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Emmet family papers

Creator:
Emmet family  Search this
Names:
Berkshire Museum  Search this
Danforth Museum  Search this
World's Columbian Exposition (1893, Chicago, Ill.)  Search this
Beaux, Cecilia, 1855-1942  Search this
Casals, Pablo, 1876-1973  Search this
De Glehn, Jane Erin Emmet, 1873-1961  Search this
De Glehn, Wilfrid-Gabriel, 1870-1951  Search this
Doyle, Nancy  Search this
Emmet, Julia Colt Pierson, 1829-1908  Search this
Emmet, Lydia Field, 1866-1952  Search this
Emmet, Robert, 1778-1803  Search this
Fontanne, Lynn  Search this
James, Henry, 1843-1916  Search this
La Farge, Bancel, 1865-1938  Search this
Lunt, Alfred  Search this
MacMonnies, Frederick William, 1863-1937  Search this
Metcalfe, Susy  Search this
Millay, Edna St. Vincent, 1892-1950  Search this
Monod, Lucien  Search this
Morgan, Elizabeth Emmet, d. 1934  Search this
Ormond, Violet Sargent  Search this
Quilter, Roger, 1877-1953  Search this
Rand, Ellen Emmet, 1875-1941  Search this
Saint-Gaudens, Augustus, 1848-1907  Search this
Sargent, Emily, 1857-  Search this
Sargent, John Singer, 1856-1925  Search this
Sherwood, Robert E. (Robert Emmet), 1896-1955  Search this
Sherwood, Rosamond, 1899-  Search this
Sherwood, Rosina Emmet, 1854-1948  Search this
White, Stanford, 1853-1906  Search this
Extent:
9.1 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketchbooks
Photographs
Video recordings
Drawings
Diaries
Sound recordings
Date:
1792-1989
bulk 1851-1989
Summary:
The Emmet Family papers document the lives and careers of two generations of the Emmet family from New Rochelle, New York and Stockbridge, Massachusetts, whose artistic talents flourished during the later 19th through the mid-20th centuries. The collection dates from 1792 to 1989, with the bulk of the material dating from 1851-1989, and measures 9.1 linear feet. Through biographical material, two diaries, correspondence, writings and notes, exhibition files, business records, printed material, two scrapbooks, artwork, and photographs of family, friends, exhibitions, and artwork, the papers provide both a rich overview and detailed insights into the daily lives, relationships, and careers of many members of the family. The collection focuses in particular on sisters Lydia Field Emmet, Jane Erin Emmet de Glehn, and Rosina Emmet Sherwood, their mother, Julia Colt Pierson Emmet, and their cousin Ellen Gertrude "Bay" Emmet, all noted painters and illustrators.
Scope and Content Note:
The Emmet Family papers document the lives and careers of two generations of the Emmet family from New Rochelle, New York and Stockbridge, Massachusetts. The collection dates from 1792 to 1989, with the bulk of the material dating from 1851-1989, and measures 9.1 linear feet. Through biographical material, two diaries, correspondence, writings and notes, exhibition files, business records, printed material, two scrapbooks, artwork, and photographs of family, friends, exhibitions, and artwork, the papers provide both a rich overview and detailed insights into the daily lives, relationships, and careers of many members of the family. The collection focuses in particular on sisters Lydia Field Emmet, Jane Erin Emmet de Glehn, and Rosina Emmet Sherwood, their mother, Julia Colt Pierson Emmet, and their cousin Ellen Gertrude "Bay" Emmet, all noted painters and illustrators, whose artistic talents flourished during the late nineteenth through the mid-twentieth centuries.

Biographical material consists of family trees and family histories; individual biographical accounts, award certificates, and documentation for Julia Colt Pierson Emmet, Rosina Emmet Sherwood, Lydia Field Emmet, Jane Erin Emmet de Glehn, and Wilfrid de Glehn; a diary titled "Sedgemere Diary" containing drawings and entries primarily by Rosina Emmet Sherwood, and a smaller diary which mentions Rosina's son, future playwright Robert Sherwood; a documentary by Nancy B. Doyle on two VHS videocassettes, entitled The Emmets: Portrait of a Family; and artifacts comprising a rear-view optical device and locks of hair from an early nineteenth century generation of the Emmet family.

Correspondence forms the bulk of the collection and illustrates the interaction between members of this large and influential family and their colleagues and friends, offering a wide-ranging view of life in the late nineteenth through the mid-twentieth centuries, and through two World Wars. The series consists of letters between family members, primarily Julia Colt Pierson Emmet and her daughters, as well as cousins Henry James, Ellen "Bay" Emmet Rand, and Rosamond Sherwood, and friends Cecilia Beaux, Louis Bancel LaFarge, Frederick MacMonnies, Lucien Monod, Roger Quilter, Augustus Saint-Gaudens, Emily and John Singer-Sargent, Violet Sargent Ormond, and Stanford White. Topics include experiences of the Emmets while studying art in Paris, Rosina's presentation at Queen Victoria's court, Lydia's work at the Columbia Exposition, Jane's marriage to Wilfrid de Glehn and her friendship with John Singer Sargent, portrait painting activities, the troubles of their friend Susy Metcalfe in her marriage to Pablo Casals, and the activities of Rosina's son, playwright Robert Emmet Sherwood, and friends Alfred Lund and Lynn Fontanne.

Writings and notes consist of scattered manuscripts and poems by family members, two notebooks, one identified as belonging to Jane Erin Emmet de Glehn, and typescripts about Wilfrid de Glehn following his death. Also found is a book, Out of Town, written and illustrated by Rosina Emmet Sherwood, and Edna St Vincent Millay's poem "Autum Daybreak" written in Millay's handwriting.

Exhibition files document an exhibition held at the Berkshire Museum/Danforth Museum in Pittsfield/Farmingham, Massachusetts in 1982 entitled The Emmets: A Family of Women Painters, and include two audio cassettes of recordings from the "Art for Lunch" series at the Berkshire Museum discussing the exhibition.

Business records include account books belonging to Lydia Field Emmet and Rosina Emmet Sherwood, both of which document income from artwork and other sources, and expenses; a contract for the reproduction of Lydia Field Emmet's artwork; and a document concerning ownership of property, possibly of Emmet family ancestors.

Printed Material consists of clippings, exhibition announcements and catalogs, and reproductions of artwork by Emmet family members and others.

Two scrapbooks contain a combination of drawings, primarily by Rosina Emmet Sherwood, reproductions of artwork, and photographs.

Artwork includes drawings and sketchbooks by Julia Colt Pierson Emmet, Rosina Emmet Sherwood, Lydia Field Emmet, Jane Erin Emmet de Glehn Ellen Emmet Rand, and other Emmet relatives, illustrating the early development of their talent.

Photographs are of family members, including Julia Colt Pierson Emmet and William Jenkins Emmet, their daughters Lydia Field Emmet, Jane Erin Emmet de Glehn and husband Wilfrid de Glehn, Rosina Emmet Sherwood and husband Arthur Murray Sherwood, and Robert Emmet Sherwood as a young man. Also found are photos of friends Richard Harding Davis, Frederick MacMonnies, and Augustus Saint-Gaudens; a series of photographs of the installation at Arden Galleries, New York (1936) for the exhibition Paintings, Drawings and Sculptures by Five Generations of the Emmet Family; and photographs of artwork by Emmet family members.
Arrangement:
The Emmet family papers are arranged as nine series.

