruments, dental work and self inspection of teeth.
Tool cribs: storage of hand tools in shops with an emphasis on easy access and easy inventorying.
Typing study: various views of femaile s under observation using Remington typewriters.
Series 3, Photoprints of glass plate slides, 1910-1924, consist of black and white photoprints of the glass plate slides depicting the fields of motion study, shop efficiency, and factory organization. Also included are the Gilbreth Family, their travels, residences, and friends.
Series 5, Stereographs,1911-1914,
Series 6, Audio Visual Materials, 1968, 2000, and undated, is divided into three subseries: Subseries 1, Audio visual documentation, 1968 and undated; Subseries 2, Moving Images, 1968 and undated; and Subseries 3, Audio Recordings, 1980, 1990,. 2000 and undated. The series contains several formats: 7" open reel-to-reel audio tape, 1/2" VHS, Beta Cam SP, DVD, audio cassette, one inch audio tape, and 16 mm film.
Subseries 1, Audio visual documentation, 1967-1968 and undated, consists of supplemental documentation for the film, "The Original Films of Gilbreth The Quest for the One Best Way." Specifically, there are brochures and other printed materials detailing what the film is about and how copies may be obtained. This subseries also contains a copy of the book Cheaper by the Dozen, 1948. The book was written by Frank Bunker Gilbreth, Jr. and Ernestine Gilbreth Carey and tells the biographical story of Frank Bunker Gilbreth and Lillian Moller Gilbreth, and their twelve children. The book was adapted to film by Twentieth Century Fox in 1950.
Subseries 2, Moving Images, 1967, consists of one title, "The Original Films of Gilbreth The Quest for the One Best Way." The film materials consist of the film's production elements: 16 mm black and white negative A-roll; 16mm black-and-white negative B-roll; and the optical track negative. Each is 800 feet in length.
The film presents a summary of work analysis films which were taken by Frank B. Gilbreth between 1919 and 1924 showing a number of industrial operations from which the motion study was developed. Demonstrates motion and fatigue study, skill study, plant layout and material handling, inventory control, production control, business procedures, safety methods, developing occupations for the handicapped, athletic training and skills, military training, and surgical operations as researched and developed by Gilbreth. Points out that Gilbreth created entirely new techniques on how to improve industrial efficiency, while at the same time significantly improving conditions for the workers. The film was produced by James S. Perkins in collaboration with Dr. Ralph M. Barnes and with commentary by Liilian M. Gilbreth and James S. Perkins. The film was presented on December 3, 1968 at the American Society of Mechanical Engineers Annual Meeting in New York. The formats for this title include: 16 mm, Beta Cam SP, and DVD. Additionally, there is a one inch audio tape recording for the film.
Subseries 3, Audio Recordings, 1980, 1990, 2000 and undated consist of a Smithsonian radio program titled "Inside the Smithsonian, Cheaper by The Dozen," from 1980 and an recording of Ernestine Gilbreth Casey discussing Gilbreth Family photographs from 2000. Hosted by [Ann Carroll?], "Inside the Smithsonian, Cheaper by The Dozen," featured Fred and Bill Gilbreth discussing their parents Frank and Lillian, Gilbreth, and the book Cheaper by the Dozen. The radio program coincided with the 100th Anniversary of the American Society of Mechancial Engineers (founded 1880)of which Lillian Gilbreth was the Society's first female member and showcased a single case exhibition at the Museum of History and Technology (now the National Museum of American History) titled "Frank and Lillian Gilbreth: Motion Engineers." Inside Smithosnian Radio was a weekly program produced by the Office of Telecommunications. The recording of Ernestine Gilbreth Carey was recorded on July 9, 2000 and documents Ms. Carey's identification and discussion of Gilbreth Family photographs. David Ferguson assisted in the discussion. A hard copy index to the photographs Ms. Carey discusses is available.
Arrangement:
The collection is arranged into six series.
