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Under the Restaurant in Crawl Cay

Creator:
Smithsonian Tropical Research Institute  Search this
Type:
Youtube videos
Uploaded:
2009-08-31T19:03:15Z
Topic:
Tropics;Biology  Search this
Youtube Category:
Pets & Animals  Search this
See more by:
BocasResearchStation
YouTube Channel:
BocasResearchStation
Data Source:
Smithsonian Tropical Research Institute
EDAN-URL:
edanmdm:yt_h3cfc9yKUAc

Tulsa -- Villa Philbrook

Former owner:
Phillips, Waite  Search this
Architect:
Delk, Edward Beuhler  Search this
Landscape architect:
Hare & Hare  Search this
Owner:
Philbrook Museum of Art  Search this
Collection Collector:
Marchand, Richard  Search this
Extent:
1 slides (photographs)
Type:
Archival materials
Slides (photographs)
Postcards
Place:
United States of America -- Oklahoma -- Tulsa
Villa Philbrook (Tulsa, Oklahoma)
General:
Philbrook Museum of Art is located in Tulsa, Oklahoma at the former Waite Phillips estate. The museum housed in the Villa Philbrook, an Italianate mansion surrounded by of 25 acres of gardens. The estate was created for the wealthy oilman and philanthropist Waite Phillips (1883-1964) and his wife Genevieve Elliott Phillips (1887-1979) and their two children in 1926-1927. The gardens around the mansion were the result of a collaboration of the owners, the house's architect, and the firm of Hare & Hare, Landscape Architects & City Planners. To complement Delk's architectural designs, the garden design combined French, and English garden iconography with inspiration from Villa Lante, an Italian country estate by Giacomo Barozzi da Vignola in 1566. They followed Renaissance models with features such as formal gardens, cascading water feature, rock garden and pond terminated by a tempietto. The main emphasis was placed on the East Formal Garden, which was designed on axis with the villa's grand hall. The Italian preference for a predominately green palette was achieved with beds of English ivy, low hedges of Chinese privet, clipped spheres of bay or boxwood and tall red cedars chosen to mimic Italian cypress. Beyond the formal garden stretches a pastoral grove. Important to Genevie Philips was a scheme that featured plants native to the area. Specimens were collected from the native woods on the property, and used in along the flagstone walkways, in borders, and on slopes near house. Yuccas, cedars, dogwood, elder, and serviceberry were among the varieties incorporated into the Italianate design. Structures found throughout the gardens include the Tempietto, the Summer House built in 1933, fountains in the East Formal Garden, the grotto, and a fireplace.

To design their home, the Philips commissioned a Kansas City architect, Edward Buehler Delk (1885–1956), as well as designing Villa Philmonte for their ranch in Cimarron, New Mexico, and the Philtower office building in downtown Tulsa. For Villa Philbrook, Delk interpreted the most fashionable styles of the day in his plans for the 72-room Italian Renaissance villa. It is situated high on the property, overlooking the gardens and to get the breezes in warmer months. The façade of the house is unpretentious with spare use of classical ornament. The house and grounds are linked by the addition of arches and windows, which frame views of the garden, as well as a loggia and terrace that overlooks the most formal of the gardens.

After only eleven years living at Philbrook, the Philips family donated the estate to the community to become Tulsa's first art museum. The house underwent major renovations, and the landscape architecture firm, Hare and Hare, were brought back in to work on the conversion of the gardens from private to public. In 1939 the Philbrook Art Museum (later Philbrook Museum of Art) opened to the public. The gardens were briefly used as a botanical garden concerned with the development, preservation and exhibition of native species to Oklahoma and the Southwest. From 2002-2004, Howell & Vancuren designed another major garden renovation with the support of the Philips family. The Philips also gave Villa Philmonte and the Philmont Ranch to the Boy Scouts of America, and today both institutions continue to serve their communities.

Contributions to the construction of Villa Philbrook were made by multiple craftspeople and artists including George Gibbs, Oscar Bach, Bertram Segar, Cooper & Gentiluomo, Edward F. Caldwell & Co., and Jørgen Dreyer.

Persons associated include: Waite and Genevieve Phillips (former owner), Edward Buehler Delk (architect), S. Herbert Hare of Hare & Hare, Landscape Architects & City Planners (landscape architect), Howell & Vancuren (landscape architects), and Philbrook Museum of Art, Inc. (owner).
Postcard circa 1930-1950.
Varying Form:
Also known as Philbrook Art Museum and Philbrook Museum of Art.
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- Oklahoma -- Tulsa  Search this
Formal gardens  Search this
Parterres  Search this
Museums  Search this
Terraces  Search this
Groves  Search this
Naturalized plantings  Search this
Genre/Form:
Postcards
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Richard Marchand historical postcard collection.
Identifier:
AAG.MAR, File OK001
See more items in:
Richard Marchand historical postcard collection (35mm slides)
Richard Marchand historical postcard collection (35mm slides) / Oklahoma
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-mar-ref1703

Anna Walinska papers

Creator:
Walinska, Anna  Search this
Names:
Guild Art Gallery  Search this
Avery, Milton, 1885-1965  Search this
Beata, Welsing  Search this
Hacohen, Bracha  Search this
Littlefield, William Horace, 1902-1969  Search this
Nevelson, Louise, 1899-1988  Search this
Walinsky, Louis Joseph, 1908-2001  Search this
Extent:
2.1 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Interviews
Photographs
Scrapbooks
Sketchbooks
Sketches
Transcripts
Travel diaries
Place:
Europe -- description and travel
Israel -- Description and Travel
Date:
1927-2002
bulk 1935-1980
Summary:
The papers of New York-based painter, teacher and art director Anna Walinska measure 2.1 linear feet and date from 1927 to 2002, with the bulk of material from 1935 to 1980. The papers include biographical material, correspondence, writings, travel diaries, printed material, scrapbooks, artwork, sketchbooks, and photographs.
Scope and Contents:
The papers of New York-based painter, teacher and art director Anna Walinska measure 2.1 linear feet and date from 1927 to 2002, with the bulk of material from 1935 to 1980. The papers include biographical material, correspondence, writings, travel diaries, printed material, scrapbooks, artwork, sketchbooks, and photographs.