Series 1: Biographical Material, circa 1855-1988 (0.6 linear feet; Boxes 1, 10, OV 12)

Series 2: Correspondence, 1792-1985 (6.2 linear feet; Boxes 1-7)

Series 3: Writings and Notes, circa 1870s-1981 (11 folders; Box 7)

Series 4: Exhibition Files, 1947-1983 (0.3 linear feet; Boxes 7-8)

Series 5: Business Records, circa 1799-1945 (7 folders; Box 8)

Series 6: Printed Material, 1872-1989 (0.35 linear feet; Boxes 8, 10)

Series 7: Scrapbooks, 1870-1890 (0.2 linear feet; Boxes 8, 10)

Series 8: Artwork, circa 1850-circa 1920 (0.35 linear feet; Boxes 8, 10)

Series 9: Photographs, circa 1870s-circa 1950s (1 linear foot; Boxes 8-9, 11)
Biographical Note:
The Emmet family, descended from patriot Thomas Addis Emmet, brother of Irish martyr Robert Emmet, counts many physicians, lawyers, and writers (including cousin Henry James) among its ranks. Although evidence of artistic talent existed in several previous generations, it flourished during the later 19th through the mid-20th centuries in the professional portraiture of sisters Rosina Emmet Sherwood, Lydia Field Emmet, Jane Erin Emmet de Glehn, and their cousin Ellen "Bay" Emmet Rand.

The eldest daughter of Julia Colt Pierson Emmet (1829-1908), herself a talented illustrator who had studied under Daniel Huntington, Rosina "Posie" Emmet (1854-1948) studied under William Merritt Chase at his Tenth Street Studio in New York and under Robert-Fleury at the Academie Julian in Paris. Before her marriage to Arthur Murray Sherwood in 1887, Rosina established a studio in New York and continued to submit illustrations to various publications. During her marriage, she slowed her creative activities, until financial reverses dictated her return to her career around the turn of the 20th century. Her daughter Rosamond Sherwood (1899-1990) was also a portrait painter. Her son, Robert Emmet Sherwood (1896-1955) became a four-time Pulitzer Prize-winning playwright.

Lydia Field Emmet (1866-1952) studied under Collin, Bouguereau, MacMonnies, and Robert-Fleury at the Academie Julian. Upon her return to New York, Lydia continued her studies under Chase, Kenyon Cox, H. Siddons Mowbray, and Robert Reid at the Art Students League, as well as at Chase's Shinnecock Summer School of Art. She established her portrait studio in New York City and began spending summers at Stockbridge, Massachusetts, where she built her home, "Strawberry Hill," in 1905. Best known for her portraits of children, Lydia's subjects were members of the socially prominent families of New York, Boston, and Philadelphia.

The youngest sister, Jane Erin Emmet (1873-1961), also studied with Chase in New York, and in Paris. In 1904, she married British landscape painter Wilfrid Von Glehn, who had visited the United States with his friend John Singer Sargent. (The Von Glehns' surname was changed to De Glehn, in 1919.) Settling in London, Jane continued her painting, befriended many artists and composers, and accompanied her husband and Sargent on several art-related journeys through Europe.

The Emmet sisters' cousin, Ellen Gertrude "Bay" Emmet (1875-1941), studied in New York at the Art Students League and under Frederick MacMonnies in Paris, becoming a National Academician in 1934. She married William Blanchard Rand in 1911 and settled in Salisbury, Connecticut. After the stock market crash of 1929, Bay's portraits of prominent society figures provided most of her family's income.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel 4544) including one scrapbook, compiled by Rosina Emmet Sherwood, consisting of portrait sketches, drawings of her dogs, genre scenes, travel views, and photographs of travels, friends, actors, and the ship "Scythia,". Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
In 1988-1991, the bulk of the Emmet family papers were donated by Rosamond Sherwood, daughter of Rosina Emmet Sherwood (via Katharine Emmet Bramwell of New York), by Rosamond Sherwood's estate (via F. Douglas Cochrane, executor, from Boston), and by Rosamond's nieces, Virginia Sherwood and Julia Shipway. Additionally, one scrapbook was lent for microfilming in 1990 and subsequently donated by Mrs. Earl Maize. Douglas Cochrane then loaned another scrapbook for microfilming (reel 4344) in 1991 which was returned to Mrs. Earl Maize.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Emmet family papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- Study and teaching -- France -- Paris  Search this
Works of art  Search this
Women painters -- New York (State)  Search this
Painting, American -- New York (State)  Search this
Illustrators -- New York (State)  Search this
Painters -- England -- London  Search this
Playwrights  Search this
Portrait painters -- New York (State) -- New York  Search this
Singers  Search this
World War, 1914-1918  Search this
World War, 1939-1945  Search this
Genre/Form:
Scrapbooks
Sketchbooks
Photographs
Video recordings
Drawings
Diaries
Sound recordings
Citation:
Emmet family papers, 1792-1989 (bulk 1851-1989). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.emmefami
See more items in:
Emmet family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-emmefami
Online Media:

William Anderson Coffin papers, 1886-1924

Creator:
Coffin, William A. (William Anderson), 1855-1925  Search this
Subject:
Stella, Joseph  Search this
Warren, Whitney  Search this
Mauer, Alfred  Search this
Benson, Frank Weston  Search this
Blashfield, Edwin Howland  Search this
Zorach, William  Search this
Gay, Walter  Search this
Gussow, Bernard  Search this
Bouché, Louis  Search this
Cortissoz, Royal  Search this
Pan-American Exposition  Search this
Société des artistes français  Search this
Exposition d'artistes de l'école Américaine  Search this
American Rights Committee  Search this
American Artists' Committee of One Hundred  Search this
Lotos Club (New York, N.Y.)  Search this
Musée d'histoire et d'art (Luxembourg)  Search this
Committee for the Exhibition of American Painting and Sculpture (Paris, France)  Search this
Type:
Scrapbooks
Photographs
Topic:
Harper's Weekly  Search this
New York Post  Search this
Art Exhibitions France Paris  Search this
Art critics -- New York (State) -- New York  Search this
Landscape painters -- New York (State) -- New York  Search this
Art, American  Search this
World War, 1914-1918 -- Civilian relief -- France  Search this
Art critics -- France -- Paris  Search this
Record number:
(DSI-AAA_CollID)7476
(DSI-AAA_SIRISBib)209634
AAA_collcode_coffwill
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209634
Online Media:

Charlene Hodges Byrd collection

Creator:
Byrd, Charlene Hodges, 1929-2009  Search this
Names:
Morgan State College  Search this
Bearden, Romare, 1911-1988  Search this
Cummings, Ida R. (Ida Rebecca), 1868-1958  Search this
Douglass, Frederick, 1817?-1895  Search this
Grimké, Francis J. (Francis James), 1850-1937  Search this
Hodges, Joyce Ethel Cummings, 1903-1971  Search this
Shimm, Erminie F. (Erminie Florence), 1867-1936  Search this
Shimm, Sarah A., 1843-1885  Search this
Thomas, Elizabeth N. (Elizabeth Nelson), d. 1932  Search this
Washington, Booker T., 1856-1915  Search this
Extent:
43 Linear feet (35 document boxes and 39 oversize boxes)
Type:
Collection descriptions
Archival materials
Place:
Washington (D.C.)
Date:
circa 1750-2009
bulk 1880-1960
Summary:
The Charlene Hodges Byrd collection measures 43 linear feet, and dates from circa 1750-2009, with the bulk of the material dating from 1880-1960. The collection documents the personal life and professional career of Charlene Hodges Byrd, an African American teacher from Washington, D.C., along with material for several related families from Pennsylvania, Maryland, and Washington, D.C. Family members prominently represented include Sarah A. Shimm, teacher and essayist under the name Faith Lichen; her daughters Erminie F. Shimm and Grace E. Shimm Cummings, both teachers; and Byrd's mother, Joyce Ethel Cummings Hodges, also a teacher. Correspondence and writings chiefly discuss family life, religion, race, education, and the relationship with Frederick Douglass and his family. The collection is arranged in 10 series: Biographical Material, Correspondence, Writings, Subject Files, Financial and Legal Records, Printed Material, Volumes, Memorabilia, Textiles, and Photographs.
Scope and Contents:
Series 1. Papers related to biographical and family histories of the Byrd, Cummings, Davage, Dews, Hodges, Shimm, Spruill, and Thomas families. Material includes family trees; school diplomas and certificates; programs; awards; marriage and divorce papers; funeral documents; and obituaries.

Series 2: Chiefly letters from family and friends regarding family news, financial matters, school, work, neighborhood affairs, church events, travel and the weather. The majority of the letters are addressed to Charlene Hodges Byrd, Grace E. Shimm Cummings, Ida R. Cummings, Elizabeth Dews Hodges, Joyce Ethel Cummings Hodges, Erminie F. Shimm, Sarah A. Shimm, and Elizabeth N. Thomas. Other correspondence includes letters from Booker T. Washington, Bessye Beardon, Charlotte Davage, Amelia Douglass, and Harrell S. Spruill. There are also a number of greeting cards, postcards, and empty envelopes.

Series 3. Writings include essays, speeches, papers written for school, teacher's notebooks, and a diary of Erminie F. Shimm, 1903. Topics include education, Frederick Douglass, religion, race, Africa, and the temperance movement.

Series 4. Subject files on Charlene Hodges Byrd's involvement with Alpha Kappa Alpha Sorority; Book Lovers of Charleston, West Virginia, a women's book club organized in 1923; Church Women United radio program; and The Links, Inc., a volunteer service organization. The papers on Liberia relate to missionary work, and were probably gathered by Erminie F. Shimm; and the Shimm-Thomas Collection are papers related to the deposit and later return of family items housed as a collection at Morgan State College.

Series 5. The financial and legal records include invoices and receipts, bank books, real estate tax assessments, deeds, and wills. There is also material related to the estate of Erminie F. Shimm.

Series 6. Printed materials includes books, pamphlets, newspapers, newsletters, clippings, invitations and programs. The books and pamphlets are chiefly school yearbooks and newspapers and other texts related to religion, politics, music, and poetry. Also included is a copy of Frederick Douglass's autobiography and a printed copy of his speech "The Race Problem." The clippings include obituaries, articles about Charlene Hodges Byrd and her husband Charles R. Byrd, essays by Sarah A. Shimm under the name Faith Lichen, and articles on the assassination of Martin Luther King, Jr. The invitations and programs are primarily for school graduations, weddings, social events, and funerals. Other printed material includes newsletters; business cards; calling cards; postage stamps, chiefly from Liberia; and blank postcards. The binder on Frederick Douglass was prepared by Byrd and her goddaughter for the West Virginia School Studies Fair, and includes copies of Byrd family artifacts.

Series 7. Autograph books, guest books, and scrapbooks. The autograph book of Grace E. Shimm Cummings includes autographs from Amelia Douglass, Lewis B. Douglass, Charles R. Douglass, W. H. Clair, and Francis J. Grimke. The scrapbook of Grace E. Shimm Cummings and Erminie F. Shimm consists primarily of clippings, and was assembled from an old teacher's book with a student registration and punishment pages still intact at the back.

Series 8. Miscellaneous items in the collection including artwork, a coin purse, a piece of handwoven cloth belonging to Catherine Nelson's great grandmother, and leather hair curlers.

Series 9: The textiles are chiefly christening gowns, children's garments, and an apron. Several garments belonged to Joyce Ethel Cummings Hodges, Charlene Hodges Byrd, and Elizabeth N. Thomas. There is also a doll that belonged to Amelia Douglass's niece, Kitty Cromwell.

Series 10. Photographs include pictures of Charlene Hodges Byrd, Joyce Ethel Hodges Cummings, Frederick Douglass, Elizabeth Dews Hodges, Charles Gilmor Cummings, Grace E. Shimm Cummings, Erminie F. Shimm, and other friends and relatives of the Byrd, Hodges, Cummings, Douglass, and Shimm families. Subjects are primarily portraits and candids, along with some wedding, baby, and school pictures. While some of the photographs are annotated, many of the individuals are unidentified. Included are vintage photographs, cabinet cards, cartes-de-visites, tintypes, daguerreotypes, and negatives.
Biographical / Historical:
The Shimm, Thomas, Cummings, Hodges, Davage, and related African American families chiefly lived in Virginia, Pennsylvania, Maryland, and Washington, D.C. Numerous family members worked as teachers, barbers, or in the service industry. They were active in local churches and service organizations, and had established friendships with local church leaders as well as with Frederick Douglass and his family.

The Shimm and Thomas families were located in Virginia, Pennsylvania, Maryland, and Washington, D.C. The Thomas family can be traced back to Philip Nelson, who owned property in Leesburg, Virginia and Philadelphia, Pennsylvania. Family genealogical papers list Nelson as a descendent of British Admiral Horatio Nelson. This lineage, however, is not supported in publically available family histories of Horatio Nelson. Philip Nelson and his wife Araminta had five children: Catherine (b. 1805?), William, Levi (b. 1820?), Henrietta, and Grayson.

Catherine Nelson married Elias E. Thomas (b. 1816?) of Virginia in 1840. They wed in Philadelphia and had five children: Levi Nelson (b. 1841), Sarah (1843-1885), Edward (b. 1844), Elizabeth (1848-1932), and Charles (b. 1851).

Sarah Thomas married William Y. Shimm (b. 1841), a barber in Reading, Pennsylvania, on July 26, 1863. They had 2 daughters, Erminie (1867-1936) and Grace (1865-1910). The Shimms lived in Pennsylvania and Ohio, but had moved to Washington, D.C., around 1871. Sarah was a teacher and a writer who published under the name "Faith Lichen." Her writings, primarily essays and commentaries about race and politics, were printed in several newspapers including The National Republican, The Celtic Weekly, The People's Advocate, and The Sunday Morning Gazette.

Sarah's sister Elizabeth was also a teacher in Maryland. Her brother Charles was a lawyer in Washington, D.C., and a graduate of the first class at Howard University's law school.

Erminie and Grace Shimm became teachers in the Washington, D.C., public school system. Erminie was active in her church and supportive of missionary work in Liberia. Grace married Charles Gilmor Cummings, a pastor in Alexandria, Virginia, on July 9, 1902. They had one daughter, Joyce Ethel (1903-1971), and second child in 1905 who died in infancy. Grace died in 1910 of heart failure. After her death, Grace's sister Erminie and Charles's family helped raise Joyce Ethel in Washington, D.C., and Baltimore, Maryland.