Series 1: Background Materials, 1892-1997
Subseries 1.1: Frank B. Gilbreth, undated
Subseries 1.2: Frank B. Gilbreth patents, 1892-1916
Subseries 1.3: Printed Materials, 1907-1997
Series 2: Glass Stereo Slides (Positive), 1910-1924 and undated
Series 3: Photo prints of glass stereo slides, 1910-1924 and undated
Subseries 3.1: Photo Print Books, 1-9, undated
Subseries 3.2: Photo prints (duplicates), undated
Series 4: Stereo Autochromes, undated
Series 5: Stereograph Cards, 1911-1914
Series 6: Audio Visual Materials, 1968, 1990, 2000 and undated
Subseries 6.1, Audio visual documentation, 1968 and undated
Subseries 6.2: Moving images, 1968 and undated
Subseries 6.3: Audio recordings, 1980, 1990, 2000, and undated
Biographical / Historical:
Frank Gilbreth is best known for his work on the efficiency of motion. Working with his wife and professional partner Lillian Moller Gilbreth, he applied modern psychology to his work with management. His innovative motion studies were used on factory workers, typists and the disabled. Gilbreth established the link between psychology and education to be succesful management.
Frank Gilbreth was born in Fairfield, Maine on July 7, 1868. His parents, John and Martha Bunker Gilbreth were New Englanders. John Gilbreth ran a hardware business, but died when Frank was only three. Bearing the responsibilty of raising her children alone, Martha moved the family twice in search of quality education for her children. Ultimately she decided to school the children herself. In 1885, Frank graduated from English High School in Boston. Despite gaining admission into the Massachusetts Institute of Technology, Frank opted to enter the work world immediately as a bricklayer's apprentice with Whidden and Company, building contractors in Boston.
Smart and skilled, Gilbreth worked his way up in the company. He learned the trade quickly and soon was promoted to supervisor, foreman, and finally to the position of superintendent. To further his edcuation, he went to night school to study mechanical drawing.
At the age of 27, Gilbreth embarked upon his first business venture. He started his own contracting firm. His firm developed a fine reputation for quality work at a very rapid pace. He invented tools, scaffolding, and other contraptions to make the job easier. His company goals included the elimination of waste, the conservation of energy, and the reduction of cost. His work included canals, factories, houses, and dams. His clients came from all parts of the United States, and he performed some work in England.
In 1903, Frank Gilbreth met Lillian Moller (1903-1972) and married her on October 19, 1904. Lillian graduated from the University of California, Berkeley with a BA (1900) and MA (1902). She later earned a Ph.D from Brown University (1915), earning a dissertation titled The Psychology of Management. Lillian's academic work, large family and integral role in Frank's consulting business kept her busy. Her contributions to the business led to a greater understanding of an individual's welfare in the work world. This becamme a key idea to increasing productivity through scientific management techniques.
Working together, the couple became leaders in the new field of scientific management. They published books, gave lectures, and raised tweleve children together: Anne, Mary (1906--912), Ernestine, Martha, Frank Jr., William, Lillian, Frederick, Daniel, John, Robert and Jane. Some of Gilbreth's books include Fields System (1908); Concrete System (1908); Bricklaying System (1909; Motion Study (1911); and Primer of Scientific Management (1911). Gilbreth co-authored with Lillian: Time Study (1916); Fatigue Study (1916); Applied Motion Study (1917); and Motion Study for the Handicapped (1919).
It wasn't long before Gilbreth moved away from construction. Together with his wife, they focused on the link between psychology and motion. With her strong psychological background, and his interest in efficiency, the Gilbreth's opened the School of Scientific Management in 1913. The school was in session for four years. Numerous professional attended the school, and soon the Gilbreth's had established a reputation as consultant's to the new field of scientific management.
In 1912, Frank won a contract with the New England Butt Company in Providence, Rhode Island. There he installed his system of scientific management in a factory setting for the first time. Contracts with the Hermann-Aukam handkerchief manufacturing company in New Jersey and the Auergessellschaft Company in Germany followed. Using motion study, Gilbreth studied and reoganized the factories, attempting to find "the one best way" to do work.
Gilbreth traveled to Germany to continue his work was a scientific manager. He visited factories and hospitals, working to improve procedures and eliminate waste. Using micro-motion study and the chronocyclegraph procedure, he analyzed and dissected motion, discovering therblings, the seventeen fundamental units of any motion. World War I slowed Gilbreth's progress abroad, so he focused his consulting business on firms n the United States.
After World War I, Gilbreth's business thrived. in 1920, the American Society of Mechanical Engineers instituted its Management Division, something Gilbreth had been demanding for years. He was now a famous American engineer, gaining financial rewards as as professional honors.