Biographical material consists of awards, certificates, curriculum vitae, biographical outlines, exhibition lists, passports and other material. There is a partial transcript from a radio interview of Anna Walinska. Also included are limited financial records.

Correspondence includes Anna Walinska's letters to her family from her 1954-1955 trip abroad to multiple countries in Asia, the Middle East, and Europe. There is personal and professional correspondence with friends, artists and art institutions. Notable correspondents include Milton Avery, Louise Nevelson, Beata Welsing, Bracha Hacohen, William Littlefield, and Walinska's brother Louis Walinsky.

Writings consist of Walinska's notes, notebooks, lectures, essays, and a handwritten prospectus for Guild Art Gallery. There is one folder of writings by others about Walinska at the end of the series. There are four travel diaries that describe Walinska's trip around the world from 1954-1955, during which she traveled to many countries, and later trips to locations such as Israel and Trinidad.

Printed Material include clippings about Anna Walinska, group and solo exhibition catalogs, announcements, event invitations, and course catalogs for the Master Institute of United Art in New York City, where Walinska taught painting and drawing classes.

There are three scrapbooks: one scrapbook is about Guild Art Gallery, the second scrapbook is about the Holocaust exhibition, the third oversized scrapbook documents Walinska's career and activities overall.

Artwork consists of two bound sketchbooks as well as drawings and sketches in a variety of mediums from pencil and ink to watercolors and oils.

Photographs are of Walinska, friends, family, artists, artwork, exhibition installations, and other subjects. One album includes photos of Anna Walinska and her travels, along with images of friends and colleagues. The second album includes photographs of Walinska's solo exhibition at Sunken Meadow Gallery (1959). There is also one folder of photocopies of photos of assorted artwork by Walinska.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Material, 1927-2002 (Box 1; 11 folders)

Series 2: Correspondence, 1949-1995 (Box 1; 0.4 linear feet)

Series 3: Writings, circa 1935-circa 1983 (Box 1; 8 folders)

Series 4: Travel Diaries, 1954-1973 (Box 1; 0.2 linear feet)

Series 5: Printed Material, 1942-2002 (Boxes 1-2; 0.4 linear feet)

Series 6: Scrapbooks, circa 1929-1980 (Boxes 2, 4; 0.5 linear feet)

Series 7: Artwork, circa 1929-1963 (Box 3; 5 folders)

Series 8: Photographs, circa 1932-1980 (Box 3; 0.3 linear feet)
Biographical / Historical:
Anna Walinska (1906-1997) was a New York artist, teacher and gallery director who traveled widely and is most well known for her paintings related to the subject of the Holocaust.

Anna Walinska was born in London, England in 1906 to labor organization leader Ossip Walinsky and poet Rosa Newman Walinska. She had two siblings, Emily and Louis. The family immigrated to New York City in 1914, and Anna Walinska began studying at the Art Students League in 1918. In 1926, she travelled to Paris and studied art at the Academie de Grande Chaumier with Andre L'Hote. France was her primary residence until 1930.

In 1935, Walinska and artist Margaret Lefranc co-founded the Guild Art Gallery at West 57th Street in New York and gave Arshile Gorky his first solo exhibition in the city. The gallery closed its doors in 1937. In 1939, Walinska was the Assistant Creative Director of the Contemporary Art Pavilion at the New York World's Fair. During this time, Walinska also pursued her own art and exhibited work in numerous group shows.

From 1954 to 1955, Walinska traveled around the world, visiting the capitals and major cities of many countries in Asia, the Middle East and Europe. Places she went included Japan, Burma (now known as Myanmar), Pakistan, Greece, Italy, France and Spain. During her four month stay in Burma, she painted a portrait of Prime Minister U Nu and she later became a highly respected portrait artist who painted numerous illustrious subjects such as First Lady Eleanor Roosevelt, artists Louise Nevelson and Mark Rothko, and many others.

In 1957, Walinska became the artist-in-residence at the Riverside Museum where she also taught and exhibited with other artists. That same year, she had her first retrospective at the Jewish Museum in New York City.

Walinska exhibited widely and often. Holocaust: Paintings and Drawings, 1953-1978, which opened at the Museum of Religious Art at the Cathedral of St. John the Divine in New York City, is probably the most well-known of her exhibitions and it traveled across the country to several other sites such as the War Memorial Building in Baltimore and Mercy College of Detroit. Works from this exhibition were acquired by multiple museums to become part of their permanent collections.

Walinkska died on December 19, 1997 at the age of 91 in New York City. In 1999, there was a retrospective of her work titled Echoes of the Holocaust: Paintings, Drawings, and Collage, 1940-1989 held at Clark University's Center for Holocaust Studies. The Onisaburo Gallery at New York's Interfaith Center also held a solo exhibition titled Portraits of Faith (2000). Her art is part of the collections at the Denver Art Museum, National Portrait Gallery, National Museum of Women in the Arts, the Rose Art Museum, and other museums.
Related Materials:
The Archives of American Art also has the Guild Art Gallery records, which consists of material related to the gallery that was co-founded by Anna Walinska.
Provenance:
The papers were donated by Anna Walinska in two installations in 1976 and 1981. Rosina Rubin, Anna Walinska's niece, made a third donation of material in 2017.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., research center.
Topic:
Art dealers -- New York (State) -- New York  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Drawing--Study and teaching  Search this
Educators -- New York (State) -- New York  Search this
Holocaust, Jewish (1939-1945), in art  Search this
Women painters -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Painting -- New York (State) -- New York  Search this
Asia--Description and travel  Search this
Middle East--Description and travel  Search this
Trinidad and Tobago--Description and travel  Search this
Genre/Form:
Drawings
Interviews
Photographs
Scrapbooks
Sketchbooks
Sketches
Transcripts
Travel diaries
Citation:
Anna Walinska papers, 1927-2002, bulk 1935-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.walianna
See more items in:
Anna Walinska papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-walianna
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Online Media:

Atlanta -- Trygveson

Landscape designer:
Reid, J. Neel (Joseph Neel), 1885-1926  Search this
Shutze, Philip Trammell  Search this
Collection Creator:
Garden Club of America  Search this
Type:
Archival materials
Place:
United States of America -- Georgia -- Atlanta
Scope and Contents:
17 35mm slides (photographs) and 1 file folder. Image date from 1922, 1925, 1926 and 1940.
General:
Georgia's climate and flora were similar enough to Tuscany to inspire this Italian Baroque style house and gardens on a 40-acre property, designed by J. Neel Reid in 1923. There was a boundary screen of cedars and cherry laurel along the road with a winding drive to the entrance court through pine underplanted with native azaleas. Additional plantings of oleaster, yucca and gardenias led to wisteria on a loggia, espaliered magnolias, and pots and tubs of pomegranates, orange trees, oleanders and geraniums. North of the house there were steps to a formal boxwood and clipped ivy parterre with a small pool in the center and a tiny frog pool to one side in a wild garden of azaleas, kalmias and native ferns growing above mixed violets. Beyond the parterre an oval stretch of lawn had another pool with a tall water jet, enclosed by a hedge of sheared arbor vitae bordered by a double allée of magnolias. On the other side of the house the courtyard overlooked the tennis court, orchard, terraced cutting garden, and the road to a farm and vineyard partly screened by pine, mimosa and bamboo. Additional Italian-style features included large terra cotta jars and stone pots of aloes and azaleas, climbing vines on the buff-colored high walls of the terrace, and two Baroque statues at the sides of the shallow steps.

Persons associated with the garden include: Mr. and Mrs. Andrew Calhoun (former owners, 1923-1948); Mr. and Mrs. Roby Robinson (former owners, 1948-1961); Mr. and Mrs. Allison Thornwell (former owners, 1961- ); J. Neel Reid (architect and landscape designer, c. 1923-1925); Philip Trammell Shutze (terrace gardens designer, c. 1925).
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, File GA044
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / Georgia
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-gca-ref23101

Warshaw Collection of Business Americana Subject Categories: Concrete

Creator:
Warshaw, Isadore, 1900-1969  Search this
Extent:
0.72 Cubic feet (consisting of 1.5 boxes, 1 folder, 1 oversize folder.)
Type:
Collection descriptions
Archival materials
Business ephemera
Ephemera
Date:
circa 1891-1959
Summary:
A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Concrete forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana
Scope and Contents:
This material consists primarily of trade catalogs, manuals, reference books, primers, handbooks, pamphlets, printed advertisements, caricatures, scattered correspondence on letterhead stationery, articles, instruction books and bulletins from manufacturers of cement and products made of concrete.

Most of the products produced by these companies are for home, industrial and public use. Concrete home products include garden furniture, porches, terraces, garages, walls, gateways, steps, walkways, driveways, pools and bird baths. Industrial and public concrete products include pipes, roads, highways, bridges, septic tanks, sewers and tennis courts. A number of the companies manufactured other products such as plates for reinforced concrete construction of roofs, floors and siding; collapsible steel forms; culverts; lime and plaster.

There are a number of publications included in the materials. Most of these are organized alphabetically by name of company and are found with the rest of the company related materials. Topics include concrete construction about the home and on the farm, concrete highway construction, design and control of concrete mixtures and concrete building frames. Many of these publications include a variety of photographs, diagrams and building specifications. Literature that is not an official publication of a manufacturing company is found at the end of company related materials.

The bulk of the material dates from the twentieth century. Box one is organized alphabetically by name of company. Materials in box two are also organized by company name. There are four folders arranged by type: related publications including bulletins, periodicals, pamphlets and books. There also is a folder of miscellaneous materials.
Arrangement:
Arranged into 2 subseries:

Subseries 1: Manufacturers and Distributors, circa 1891-1952

Subseries 2: Related Publications, circa 1907-1959
Materials in the Archives Center:
Archives Center Collection of Business Americana (AC0404)
Forms Part Of:
Forms part of the Warshaw Collection of Business Americana.

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material
Provenance:
Concrete is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.
Restrictions:
Collection is open for research. Some items may be restricted due to fragile condition.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Cement  Search this
Building materials  Search this
Concrete  Search this
garden furniture  Search this
Roofing  Search this
Genre/Form:
Business ephemera
Ephemera
Citation:
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
Identifier:
NMAH.AC.0060.S01.01.Concrete
See more items in:
Warshaw Collection of Business Americana Subject Categories: Concrete
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0060-s01-01-concrete

Fletcher and Horace Henderson Music and Photographs

Creator:
Henderson, Horace, 1904-1988  Search this
Lewis, Barbara  Search this
Lewis, Barry  Search this
Henderson, Fletcher, 1897-1952  Search this
Extent:
22.5 Cubic feet (82 boxes)
Type:
Collection descriptions
Archival materials
Audiocassettes
Audiotapes
Manuscripts
Parts (musical)
Photographs
Date:
1930s-1980s
Scope and Contents:
The Fletcher and Horace Henderson Collection contains original scores and band books, loose sheet music, both original and published, from both Fletcher and Horace's libraries, playlists, lyrics, photographs, personal papers and correspondences, newspaper clippings, jazz publications, an oral history manuscript of an interview with Horace, audio tapes, and other personal memorabilia documenting the lives and careers of the two brothers as pianists, band leaders, and arrangers. The majority of the material dates from the mid 1920s to the early 1980s.