Joyce Ethel Cummings Hodges graduated from Morgan College in 1924, and received her master's degree from Howard University in 1931. She taught at Douglass High School in Baltimore from 1924-1964. Joyce Ethel married Charles E. Hodges (1900--975) in 1927 and they divorced in 1953. The couple had one daughter, Charlene (1929-2009).

Charlene Hodges Byrd grew up in Washington, D.C., but attended the Northfield School for Girls in East Northfield, Massachusetts, for high school, graduating in 1946. She received her bachelor's degree from Connecticut College in 1950, and her master's degree in English Language and Literature from the University of Chicago in 1951. She married Charles R. Byrd (1919-2004) in 1952. They had one son in 1954, but he died four days after birth. Byrd soon began a career as a teacher and education administrator, eventually working for Kanawha County Schools in Charleston, West Virginia. She was also active in her local community as a member of the Book Lovers of Charleston, West Virginia; Church Women United; and The Links, Inc.

Charles E. Hodges was born Bridgewater, Virginia, where his father was a minister. He graduated from Morgan College in 1923 and received his master's degree from the University of Pennsylvania in 1943. He was a teacher and served as principal of the North Street School in Hagerstown, Maryland. After he and Joyce Ethel divorced in 1953, he married Elizabeth Dews (1913-1999) in 1955.

Elizabeth Dews Hodges, born Elizabeth Virginia Waumbeeka, was adopted by James Edward (1889-1954) and Sarah Virginia Dews (1888?-1964) in Washington, D.C., in 1920. She graduated from Miner Teachers College in 1939, and worked as a teacher in Annapolis, Maryland, at Wiley H. Bates High School for 34 years. She was awarded a medal for her work there by the Freedom Foundation of Valley Forge in 1959. Elizabeth was active in local organizations in Maryland and Washington, D.C., including the SE/NE Friends of the Capitol View Branch Library; Eastern Star Chapter 4; Mount Ephraim Baptist Church; National Museum of Women in the Arts; National Association for the Advancement of Colored Peoples; and the Columbia Lighthouse for the Blind.

The Davage family is descended from Sidney Hall (b. 1818?) and Charles Davage (b. 1815?). Sidney was a former slave at the Perry Hall mansion in Baltimore, and was manumitted by 1840. She married Charles, a coachman, on April 12, 1842. They had five children: Eliza Jane (1843-1913), Sophia (b. 1847), Charlotte (b. 1849), Charles (b. 1854), and Hester (b. 1845). Their daughter Eliza Jane married Henry Cummings (b. 1830?). They had seven children: Harry Sythe (1866-1917), Charles Gilmor (1870-1924), William (b. 1882), Ida R. (1868-1958), Estelle (1874-1944), Carroll (b. 1875), Francis (b. 1872), and Aaron (1864?-1932).

Harry Sythe Cummings, a lawyer in Baltimore, became the city's first African American City Council member. He was first elected in 1890 and served intermittently until his death in 1917, often working on issues related to education. Cummings also delivered a speech at the Republican National Convention in 1904 seconding the presidential nomination of Theodore Roosevelt. He married Blanche Conklin in 1899, and they had three children: Harry S. Jr. (b. 1905), Lucille (d. 1906), and Louise.

Charles Gilmor Cummings graduated from Drew Theological Seminary in 1898, and was a pastor in Alexandria, Virginia and elsewhere. After the death of his wife Grace in 1910, he married Rosa Catherine Bearden, grandmother of artist Romare Bearden, in 1912.

Ida R. Cummings graduated from Morgan College in 1922, and was the first African American kindergarten teacher in Baltimore. She was also active in local organizations, and was president of the Colored Fresh Air and Empty Stocking Circle; chairman of the Woman's Section Council of Defense in Baltimore during the World War, 1914-1918; and president of the Woman's Campaign Bureau of the Colored Republican Voters' League of Maryland.
Provenance:
The Charlene Hodges Byrd collection was donated to the National Museum of African American History and Culture by Herbert S. Garten, co-personal representative of the Estate of Charlene H. Byrd, in 2010.
Restrictions:
Access to collection requires appointment.
Rights:
This collection is subject to all copyright laws.
Topic:
African Americans -- Maryland  Search this
African Americans -- Photographs  Search this
African American families  Search this
African Americans -- Pennsylvania  Search this
African American newspapers  Search this
African American -- Social life and customs  Search this
African American women journalists  Search this
African Americans -- Education  Search this
African American churches  Search this
African American educators  Search this
African Americans -- Washington (D.C.)  Search this
Citation:
Charlene Hodges Byrd collection, circa 1750-2009. National Museum of African American History and Culture, Smithsonian Institution.
Identifier:
NMAAHC.2010.26
See more items in:
Charlene Hodges Byrd collection
Archival Repository:
National Museum of African American History and Culture
EDAN-URL:
ead_collection:sova-nmaahc-2010-26
Online Media:

War posters (series)

Collector:
Warshaw, Isadore, 1900-1969  Search this
Artist:
Rockwell, Norman, 1894-1978  Search this
Flagg, James Montgomery, 1877-1960  Search this
Christy, Howard Chandler, 1873-1952  Search this
Series Creator:
Warshaw, Isadore, 1900-1969  Search this
Extent:
350 Items (Approximately 350 items)
Type:
Archival materials
Posters
Date:
circa 1914-1960
bulk 1942-1945
Scope and Contents:
Consists of approximately 350 items, primarily posters relating to the First and Second World War. Also includes window displays, transit advertisements and flags. Although some British and Canadian posters from World War I are present, the bulk of the material dates from 1942-1945 and is comprised of American World War II posters publicizing war efforts such as conservation and food production, fundraising, recruiting and enlistment, morale and propaganda, and relief and volunteer organizations. Artists such as Howard Chandler Christy, James Montgomery Flagg, and Norman Rockwell are represented.
Arrangement:
Arranged by time period, country of origin and theme or issuing organization.
Restrictions:
The collection is open for research use. Researchers must handle unprotected photographs with gloves and use assistance when dealing with oversize materials.
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.
Topic:
Recruiting and enlistment  Search this
World War, 1914-1918  Search this
World War, 1914-1918 -- Propaganda  Search this
World War, 1939-1945  Search this
World War, 1939-1945 -- Propaganda  Search this
Genre/Form:
Posters
Series Citation:
Warshaw Collection of Business Americana Subject Categories: War, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
Warshaw Collection of Business Americana Subject Categories: War
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0060-s01-01-war-ref532