Frank Gilbreth died suddenly of a heart attack on June 14, 1924, still in the middle of three contracts. He was honored after his death in 1944 by the American Society of Engineers and the American Management Association with the Gant Gold Medal. After Frank's death, Lillian moved the family to California where she continued to work on efficiency and health in industry issues. She was a respected buiness woman and was hired by several companies to train employees, study working conditions, and reduce fatigue. She lectured at several universities (Newark College of Engineering and the University of Wisconsin), and joined the faculty at Purdue University in 1935 as the first woman professor in the engineering school.
Frank and Lillian Gilbreth often used their large family (and Frank himself) as guinea pigs in experiments. Their family exploits are lovingly detailed in the 1948 book Cheaper by the Dozen, written by Frank Jr. and Ernestine Gilbreth Carey.
Related Materials:
Material in Other Institutions
Purdue University, Archives and Special Collections
Frank and Lillian Gilbreth papers, 1869-2000
The Gilbreth Papers documents the professional and personal lives of Frank Gilbreth and Lillian Gilbreth. The collection consists of personal papers, letters, correspondence, photographs, and other memorabilia that Lillian Gilbreth collected during her life regarding her youth, marriage, family, and career.
Collection of materials related to Lillian Gilbreth, 1964-2006
One folder of items relating to the life of Lillian Gilbreth, and her family, collected by her granddaughter, Lillian (Jill) Barley and Nancy Weston. Materials include clippings relating to the Lillian Gilbreth postage stamp (1984); obituaries and memorial programs for Peter Barney, Ernestine Carey, Lillian Gilbreth, Anne Gilbreth Barney, Charles Carey, and Frank Gilbreth Jr.; programs and photographs relating to Lillian Gilbreth's visit to Athens in 1964; and biographical information on Lillian Gilbreth.
Cornell University, Kheel Center for Labor-Management Documentation and Archives
Frank Gilbreth Papers on Microfilm, Collection Number: 5424 mf
Selected papers pertaining to industrial engineering. Original materials are held by Purdue University. Microfilm copied purchased from Purdue University in April 1968.
Provenance:
The collection materials were donated by several individuals: New Jersey Institute of Technology (1975); Frank B. Gilbreth, Jr., (1980); Ernestine Gilbreth Carey (1995); Daniel B. Gilbreth (1998); and James Secor Perkins in 2001.
Restrictions:
Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Frank and Lillian Gilbreth Collection, Archives Center, National Museum of American History
318949.1283 There are a number of these chronocyclegraph studies of locomotion (at least 9), some of which are numbered 1700.152 (etc.) and some of which are numbered in the 18000 series, such as 18198. FBG took these as part of his shoe-fitting invest...
Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Frank and Lillian Gilbreth Collection, Archives Center, National Museum of American History
318949.1284 There are a number of these chronocyclegraph studies of locomotion (at least 9), some of which are numbered 1700.152 (etc.) and some of which are numbered in the 18000 series, such as 18198. FBG took these as part of his shoe-fitting invest...
Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Frank and Lillian Gilbreth Collection, Archives Center, National Museum of American History
Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Frank and Lillian Gilbreth Collection, Archives Center, National Museum of American History
Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Frank and Lillian Gilbreth Collection, Archives Center, National Museum of American History
Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Frank and Lillian Gilbreth Collection, Archives Center, National Museum of American History
318949.0216 Frank Gilbreth standing in front of a group of seven females and three males. One woman is seated at a gridded desk and appears to be the subject for a motion study of office work.
Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Frank and Lillian Gilbreth Collection, Archives Center, National Museum of American History
318949.0217 Frank Gilbreth and six other males and three females seated with coffe and dessert in the Gilbreth home. Anne Gilbreth Cross at extreme left, Frank Gilb reth rear extreme right, and at his left, his nephew John Gilbreth Cross (Anne's son.) ...
Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Frank and Lillian Gilbreth Collection, Archives Center, National Museum of American History
Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Frank and Lillian Gilbreth Collection, Archives Center, National Museum of American History
318949.0220, Frank Gilbreth looks at a piece of paper will an unidentified male looks in a stereo viewer. Both men sit at a gridded desk with Gilbreth pencil holder
Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Frank and Lillian Gilbreth Collection, Archives Center, National Museum of American History
Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Frank and Lillian Gilbreth Collection, Archives Center, National Museum of American History
318949.0222 Female sitting on top of a table (Hortense Stollnitz) holding her hands out as if she is typing. Anna Gold, another typist, looks at the camera; Lillian Gilbreth, with triangle striped collar, looks at Stollnitz. P. L. Waters, Remington coa...