Series 1: Fletcher and Horace Henderson's Music ca. 1930s - 1980s Boxes 1-68. Original band books and scores, lyrics, playlists, loose music, and published music either arranged or used by Fletcher or Horace Henderson during their careers as pianists, band leaders, and arrangers. The series is organized into six subseries: Subseries 1A: Horace's Band Books, Subseries 1B: Loose Music, Subseries 1C: Original Scores, Subseries 1D: Lyrics, Suberies 1E: Playlists, and Suberies 1F: Published Music.

Suberies 1A, ca. 1940s -1980s, boxes 1-21. Horace Henderson Band Books. Each Band Book stands on its own, and is identified by the musician who used it or the location where the music was performed. Some performers include Gail Brochman, Eddie Calhoun, and George Reed. Many of the band books were used for performances at the Trianon Ballroom in Chicago.

Subseries 1B, ca. 1930s - 1980s, boxes 22-58. Music in boxes 22-54 comes from Horace Henderson's band library, and boxes 55-58 from Fletcher Henderson's band library. The music consists of full scores, piano scores, and parts arranged or used by Horace or Fletcher Henderson. Arranged alphabetically by title; FS - Full Score, PS - Piano Score, and P - Parts. * Indicates an overlap between loose music, and music known to have been performed at the Trianon Ballroom in Chicago. **Indicates an overlap between Horace and Fletcher's Libraries. The music is arranged alphabetically by music title.

Subseries 1C, ca. 1930s - 1940s, boxes 59-60. Original scores arranged by Fletcher Henderson, many for Benny Goodman and other bandleaders, including AHoneysuckle Rose@, AKing Porter's Stomp@, and AStealin' Apples@. There is also a complete band book written and arranged by Fletcher. Arranged alphabetically by title.

Subseries 1D, ca. 1940s - 1980s, box 61. Original lyrics used in performances by Horace Henderson's bands. Arranged alphabetically by title where identified.

Subseries 1E, ca. 1940s - 1980s, boxes 62-63. Playlists compiled in preparation for performances by Horace Henderson's orchestras, listing titles played at various performances. Un-arranged.

Subseries 1F, ca. 1920s-1980s, boxes 64-68. Published sheet music and books for piano/vocal parts. Includes art music, method books, popular music, fake books, and music book covers. Folders are arranged by type of publication, and the music is arranged alphabetically by title within each folder.

Series 2: Photographs, ca. 1920s - 1980s Boxes 69-70. Photographs documenting the lives of both Fletcher and Horace Henderson's personal lives and careers. Photographs are arranged by category including Fletcher Henderson Candids with Friends, Horace Henderson Candids, Performance Marquees, and both brothers with their orchestra. Some unique pictures include portraits of Mr. and Mrs. Henderson (Fletcher and Horace's parents), candids of Fletcher with Benny Goodman, and Horace with Lena Horne.

Series 3: Personal Papers and Correspondences, ca. 1920s - 1980s Boxes 71-78. Programs and broadsides, newspaper articles, letters, essays, publications, and other personal documents tracing the lives of Horace and Fletcher, as well as some personal items of their parents. The series is divided into six subseries: Subseries 3A: Programs and Broadsides, Subseries 3B: Newspaper Articles and Clippings, Subseries 3C: Personal Papers and Correspondences, Subseries 3D: Miscellaneous Publishings, Subseries 3E: Transcript of an Oral History Interview, and Subseries 3F: Henderson Family Scrapbook.

Subseries 3A, ca 1930s - 1980s Boxes 71-72. Contains broadsides and ad clippings promoting both Horace and Fletcher's performances, along with programs for various jazz festivals. There are also three sets of Las Vegas Programs, advertising the weekly happenings during the years Horace was performing there, mainly at the Riviera Hotel and Casino (1959-1961). These include; Ken's Spotlight Las Vegas, Fabulous Las Vegas Magazine, On The Go, and other miscellaneous circulations. Arranged by category (Fletcher's broadsides, Horace's broadsides, Programs), and by date within each set of publications or programs.

Subseries 3B, ca. 1950s - 1980s, Boxes 73 & 78. Contains newspapers, articles, and clippings, ranging from 1951 to 1986, documenting the lives of Fletcher, Horace, and some of their contemporaries (ie: Duke Ellington) through the eyes of the media. Arranged by categories; reference to Fletcher, Horace, or Miscellaneous. Box 73 contains the oversized articles.

Subseries 3C, ca. 1920s-1980s, Box 74. Contains letters, contracts, and other personal documents of Fletcher, Horace, and their parents. Also contains a copied photo collection of Horace, a manuscript of AHorace Henderson Presents his Interpretation of Jazz@, and an essay (author unknown) about Fletcher's influence on jazz.

Subseries 3D, ca. 1960s - 1980s, Box 75. Contains miscellaneous publishings collected from the various locations Horace lived and worked. Includes weekly circulations from Denver and the surrounding area where Horace lived from the mid sixties until his death, along with various music magazines that he subscribed to (ADownbeat@, AInternational Musician@). Arranged by date within each category.

Subseries 3E, ca. 1975, box 76. Contains the original transcript of the Oral History Interview of Horace Henderson, for the Smithsonian Institution, performed by Tom MacCluskey on April 9-12, 1975.

Subseries 3F, box 77. Contains a Henderson Family Scrapbook which includes photographs of Fletcher's and Horace's father and mother, and various newspaper clippings commending the careers of Mr. Henderson, Horace, and Fletcher. The scrapbook's original order has been maintained.

Series 4: Audio Tape Recordings ca.1970s - 1980s Boxes 79-80. Contains a collection of recordings of live performances of Horace's orchestra in various Denver area locations such as the Esquire Supper Club and the Petroleum Club. Also includes a sample tape, a brief Atest@ recording by Horace and Angel, a radio tribute to Horace, and a few miscellaneous mix tapes. The tapes are arranged by date when available. Box 79 contains the original copies, and box 80 contains the duplicates.
Arrangement:
The collection is arranged into four series.