Stanley Woodward papers

Creator:
Woodward, Stanley Wingate, 1890-1970  Search this
Names:
Salmagundi Sketch Club  Search this
Beal, Gifford, 1879-1956  Search this
Butler, Mary  Search this
Cady, Harrison, 1877-1970  Search this
Carter, Janis, 1921-  Search this
Craine, Jeanne  Search this
Custis, Eleanor Parke, 1897-1983  Search this
Darnell, Linda, 1921-1965  Search this
Davis, Bette, 1908-1989  Search this
Day, Laraine, 1920-2007  Search this
Fabri, Ralph, 1894-1975  Search this
Grant, Gordon, 1875-1962  Search this
Hayworth, Rita, 1918-1987  Search this
Kent, Norman, 1903-1972  Search this
Lee, Madaline  Search this
Lupino, Ida, 1918-1995  Search this
Merrill, Gary  Search this
Nichols, Hobart, 1869-1962  Search this
Oakley, Thornton, 1881-1953  Search this
Powell, Eleanor, 1912-1982  Search this
Ryder, Chauncey F., 1868-1949  Search this
Smith, Alexis, 1921-1993  Search this
Smith, Howard (Howard Everett), 1885-1970  Search this
Tarbell, Edmund Charles, 1862-1938  Search this
Thieme, Anthony, 1888-1954  Search this
Extent:
6.6 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Diaries
Writings
Drawings
Scrapbooks
Date:
1875-1970
bulk 1905-1970
Summary:
The papers of marine painter, illustrator, writer and art instructor Stanley Woodward date from 1875-1970, bulk 1905-1970, and measure 6.6 linear feet. Found within the papers are biographical materials, family and personal correspondence, seventeen diaries, notes, notebooks and other writings, business records, a scrapbook and printed material including exhibition announcements and catalogs; and photographs of Woodward, members of his family, friends, his studio, and artwork. Files containing letters, clippings, and photographs concern actresses including Janis Carter, Linda Darnell, Bette Davis, and Eleanor Powell. Writings include drafts of Woodward's book Adventure in Marine Painting.
Scope and Content Note:
The papers of marine painter, illustrator, writer and art instructor Stanley Woodward date from 1875-1970, bulk 1905-1970, and measure 6.6 linear feet. Found within the papers are biographical materials, artworks, family and personal correspondence, seventeen diaries, notes, notebooks and other writings, business records, a scrapbook and printed material including exhibition announcements and catalogs; and photographs of Woodward, members of his family, friends, and his studio. Files containing letters, clippings, and photographs concern actresses including Janis Carter, Linda Darnell, Bette Davis, and Eleanor Powell. Writings include drafts of Woodward's book Adventure in Marine Painting.

Biographical material includes miscellaneous accounts of Woodward's life, cards and certificates of membership in various organizations including the Massachusetts Society of the Sons of the American Revolution, the Salmagundi Club, and the Academic Artist Association, military records of his service in both World Wars, and scattered artwork. A file concerning Woodward's portrait of Abraham Lincoln contains letters primarily discussing a reproduction of the portrait in The Boston Globe and the painting's eventual sale, in addition to notes, clippings, an ink drawing, and a photographic negative of the drawing.

Correspondence is between various family members, but also includes letters to Woodward from colleagues including Harrison Cady, Eleanor Parke Custis, Ralph Fabri, Chauncey F. Ryder, and Howard E. Smith. There are also scattered letters from other artists including Gifford Beal, Mary Butler, Gordon Grant, Norman Kent, Hobart Nichols, Thornton Oakley, Edmund Tarbell, and Anthony Thieme. Correspondence primarily concern his painting career, and includes lists of art work and financial material.

Artwork consists of a sketchbook and three sketches.

Files concerning actresses reflect Woodward's life-long friendship with former teenaged neighbor Bette Davis, who later introduced Woodward and his art work to her show business friends. The files contain letters, clippings, and photographs of actresses Janis Carter, Linda Darnell, Bette Davis, Laraine Day, Madaline Lee, Ida Lupino, Eleanor Powell, and Alexis Smith.

Seventeen diaries contain relatively detailed daily entries describing Woodward's art-related activities, experiences during World War II, and various travels, including a trip to Los Angeles to be a house guest of Bette Davis and visit her on the set of the motion picture Elizabeth and Essex. The 1905 diary contains photographs of Woodward's school friends.

Notes, notebooks, and writings include lists of art works, exhibition guest books, and miscellaneous writings by Woodward including drafts of his book Adventure in Marine Painting.

Business records include an auction catalog, account books for the sale of Woodward's book and art work, and miscellaneous receipts. Records of art classes taught by Woodward include lists of participants, accounts of fees paid, and printed advertisements.

A scrapbook containing clippings and exhibition announcements and catalogs illustrates Woodward's early interests and art-related activities.

Additional printed material consists of clippings, copies of the U. S. Air Corps Magazine The Rip Chord for which Woodward did the cover illustrations, prospectuses with annotations of titles and prices of art work, exhibition announcements and catalogs, reproductions of art work, a booklet, and brochures for books and for art schools. Miscellaneous printed material includes reproductions of a photograph of Woodward's father, Frank E. Woodward, and a program for an event honoring Dr. T. Tertius Noble.

Photographs are of Woodward, family members, friends connected with the U. S. Army Air Force including Jack Dempsey, Woodward's studio, and art work. Three albums contain photographs of art classes and Woodward painting outdoors at various locations including Laguna Beach and Palm Springs, California, St. Augustine, Florida, and Rockport, Massachusetts. A third album also contains photographs of notable friends including Janis Carter, Jeanne Craine, Bette Davis, Rita Hayworth, and Gary Merrill.
Arrangement:
The collection is arranged into 10 series. Each series is arranged chronologically.

Series 1: Biographical Material, 1918-1968 (Boxes 1, 8; 15 folders)

Series 2: Artwork, circa 1920s (Boxes 1; 2 folders)

Series 3: Correspondence, 1910-1969 (Boxes 1-3; 2.9 linear feet)

Series 4: Files Concerning Actresses, 1931-1970 (Boxes 4, 8; 0.75 linear feet)

Series 5: Diaries, 1905-1969 (Boxes 4-5; 10 folders)

Series 6: Notes, Notebooks, and Writings, 1915-1969 (Boxes 5, 8; 21 folders)

Series 7: Business Records, 1924-1969 (Boxes 5-6; 15 folders)

Series 8: Scrapbook, 1875-1919 (Box 6; 1 folder)

Series 9: Printed Material, 1916-1970 (Boxes 6-7; 0.75 linear feet)

Series 10: Photographs, 1920-1969 (Boxes 7-8, OV 9; 11 folders)
Biographical Note:
Stanley Wingate Woodward was born on December 11, 1890, in Malden, Massachusetts, son of Alice E. (Colesworthy) and Frank E. Woodward. He was one of eight children and a twin of Sidney, who later became an art dealer and critic.

In 1909, Woodward graduated from Malden High School and the family moved to Wellesley Hills. He studied at the Eric Pape School of Art, the School of the Boston Museum of Fine Arts, and the Pennsylvania Academy of the Fine Arts. He left school to serve in France as a Corporal in the Field Artillery 28th Division during World War I. After the war, he settled in Ogunquit, Maine, and became a free lance illustrator for Collier's and the Christian Science Monitor, where his brother Sidney was art editor.

In 1925, he held his first solo show of marine oils at Casson Galleries, Boston, where his twin brother Sidney was manager. He was encouraged to continue painting the ocean after the entire exhibition sold out.

Woodward married Ruth Brainerd in 1926 and they settled in Newton, Massachusetts, where they were neighbors to a young Bette Davis, who had recently graduated from high school. Woodward maintained contact with the actress for the rest of his life, and through Ms. Davis, he befriended other show business personalities.