Related captions: The following captions courtesy of both Elspeth Brown and Dave Ferguson: 16151 Motions of hands and wrists of a champion typist. If the forearm moves forward and back in reaching the various banks of keys instead of having the motions done in the fingers then that operator can never be expected to write more than 125 to 130 words per minute. This is one of the best examples of the law that an operator must be taught right motions first or will always have the interference of habit. We have several very smart operators who cannot get over the 125 mark because they learn the wrong motions first of moving the elbow forward and back instead of the fingers.
16166 Mr. P.L. Waters teaching Remington typists in Gilbreth Laboratory. The Remington Typewriter has produced the fastest records ever known.
16180 Motion Studies of typists in our laboratory. This set of study was made for the purpose of delivering a champion of the world to the Remington Typewriter Company.
16180.N. Micromotion studies of champion of the world typists. This work was done in our laboratory in 1916.
16188 This shows Miss Stollnitz, champion of the world who has written faster than anyone up to the time these pictures were taken. Her gold medal can be seen in her left hand in #16245.
16208 Mr. P.L. Waters teaching the National Champion Amateur Typist in Gilbreth Laboratory (1916). The Remington machine shown herein holds the world's record for the greatest number of words per minute gross.
16213 Mr. P.L. Waters teaching the World's Champion Amateur Typist in Gilbreth Laboratory, 1916. Gross number of words per minute from strange copy, 147. Net number of words per minute (after penalizing, 5 words for each and every mistake, 137 words per minute. This gross is 5 words more than ever known before and the net is equal to the best professional record.
16222 Anna Gold and Hortense Stollnitz, Champions 1916 on Remington Typewriter. Miss Stollnitz in 1917 wrote 17 more words per minute and kept it up for an hour than was ever heard of previously in the history of the art of typing. Anna Gold on the left wrote the second highest number of words gross but they both lost the first prize due to mistakes in spelling they being penalized five words for each word mispelled.
16246 Two world champions, Miss Anna Gold, national champion in Chicago, 1916 and in New York 1917, she wrote 150 words in 1 minute from strange copy without a mistake, this being the highest record ever heard of up to that time. Miss Hortense Stollnitz who, in 1916 wrote the largest number of words gross and equaled the net record of the world, namely 147 words gross and 137 words net. The typists in the contest that time were penalized 5 words in the net for each an every mistake in spelling, spacing, etc. that they made in the gross.16247 Anna Gold and Hortense Stollnitz, Champions 1916 on Remington Typewriter. Miss Stollnitz in 1917 wrote 17 more words per minute and kept it up for an hour than was ever heard of previously in the history of the art of typing. Anna Gold on the left wrote the second highest number of words gross but they both lost the first prize due to mistakes in spelling they being penalized five words for each word mispelled.
16249A Miss Stollnitz and her gold medal, as Champion Amateur of the world.
16249K Miss Stollnitz and her gold medal, for becoming International Champion of the World. [in 1916.]Miss Anna Gold with her gold medal which she received fro becoming International Champion in September 1916.
GL-1630 Miss Anna Gold in foreground, and Miss H. Stollnitz in background in our laboratory in Providence. Five months after this picture was taken Miss Anna Gold won the Championship of American Amateur Class, and Miss Stollnitz won second prize Amateur Championship of America 1916, and one month later Miss Stollnitz won the International Championship, Amateur Class, 1916. Miss Stollnitz record of 147 words gross per minute is the record of the world, exceeding all other records, professional and otherwise, 5 words per minute. Her net record is 137 words per minute, and equals the highest record ever made by a professional, altho she was in the amateur class.
Subject names: Hortense Stollnitz; Anna Gold; P. L. Waters; Lillian Gilbreth
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Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Frank and Lillian Gilbreth Collection, Archives Center, National Museum of American History
318949.0223 Frank Gilbreth and another male (WWI era colonel) examine a chart while seated in a office. Both men wear military uniforms. Motion clock visible.
Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
Frank and Lillian Gilbreth Collection, Archives Center, National Museum of American History