Series 1: Horace and Fletcher Henderson's Music

Series 2: Photographs

Series 3: Personal Papers

Series 4: Horace Henderson Audio Tapes
Biographical / Historical:
Fletcher Hamilton Henderson, Jr. (a.k.a. Smack) was born on December 18, 1897 in Cuthbert, Georgia. He was born into a middle class black family, and as a child studied European art music with his mother, a piano teacher. His sister later became the head of the music department at the Tuskeegee Institute in Alabama, and his younger brother, Horace, would eventually follow in his footsteps as a jazz musician, arranger, and band leader. Horace W. Henderson (a.k.a. Little Smack) was born on November 22, 1904. He also studied piano with his mother and sister, and like his brother, began formal music training as a teenager. Fletcher Henderson attended Atlanta University where he earned a degree in chemistry and math in 1919.

In 1920, Fletcher Henderson moved to New York City to find a job as a chemist. Because employment in this field was hard to come by, especially for African Americans, he began working as a song demonstrator for the Pace Hardy Music Company. Shortly after Fletcher Henderson's arrival Harry Pace founded Pace Phonograph Corporation to produce records on the Black Swan label in 1921. Fletcher joined Pace's music team and was responsible for contracting and leading a jazz bands to accompany the label's singers.

In 1924, Fletcher's orchestra, under the direction of Don Redman, began to perform at Club Alabam (sic) on New York City's Broadway Avenue. That same year he and the band was offered a job performing at the Roseland Ballroom, where the band remained for ten years and gained national fame. His band was no different than the hundreds of dance bands, springing up across the country in response to the growing demand for social dance music, such as Count Basie's Orchestra, King Oliver and his Dixie Syncopators, and McKinney's Cotton Pickers. Don Redman left the Fletcher Henderson Orchestra in 1927 to direct McKinney's Cotton Pickers. However the music collaboration of Redman and Henderson had by then established what would become the "standard" big band arrangement for several decades, specifically the dynamic interplay between the brass and reed sections of the orchestra that included interspersed solos made famous by such esteemed soloists of the band as Louis Armstrong and Coleman Hawkins. Some of the band's most notable recordings made between 1924 and 1925 include Copenhagen and Sugarfoot Stomp.

By this time Horace Henderson had formed his own college jazz band in 1924, The Wilberforce Collegians, after transferring from Atlanta University to Wilberforce University to pursue a music degree. His older brother sent him arrangements and piano parts used by the Fletcher Henderson Orchestra for performances by the Collegians. Later that year Horace Henderson left the university to travel and perform with his band in New York City. His newly formed band included such notable musicians as Benny Carter and Ben Webster. While in New York he also began playing as a guest musician in his brother's band and learning from such legends of jazz as Coleman Hawkins, Buster Bailey, Louis Armstrong, and Don Redman that were working for the Fletcher Henderson Orchestra. During a Smithsonian Institution sponsored oral history interview with Tom MacCluskey, Horace recalled late night jam sessions at Hawkins' (Hawk) apartment where they would play through pieces from "Fletch's" library and analyze each individual's performance. We would "stop and discuss what had transpired during that session, you know, that particular tune. And man, that was a lesson...It was a session that was actually to help everybody, so that they would try things out and take another tune, and use these particular little points that Hawk would tell 'em.'"

Until the 1930s, the Fletcher Henderson Orchestra was the principal model for big jazz bands. However, his management of the band and its finances led to frequent band break-ups. In 1934, severe financial problems forced Fletcher to sell some of his best arrangements to Benny Goodman. Horace Henderson and others suggested Goodman's rapid rise in popularity among swing bands for white audiences was largely due to Fletcher Henderson's innovative band arrangements. Fletcher Henderson continued to lead bands until 1939 when he joined Goodman's orchestra as a full time staff arranger. In 1941 he returned to band leading and arranging, but suffered a severe stroke in 1950. Fletcher was partially paralyzed from the stroke, and died on December 29, 1952.

Horace, also, formed many bands throughout the 1930s and 40s, and became a sideman for leaders such as Don Redman (1931-33) and, most notably, his brother. He was a pianist and arranger for Fletch's band intermittently between 1931 and 1947. During this time, Horace spent a lot of time in Chicago with Fletcher's band at the Grand Terrace, and formed his own band at Swingland. Horace also worked as a freelance arranger for Benny Goodman, Charlie Barnet, and Earl Hines3. From November 1942 through August 1943, Horace was the leader of the 732nd Military Police Band in Joliet, Illinois. The position was first offered to Louis Armstrong, who turned it down and recommended Horace for the position. After leaving the army, he played with Fletcher's band for two years. Horace began writing for Charlie Barnet in 1944, where he first came across Lena Horne. During a job at the Paramount, Charlie had Called Horace to say that his vocalist had laryngitis, and he needed a new singer. Horace went to the Apollo in Harlem in search of some talent, and they sent him to the Regent where he could find Lena Horne. She joined Charlie's show the next day, and from there went on to fame. Horace joined her for an extended tour as a pianist and arranger, and later worked with Billie Holiday3.

Horace moved to Denver with his wife, Angel, in the late 1960s. The Horace Henderson Combo performed at many nightclubs and resorts in the Denver area, including Estes Park, the Broadmoor Hotel, and the Petroleum Club. He began playing the organ in 1970 because the clubs didn't want to pay for four or five piece bands, and with an organ to replace the piano, a bass player was no longer necessary3. Horace continued to lead bands in the Denver area until his death on August 29, 1988.