During the 1930s, Woodward taught painting at the Woodward Outdoor Painting School of Rockport, Massachusetts, at the University of North Carolina at Chapel Hill, at the Ringling School of Art in Sarasota, Florida, and at the Laguna Beach School in California. In 1937, he established his residence and studio in Rockport, Massachusetts.

Woodward served as an Air Corps captain and director of camouflage training at McChord Field in Tacoma, Washington, during World War II. In 1947, he published a book on painting techniques entitled Adventure in Marine Painting. He was also the author of Marine Paintings in Oil and Water Color.

Woodward was a member of the Chicago Society of Etchers, the Concord Art Association, the Print Makers Society of California, the Boston Society of Water Color Painters, Allied Artists of America, the Guild of Boston Artists, the North Shore Art Association, the American Water Color Society, the Grand Central Galleries Association, and the Rockport Art Association. His work is in the collections of the Boston Museum of Fine Arts, Bowdoin College, Amherst College, Lehigh University, and the Prudential Life Insurance Collection.

Stanley Wingate Woodward died on March 21, 1970 in Gloucester, Massachusetts.
Provenance:
The Stanley Woodward papers were donated in two installments in 1973 by Stanley Woodward's daughter, Patricia Woodward Smith.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Stanley Woodward papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Marine painters -- Massachusetts  Search this
Educators -- Massachusetts  Search this
World War, 1914-1918  Search this
Marine painting -- Technique  Search this
Illustrators -- Massachusetts  Search this
Artists' studios  Search this
World War, 1939-1945  Search this
Genre/Form:
Photographs
Diaries
Writings
Drawings
Scrapbooks
Citation:
Stanley Woodward papers, 1875-1970, bulk 1905-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.woodstan
See more items in:
Stanley Woodward papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-woodstan

Buddies / Again! / Doughboy Donuts do their bit again [magazine tear sheet]

Collector:
Steinberg, Sally L. (Sally Levitt)  Search this
Advertiser:
Doughnut Corporation of America  Search this
Collection Collector:
Steinberg, Sally L. (Sally Levitt)  Search this
Extent:
1 Item (Ink on paper., 13.9" X 10.4".)
Container:
Box 4, Folder 1
Type:
Archival materials
Advertisements
Tear sheets
Date:
Ca. 1941
Scope and Contents:
Tear sheet with advertisement for Doughboy Donuts on left and listing of collegiate football teams on right. Ad features a soldier in uniform holding doughnut. The text references the consumption of Doughboy Donuts in both 1917 (World War I) and during World War Two. Slogan shown in ad copy: "Vitamized [sic] for health defense."
Local Numbers:
AC0439-0000023.tif (AC Scan)
Collection Restrictions:
Collection is open for research.
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.
Topic:
World War, 1914-1918 -- Art and the war  Search this
World War, 1939-1945 -- Art and the war  Search this
College sports  Search this
Football  Search this
Soldiers -- 1940-1950  Search this
Food  Search this
Doughnuts  Search this
Food habits -- United States  Search this
Vitamins  Search this
Genre/Form:
Advertisements -- 1900-1950
Tear sheets -- 1940-1950
Collection Citation:
Sally L. Steinberg Collection of Doughnut Ephemera, 1920s-1987, Archives Center, National Museum of American History.
See more items in:
Sally L. Steinberg Collection of Doughnut Ephemera
Sally L. Steinberg Collection of Doughnut Ephemera / Series 4: Other Donut Companies / Oversized Ephemera
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0439-ref599

Max Bohm papers

Creator:
Bohm, Max, 1868-1923  Search this
Names:
Beachcombers (Organization)  Search this
Salmagundi Club  Search this
Bohm, Zella Newcomb  Search this
Hunt, Clyde du Vernet  Search this
Locke, Esther Bohm, d. 1913  Search this
Longyear, Mary Beecher, 1851-1931  Search this
Macbeth, Robert W. (Robert Walker), 1884-1940  Search this
Macbeth, William, 1851-1917  Search this
Extent:
5.6 Linear feet
Type:
Collection descriptions
Archival materials
Motion pictures (visual works)
Sketchbooks
Sketches
Paintings
Photographs
Drawings
Diaries
Place:
France -- description and travel
Date:
1873-1970
bulk 1880-1959
Summary:
The papers of painter Max Bohm measure 5.6 linear feet and date from 1873-1970, with the bulk of the material dating from 1880-1959. Biographical material includes a file concerning the Provincetown artist's club The Beachcombers. Also found is detailed family correspondence, as well as general correspondence that includes exchanges with patron Mary Beecher Longyear and dealer William Macbeth. The papers contain scattered business records; five diaries written by Bohm's wife Zella; other notes and writings; art work including fifteen sketchbooks, loose drawings, and oil paintings; printed material; and photographs of Bohm, his family, and colleagues including artists attending a Salmagundi dinner. There is also a motion picture film Six Foot Art, in Which Max Bohm, Member of the National Academy Tells How He Does It.
Scope and Contents:
The papers of painter Max Bohm measure 5.6 linear feet and date from 1873-1970, with the bulk of the material dating from 1880-1959. Biographical material includes a file concerning the Provincetown artist's club The Beachcombers. Also found within the papers is detailed family correspondence, as well as general correspondence that includes exchanges with patron Mary Beecher Longyear and dealer William Macbeth. Also found are scattered business records; five diaries written by Bohm's wife Zella; other notes and writings; art work including sketchbooks, loose drawings, and oil paintings; printed material; and photographs of Bohm, his family, and colleagues including artists attending a Salmagundi dinner. There is also a motion picture film Six Foot Art, in Which Max Bohm, Member of the National Academy Tells How He Does It.

Family correspondence consists of letters exchanged between various Bohm family members during their long periods of separation. Decades of almost daily exchanges of letters offer detailed descriptions of Bohm's activities in pursuit of notoriety as an artist including his frequent travels in Europe and the United States, attendance of art-related and other cultural events, and his thoughts about art, philosophy, and his strong opposition to German aggression in World War I. The often affectionate letters from Bohm's wife Zella describe her concerns over finances and raising the children during Bohm's frequent absences, but also include descriptions of their summers in coastal France.

Professional correspondence consists of scattered letters discussing art-related business with colleagues including Bohm's longtime patron and Christian Science advocate, Mary Beecher Longyear, and Macbeth Gallery owners Robert and William Macbeth.

Scattered business records include price lists for art work, banking records, and miscellaneous receipts.

Five diaries and loose diary pages written by Bohm's wife Zella contain detailed descriptions of daily activities and her observations and thoughts, some drawings, notes, and financial notations. Some of the diaries contain annotations by her daughter, Esther.

Notes and writings include notebooks containing original short stories and miscellaneous sketches by Bohm, lists of art work, miscellaneous notes including several written by Esther Bohm, and miscellaneous writings by and about Bohm including his typescript "An Artist's Philosophy."

Art work consists of fifteen sketchbooks, miscellaneous drawings including a self-portrait, and oil paintings on board and on unstretched canvases including Bohm's studies of works by Titian and Van Dyke, and a painting of a young Esther Bohm looking at the sea. Works by others include a batik design on silk by Zella Bohm, a watercolor by Bohm's aunt, Anna Stuhr Weitz, and an oil portrait of Zella by her granddaughter.