Although both brothers had a major impact on the future of jazz, Horace is often thought of merely as a shadow to his more celebrated brother. Fletcher Henderson's career as a pianist, bandleader, and arranger is one of the most important in jazz history. Bands of leaders such as Count Basie, Charlie Barnet, Tommy and Jimmy Dorsey, and Benny Goodman all played arrangements, which were either written or influenced by Fletcher Henderson. Fletcher constantly surrounded himself with the most talented musicians of his era, and patterned the basic formula, which were imitated throughout the big band era. However, at least thirty of Fletcher's arrangements, many for Benny Goodman, are accredited as Horace's work. His arrangement Hot and Anxious was based on the traditional riff that later became the basis for Glenn Miller's In the Mood. Christopher Columbus is the most notable example of Horace's potent piano style, which is often noted to be stronger than his brother's. Although the brothers had differences, Horace insists that they did not involve music. Fletcher's style and success had a huge influence on Horace's career, and he was incredibly grateful for all his brother taught him. In an interview in April of 1975, he was quoted as saying, "I idolize his way of thinking because he was successful. You don't fight success, you join it." 3

Sources

1. Biographical information derived from The New Grove Dictionary of Jazz, edited by Barry Kernfeld (New York: Macmillan Press Ltd, 1988). 2. The Pace Phonograph corporation was the first African-American-owned recording company in the United States. Historical information derived from The Greenwood Encyclopedia of Black Music; Biographical Dictionary of Afro-American and African Musicians, by Eileen Southern (USA: Greenwood Press, 1982).

3. Interview with Horace Henderson, April 2-12, 1975, Smithsonian Institution, Washington, DC.
Provenance:
The Fletcher and Horace Henderson collection was acquired by the museum in December of 2001, donated by Barbara and Barry Lewis.
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:
Music -- 20th century -- United States  Search this
Genre/Form:
Audiocassettes
Audiotapes
Manuscripts -- Music -- 20th century
Parts (musical)
Photographs -- 20th century
Citation:
Fletcher and Horace Henderson Music and Photographs, 1930s-1980s, Archives Center, National Museum of American History
Identifier:
NMAH.AC.0797
See more items in:
Fletcher and Horace Henderson Music and Photographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0797
Online Media:

Hotel, Chateu Frontenac, and Dufferin Terrace, Quebec

Series Creator:
Warshaw, Isadore, 1900-1969  Search this
Container:
Box 12
Type:
Archival materials
Photographs
Date:
1903
Series Restrictions:
Sears, Roebuck & Co. catalogs restricted due to fragile condition. Researchers should consult microfilm in NMAH library for 1880-1983 editions, drawer 692.
Series 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.
Series Citation:
Warshaw Collection of Business Americana, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Warshaw Collection of Business Americana, Series 2: Other Collection Divisions
Warshaw Collection of Business Americana, Series 2: Other Collection Divisions / 2.6: Stereographs
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0060-s02-ref3117

Miami -- Vizcaya

Former owner:
Deering, James, 1859-1925)  Search this
Architect:
Hoffman, Francis Burrell, 1882-1980)  Search this
Landscape architect:
Suarez, Diego, 1888-1974  Search this
Sculptor:
Calder, Alexander Stirling, 1870-1945  Search this
Collection Collector:
Marchand, Richard  Search this
Extent:
5 slides (photographs)
Type:
Archival materials
Slides (photographs)
Postcards
Place:
Vizcaya estate (Florida)
United States of America -- Florida -- Miami-Dade County -- Miami
Date:
circa 1930-1950
General:
The Vizcaya gardens span over ten acres surrounding the former winter home of the wealthy industrialist and patron of the arts, James Deering (1859-1925). The Vizcaya estate, located in the Coconut Grove area of Miami, was conceived of by Deering and artist and designer Paul Chalfin (1874-1959). Together they traveled extensively through Europe, particularly Italy, to inspire the design for Deering's South Florida retreat. Vizcaya which means "an elevated place" in Basque, was built in the years 1914 to 1916, and transformed a jungle tract of land into one of the most celebrated houses on the Eastern Seaboard. Diego Suarez (1888-1974), a Columbia-born landscape architect trained in Florence, Italy, was commissioned to create a modern, subtropical interpretation of classical, European Renaissance and Baroque landscape design suited to Miami's climate and terrain. Suarez' extensive knowledge of Italian gardens was combined with a consciousness of architectural design to create a setting for the house.

The garden scheme was divided into various terraces and areas, including a completely walled secret garden, a maze garden, theater garden, pergola garden, and the fountain garden, which features a fountain from the town square of Sutri, Italy. Plants were chosen for their ability to withstand south Florida's climate and pests and combined with native soil and plant materials in designs inspired by gardens seen by Deering and Chalfin on their tours of Italy and France. Varieties of bougainvillea, roses, water lilies, and jasmine were among the flowers found throughout the gardens, along with potted pines and podocarpus, some carefully trimmed in the art of topiary. The gardens were trimmed with hedges and trees and feature decorative walls, balustrades, urns, and sculpture. The areas were supplied with water through designed elements meant to compliment the garden such as pools, cascades, a frescoed grotto pool, fountains, and a system of canals, which invokes scenes on the waterways of Venice.

Unique among country estates, the gardens of Vizcaya integrated statues, busts, vases and urns that ranged from antiquity to the Renaissance and Baroque periods, as well as modern art from Deering's time into the lush vegetation. As the artistic advisor of the property, Paul Chalfin, acquired artifacts as decoration rather than to create a collection. Garden artworks ranged from antique elements to new sculptural decorations by contemporary artists. The gardens also featured several structures including a Baroque casino (garden house), decorative bridges, a large boathouse with a rooftop garden, and a domed garden house called the Casba. The most celebrated outdoor feature was the Barge by artist Alexander Stirling Calder (1870–1945), located in the water in front of the house. In addition to the house and gardens, the grounds also housed a swimming pool and tennis courts. Over two-thirds of the estate, originally 180 acres of subtropical forest along the shores of Biscayne Bay, remains in its natural state. The untouched hammock, shoreline, and pineland serves as a background for the more formal main gardens and along the drive up to the house. The Vizcaya property was surrounded by a wall with decorative paintings on stone and wrought-iron grills.

The house was designed to take advantage of its location on west shore of Biscayne Bay and each side of the house had a unique relationship with the surrounding grounds with loggias, terraces, arcades, and a partially enclosed swimming pool and, from some rooms, views of the gardens and bay. Architect F. Burrell Hoffman Jr. (1884-1980) was commissioned to design the house in the manner of an Italian Renaissance-style villa. Hoffman adapted traditional Mediterranean architectural elements to the subtropical climate in the palatial 70-room mansion. The beautifully planned interior was designed around an airy garden courtyard with a peripheral gallery, originally open to the sky, that was the heart and primary living space of the home. The house embraced modern conveniences and employed the latest technology of the period with an automated telephone switch board, a central vacuum-cleaning system, central heating, several elevators, generators and a water filtration system. The house also included a billiard room, bowling alley, and smoking room. The interiors were designed by the artistic advisor Paul Chalfin around objects acquired on Deering's travels in period rooms ranging in style from the Renaissance through the Neoclassical. The villa housed entire ceilings, mural paintings, chimney pieces, carved paneling, and doorways removed from foreign palaces along with rare rugs, tapestries, and antique furnishings. A working farm called the "Village" with eleven outbuildings was also located on the estate. These buildings were designed to look like an Italian village by Hoffman to compliment the architecture of the house. The Village included barns, stables, chicken houses, mechanical shops, housing for the staff, and the gate lodge making it nearly self-sufficient. A pumphouse provided water for the flower and vegetable gardens, groves for citrus, pineapple, and other fruits, greenhouses, and a large shade house for delicate plants grown at the Village to supply the mansion.

The estate, mansion, and its interiors were celebrated in magazines of the time. Deering occupied the house for four months each winter season beginning at Christmas in 1916.The whole complex was created for entertaining and recreation and Deering frequently invited family, visitors, and houseguests to the enjoy his estate. After Deering's death in 1925, the estate passed to his brother's children. Some of the acreage was sold off, and in 1952 Dade County purchased the remaining land and house. With donations of art and furniture from the family, the Vizcaya estate, became a decorative arts museum operated by Dade County Park and Recreation Department. The property, including the house, gardens, hammock forest, and Vizcaya Village, was designated a National Historic Landmark in 1994.

Other notable artists who contributed to the house and grounds were: Alexander Stirling Calder (1870-1945), Gaston Lachaise (1882-1935), Robert Chanler (1872-1930), Charles Gary Rumsey (1879-1922), Ettore Pellagatta (1881-1966), Paul Thevenez (1891-1921), and Samuel Yellin (1885-1940).

Persons associated include: James Deering (former owner), F. Burrall Hoffman, Jr. (architect), Paul Chalfin (architect of interiors), Diego Suarez (landscape architect), and Alexander Stirling Calder (sculptor), and Metro Dade County Park & Recreation Department (owner).

National Register of Historic Places, Vizcaya, Miami, Dade County, Florida, National Register #70000181.
Varying Form:
Also known as Villa Vizcaya, Vizcaya Palace, Vizcaya Museum and Gardens, and the James Deering Estate.
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Topic:
Gardens -- Florida -- Miami  Search this
Seaside gardening  Search this
Formal gardens  Search this
Mansions  Search this
Genre/Form:
Postcards
Collection Citation:
Smithsonian Institution, Archives of American Gardens, Richard Marchand historical postcard collection.
Identifier:
AAG.MAR, File FL083
See more items in:
Richard Marchand historical postcard collection (35mm slides)
Richard Marchand historical postcard collection (35mm slides) / Florida
Archival Repository:
Archives of American Gardens
EDAN-URL:
ead_component:sova-aag-mar-ref1329

Earthenware Vessel Dance Basket

Collector:
Col. James Stevenson  Search this
Donor Name:
Bureau Of American Ethnology  Search this
Height - Object:
12.7 cm
Diameter - Object:
19.3 cm
Culture:
Zuni (A:shiwi)  Search this
Object Type:
Pot
Place:
New Mexico, United States, North America
Accession Date:
3 Aug 1882
Topic:
Ethnology  Search this
Accession Number:
82A00025
USNM Number:
E67151-0
See more items in:
Anthropology
Data Source:
NMNH - Anthropology Dept.
GUID:
http://n2t.net/ark:/65665/38d68095b-dd1d-450d-bd52-3b8c67b19c78
EDAN-URL:
edanmdm:nmnhanthropology_8472920

Earthenware Vessel Dance Basket

Collector:
Col. James Stevenson  Search this
Donor Name:
Bureau Of American Ethnology  Search this
Height - Object:
17.6 cm
Diameter - Object:
25.2 cm
Culture:
Zuni (A:shiwi)  Search this
Object Type:
Pot
Place:
New Mexico, United States, North America
Accession Date:
3 Aug 1882
Topic:
Ethnology  Search this
Accession Number:
82A00025
USNM Number:
E67186-0
See more items in:
Anthropology
Data Source:
NMNH - Anthropology Dept.
GUID:
http://n2t.net/ark:/65665/35f5b1a8c-fd23-4436-9c57-7efd463527df
EDAN-URL:
edanmdm:nmnhanthropology_8472955
Online Media:

Earthenware Vessel Dance Basket

Collector:
Col. James Stevenson  Search this
Donor Name:
Bureau Of American Ethnology  Search this
Height - Object:
9.4 cm
Diameter - Object:
18.7 cm
Culture:
Zuni (A:shiwi)  Search this
Object Type:
Pot
Place:
New Mexico, United States, North America
Accession Date:
3 Aug 1882
Topic:
Ethnology  Search this
Accession Number:
82A00025
USNM Number:
E67175-0
See more items in:
Anthropology
Data Source:
NMNH - Anthropology Dept.
GUID:
http://n2t.net/ark:/65665/30943e185-4e76-4b0a-8897-919d441ee4d3
EDAN-URL:
edanmdm:nmnhanthropology_8472944
Online Media:

Earthenware Vessel Dance Basket

Collector:
Col. James Stevenson  Search this
Donor Name:
Bureau Of American Ethnology  Search this
Height - Object:
9.5 cm
Diameter - Object:
19.5 cm
Culture:
Zuni (A:shiwi)  Search this
Object Type:
Pot
Place:
New Mexico, United States, North America
Accession Date:
3 Aug 1882
Topic:
Ethnology  Search this
Accession Number:
82A00025
USNM Number:
E67192-0
See more items in:
Anthropology
Data Source:
NMNH - Anthropology Dept.
GUID:
http://n2t.net/ark:/65665/37f3da3ce-7f07-4dbe-812e-fc3d76a36dc0
EDAN-URL:
edanmdm:nmnhanthropology_8472961
Online Media:

Earthenware Vessel Dance Basket

Collector:
Col. James Stevenson  Search this
Donor Name:
Bureau Of American Ethnology  Search this
Height - Object:
11.7 cm
Diameter - Object:
25.8 cm
Culture:
Zuni (A:shiwi)  Search this
Object Type:
Pot
Place:
New Mexico, United States, North America
Accession Date:
3 Aug 1882
Topic:
Ethnology  Search this
Accession Number:
82A00025
USNM Number:
E67195-0
See more items in:
Anthropology
Data Source:
NMNH - Anthropology Dept.
GUID:
http://n2t.net/ark:/65665/306a80fb6-b69e-4d39-9a4b-7eac9ca9050c
EDAN-URL:
edanmdm:nmnhanthropology_8472964

Earthenware Vessel Dance Basket

Collector:
Col. James Stevenson  Search this
Donor Name:
Bureau Of American Ethnology  Search this
Height - Object:
15.1 cm
Diameter - Object:
24.5 cm
Culture:
Zuni (A:shiwi)  Search this
Object Type:
Pot
Place:
New Mexico, United States, North America
Accession Date:
3 Aug 1882
Topic:
Ethnology  Search this
Accession Number:
82A00025
USNM Number:
E67196-0
See more items in:
Anthropology
Data Source:
NMNH - Anthropology Dept.
GUID:
http://n2t.net/ark:/65665/3eb6e63ee-f1bd-4b55-a282-0902da492f2c
EDAN-URL:
edanmdm:nmnhanthropology_8472965

Earthenware Vessels: Toy Cups, Etc.

Collector:
Col. James Stevenson  Search this
Donor Name:
Bureau Of American Ethnology  Search this
Height - Object:
12.5 cm
Diameter - Object:
13 cm
Culture:
Zuni (A:shiwi)  Search this
Object Type:
Pot
Place:
New Mexico, United States, North America
Accession Date:
3 Aug 1882
Topic:
Ethnology  Search this
Accession Number:
82A00025
USNM Number:
E67486-0
See more items in:
Anthropology
Data Source:
NMNH - Anthropology Dept.
GUID:
http://n2t.net/ark:/65665/35f187f9b-1018-4bcc-9405-9d0eee98aaac
EDAN-URL:
edanmdm:nmnhanthropology_8473262

Blanket

Donor Name:
Dr. Whitman Cross  Search this
Culture:
Navajo (Diné)  Search this
Object Type:
Blanket
Place:
Not Given, Colorado, United States, North America
Accession Date:
13 Sep 1945
Topic:
Ethnology  Search this
Accession Number:
170706
USNM Number:
E383746-0
See more items in:
Anthropology
Data Source:
NMNH - Anthropology Dept.
GUID:
http://n2t.net/ark:/65665/3accc7acb-0336-4cee-b69c-b97c8968bbdc
EDAN-URL:
edanmdm:nmnhanthropology_8418888
Online Media:

Ceremonial Objects 5

Collector:
Father Noel Dumarest  Search this
Donor Name:
Father Noel Dumarest  Search this
Culture:
Pueblo  Search this
Object Type:
Ceremonial Object
Place:
San Felipe Pueblo (Katishtya) (not certain), Sandoval County, New Mexico, United States, North America
Accession Date:
23 Feb 1902
Topic:
Ethnology  Search this
Accession Number:
040071
USNM Number:
E219158-0
See more items in:
Anthropology
Data Source:
NMNH - Anthropology Dept.
GUID:
http://n2t.net/ark:/65665/3859cc558-5ae2-46e9-92c7-acbc8fa06ac1
EDAN-URL:
edanmdm:nmnhanthropology_8363479
Online Media:

"B'ayette," Navajo Blanket

Collector:
Matilda C. Stevenson  Search this
Donor Name:
Matilda C. Stevenson  Search this
Culture:
Navajo (Diné)  Search this
Object Type:
Blanket
Place:
Ganado, Near (not certain), Navajo Reservation / Apache County (not certain), Arizona, United States, North America
Accession Date:
5 Aug 1903
Collection Date:
1881
Topic:
Ethnology  Search this
Accession Number:
041372
USNM Number:
E220190-0
See more items in:
Anthropology
Data Source:
NMNH - Anthropology Dept.
GUID:
http://n2t.net/ark:/65665/3ce0d7ba5-baf0-46cc-96b8-9dd699d88321
EDAN-URL:
edanmdm:nmnhanthropology_8363994
Online Media:

Contract Number n/a; "MHT Terrace Refreshment Stands," National Museum of Natural History, Frank A. Taylor. Contracting Agency: Marriott - Hot Shoppes. 1965-1966.

Collection Creator:
Smithsonian Institution, Contracts Office  Search this
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 295, Smithsonian Institution, Contracts Office, Grants and Contracts
See more items in:
Grants and Contracts
Grants and Contracts / Box 21
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0295-refd1e1493

N/A, Terrace Theater Use of Music of Kurt Weill, Cogswell, United Technologies

Collection Creator:
Smithsonian Institution, Contracts Office  Search this
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 470, Smithsonian Institution, Contracts Office, Records
See more items in:
Records
Records / Box 22
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0470-refd1e2271

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