Printed material primarily consists of clippings generated by Bohm's participation in the Paris Salons, in addition to several exhibition announcements and catalogs for Bohm and for others, and reproductions of art work by Bohm and others. There are also 2 copies of a silent, black and white Pathé newsreel titled Six Foot Art, in Which Max Bohm, Member of the National Academy Tells How He Does It on 16mm and 35mm film reels.

Photographs are of Bohm and his family, colleagues including Clyde du Vernet Hunt in his studio and a Salmagundi Club "Get Together" dinner, views of the town of Etaples, France, and of works of art by Bohm and others.
Arrangement:
The papers have been organized into 8 series.

Series 1: Biographical Material, 1898-1970 (0.1 linear feet; Box 1, OV 8)

Series 2: Correspondence, 1880-1955 (3.3 linear feet; Boxes 1-4, 7)

Series 3: Business Records, 1910-1930 (0.2 linear feet; Box 4)

Series 4: Diaries, 1887-1916 (0.2 linear feet; Box 4)

Series 5: Notes and Writings, 1882-circa 1970 (0.2 linear feet; Boxes 4, 7)

Series 6: Art Work, 1873-1951 (0.6 linear feet; Boxes 4-5, 7, OVs 8-10)

Series 7: Printed Material and Motion Picture Film, 1886-1957 (0.8 linear feet; Boxes 5-7, FC 11-12)

Series 8: Photographs, 1886-1959 (0.2 linear feet; Boxes 6-7)
Biographical / Historical:
Max Bohm was born on January 21, 1868, in Cleveland, Ohio, the son of Henry and Emilie Bohm.

Bohm began his study of art in 1887 when he accompanied his aunt, Anna Stuhr, on the first of several voyages to France. He studied in artist communities in Brittany and in Paris at the Académie Julian with Boulanger, Lefebvre, and Benjamin Constant. He also traveled to Belgium, The Netherlands, and Germany.

In 1895, Bohm attended an open school of painting in Etaples on the coast of France, and during the winter months he taught painting at a school in London, England. His painting En Mer was awarded the Gold Medal by the Paris Salon of 1897.

While teaching in Etaples in 1898, Bohm married one of his pupils, Zella Newcomb, an art teacher from Carlton College in Minnesota. In 1900, the Bohms traveled to Italy for several months before returning to Minneapolis, Minnesota, where Bohm established a studio. After trying to find affordable studio and living space in New York City, Bohm moved his family back to France in 1902. Bohm established a studio in Paris for two years and during the summer months his wife and children moved to the less expensive and cooler coastal towns of France. Bohm continued to display his work in the annual Paris Salons.

From 1905 until the summer of 1908, the Bohm family lived primarily in England. In 1909, Bohm entered and won the Cleveland Court House mural competition, prompting the family to return to the United States for several months. They returned to Paris the following year, where Bohm established a studio and worked on the Cleveland Court House mural. Again, Bohm's wife and children would live in French coastal towns, while Bohm was on extended visits to Paris, London, or the United States.

Sometime around 1911, Bohm became acquainted with Mrs. Mary Beecher Longyear, a wealthy follower of Mary Baker Eddy and Christian Science. Over the next decade, Mrs. Longyear commissioned many works by Bohm and supported his career. In May of 1912 Bohm's mural, First New England Town Meeting, was installed in the new Cleveland Court House and arrangements were made with Macbeth Galleries to exhibit Bohm's work. Late in 1913, Bohm became involved with the Pan-Pacific International Exposition where his painting Promenade won the Gold Medal in 1915.

During World War I, the Bohm family fled France and temporarily settled in Tuckahoe, New York, and Bohm made frequent visits to his patron, Mrs. Longyear, in Boston. In 1916, the Knoedler Gallery exhibited Bohm's murals for Mrs. Longyear's music room. Also during this time, the family enjoyed spending summers in Provincetown, where Bohm joined The Beachcombers, an organization of artists.

In 1919, the Bohms built a house in Bronxville, New York, for easy access to New York City, while simultaneously purchasing a cottage in Provincetown. While the house was being constructed, Zella and the children became boarders in the home of painter Spencer Nichols, who also lived in Bronxville. During this year, Max Bohm, Jr., entered Harvard University while Mrs. Longyear continued to provide commissions for Max Bohm's art work.

Between 1922 and 1923, Bohm had exhibitions in Greenwich, Connecticut, Washington, D.C., and at the Grand Central Galleries, with his painting En Mer being exhibited at the National Academy of Design.

Max Bohm died on September 19, 1923 in Provincetown, Massachusetts.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 420-421) including biographical material, scattered letters, notes and writings, drawings, clippings, exhibition catalogs, booklets, a scrapbooks, and photographs of Bohm, his family, colleagues, and residences. Loaned materials were returned to the lender and are not described in the collection container inventory.

The original Six Foot Art film was also transferred to 16mm and 35mm film reels in the 1970s, but is not in the collection.
Provenance:
Kathryn Esther Locke and Elizabeth Schwarz, the artist's daughters, lent the material on microfilm reels 420-421 and donated papers in 1972.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Max Bohm papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painters -- Massachusetts -- Provincetown  Search this
World War, 1914-1918  Search this
Art -- Philosophy  Search this
Christian Scientists  Search this
Painting, American -- Massachusetts -- Provincetown  Search this
Genre/Form:
Motion pictures (visual works)
Sketchbooks
Sketches
Paintings
Photographs
Drawings
Diaries
Citation:
Max Bohm papers, 1873-1970, bulk 1880-1959. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bohmmax
See more items in:
Max Bohm papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bohmmax
Online Media:

Douglas Volk and Leonard Wells Volk papers

Creator:
Volk, Leonard Wells, 1828-1895  Search this
Volk, Douglas , 1856-1935  Search this
Names:
Chicago Academy of Design  Search this
Ecole nationale supérieure des beaux-arts (France)  Search this
Sabatos Industries  Search this
Adler, Felix, 1851-1933  Search this
Albert, King of the Belgians, I, 1875-1934 -- Photographs  Search this
Benson, Eugene, 1837-1908  Search this
Bridge, Marion Volk  Search this
Brush, George de Forest, 1855-1941  Search this
Chase, William Merritt, 1849-1916 -- Photographs  Search this
Chubb, Percival, 1860-1960  Search this
Daingerfield, Elliott, 1859-1932  Search this
Douglas, Stephen Arnold, 1813-1861  Search this
Gilbert, Cass, 1859-1934  Search this
Gérôme, Jean Léon, 1824-1904  Search this
Hale, Philip Leslie, 1865-1931 -- Photographs  Search this
Lincoln, Abraham, 1809-1865  Search this
Lloyd George, David, 1863-1945  Search this
Pershing, John J. (John Joseph), 1860-1948 -- Photographs  Search this
Volk, Gerome  Search this
Volk, Marion Larrabee, 1859-1925  Search this
Volk, Wendell  Search this
Weir, Julian Alden, 1852-1919  Search this
von Rydingsvaard, Karl  Search this
Extent:
12.4 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Diaries
Sketchbooks
Paintings
Photographs
Sketches
Place:
Sculptors -- Maine
Date:
circa 1858-1965
2008
bulk 1870-1935
Summary:
The papers of painter and teacher Douglas Volk (1856-1935) and his father, sculptor Leonard Wells Volk (1828-1895), measure 12.4 linear feet and date from circa 1858-1965, 2008, with the bulk of the material dating from circa 1870-1935. Douglas Volk's papers document his life and career through biographical material, family and professional correspondence, writings and notes, diaries and journals, financial records, printed material, scrapbooks, artwork and sketchbooks, and photographs of the artist, his family, friends, and artwork. The papers also provide documentation of the formation and operations of the Sabatos Handicraft Society established with Marion Volk from the Volk's summer home, Hewnoaks, in Center Lovell, Maine. Scattered documentation of the life and work of Leonard Wells Volk, is found in biographical material, land records, letters, memoirs, and photographs.
Scope and Contents:
The papers of painter and teacher Douglas Volk (1856-1935) and his father, sculptor Leonard Wells Volk (1828-1895), measure 12.4 linear feet and date from circa 1858-1965, 2008, with the bulk of the material dating from circa 1870-1935. Douglas Volk's papers document his life and career through biographical material, family and professional correspondence, writings and notes, diaries and journals, financial records, printed material, scrapbooks, artwork and sketchbooks, and photographs of the artist, his family, friends, and artwork. The papers also provide documentation of the formation and operations of the Sabatos Handicraft Society established with Marion Volk from the Volk's summer home, Hewnoaks, in Center Lovell, Maine. Scattered documentation of the life and work of Leonard Wells Volk, is found in biographical material, land records, letters, memoirs, and photographs.

Douglas Volk's papers form the bulk of the collection and document all stages of his life from his first visits to Europe during his teenage years, until his death. Biographical material includes address books, biographical notes, genealogical records of Volk's family, and a warranty deed for land purchased by Marion Volk in Center Lovell, Maine, in 1904.

Family correspondence is primarily between Douglas and Marion throughout their courtship and marriage, but also includes letters from other family members including daughter Marion Volk Bridge and sons Wendell and Gerome Volk. General correspondence is with colleagues, art galleries, societies, institutions and museums, schools and colleges, government agencies, and others. Also found are letters from artists including George de Forest Brush, Elliott Daingerfield, Cass Gilbert, Philip Leslie Hale, Swedish woodcarver Karl von Rydingsvard, and J. Alden Weir; and friends Felix Adler and Percival Chubb.

Douglas Volk's writings and notes are on art, art instruction for children, and the significance and influence of his father's work, particularly Leonard Volk's Lincoln life mask, and include drafts of his monograph "Art Instruction in Public Schools."

Diaries and journals record details of Volk's early art education in Europe, including his friendships with Eugene Benson and George de Forest Brush and others, his time spent studying under Jean-Léon Gérôme at the École des Beaux Arts, his appointment by the National Art Committee to paint portraits of World War I era politicians and military figures, and his Lincoln portrait painted just prior to Volk's death.

Financial records document day-to-day routine expense, as well as sales of artwork and other art-related transactions.

Printed material and a scrapbook of clippings and letters include press coverage of Douglas Volk's career from the early 1900s to 1918. An additional scrapbook provides documentation of the Sabatos Handicraft Society, including a copy of one of only three known editions of the society's publication The Fire Fly. Artwork includes sketches, two small oil paintings, and fifteen sketchbooks of Douglas Volk.

Photographs include portraits taken at various stages of Volk's career, family photographs, photographs of the main house at Hewnoaks and additional buildings, photographs of several artists including William Merritt Chase and Karl von Rydinsgsvard, photographs of world leaders including David Lloyd George, King Albert of Belgium, and General John J. Pershing, and photographs of artwork.

The papers of Leonard Wells Volk include seven volumes of his hand-written memoirs which document his relationship with Stephen A. Douglas, his first meeting with Lincoln, and his involvement with the Chicago Academy of Design. Also found are three letters including one written to Douglas Volk in 1887, and a memorandum related to the value of Leonard Wells Volk's Lincoln and Douglas statues at the Illinois State House. Photographs include three of Leonard Wells Volk, photographs of other family members including his wife Emily, photos of houses and woodland scenes, and photos of artwork.
Arrangement:
The collection is arranged as 2 series.

Series 1: Douglas Volk Papers, circa 1870-1965, 2008 (11.85 linear feet; Boxes 1-12, 15-16, OVs 13-14)

Series 2: Leonard Wells Volk Papers, circa 1858-circa 1930 (0.45 linear feet; Boxes 11-12)
Biographical / Historical:
Chicago sculptor Leonard Wells Volk (1828-1895) created one of only two life masks of Abraham Lincoln. His son, painter and teacher Douglas Volk (1856-1935), was known for his figure and portrait paintings. Douglas Volk and his wife Marion Larrabee Volk established the Sabatos Handicraft Society, producing homespun woolen rugs and textiles from their summer home in Center Lovell, Maine.

Leonard Wells Volk was raised in New York State and Massachusetts, before moving to St. Louis to learn modeling and drawing. Around 1852 he married Emily Clarissa King Barlow, a cousin of Senator Stephen A. Douglas. Douglas took an interest in Volk's career and helped finance his trip to Rome and Florence between 1855 and 1857, where Volk studied art. On returning from Europe Volk settled in Chicago, opening a studio there and establishing himself as a leader in art circles and a founder of the Chicago Academy of Design. He served as president of the Academy (later the School of the Art Institute of Chicago) for eight years. Volk recorded his first meeting with Lincoln during the 1858 Lincoln-Douglas debates, and the subsequent 1860 sittings with Lincoln for the life mask, hands, and bust, in his memoirs. The mask served as a model for many sculptors who made later portraits of Lincoln. Volk's other important works include the Rock Island County Soldier's Monument in Rochester, New York (1869), statues of Lincoln and Douglas for the Illinois Statehouse (1876), a bust of Douglas, and the Douglas Tomb monument (1881) in Chicago.

Douglas Volk was born in Pittsfield, Massachusetts in 1856. His artistic education began in his teens when he traveled to Europe with his family. In the early 1870s he lived in Rome and Venice, spending time with his friends George de Forest Brush and J. Alden Weir. He moved to Paris in 1873 where he studied at the École des Beaux Arts with Jean-Léon Gérôme, and exhibited his first picture, In Brittany, at the 1875 Paris Salon.

In 1879 Volk returned to the United States and accepted a teaching position at Cooper Union. He was elected to the Society of American Artists in 1880 and married Marion Larrabee in 1881. In 1883 Volk became a founder of the Minneapolis Society of Fine Arts and was appointed the first president of the subsequent Minneapolis School of Fine Arts in 1886, a position he held until 1893. During his time in Minneapolis, Volk purchased a summer studio and retreat in Osceola, Wisconsin, and he and Marion had four children: Leonard (1882-1891), Wendell (1884-1953), Marion (1888-1973) and Gerome (1890-1959). In 1893 Volk returned to New York and accepted a position at the Art Students League, where he taught from 1893-1898, and also resumed his post at Cooper Union. He became interested in innovative ways to teach art and art history to children, and in 1895 the National Academy of Design printed his essay "A Plea for Art in the Public Schools," in its annual exhibition catalog. He was elected an associate of the Academy in 1898, becoming a full academician in 1899.

In 1898, looking to provide the family with a summer retreat, Marion Volk purchased property with a friend in Center Lovell, Maine, an area already enjoyed by the couple's friends, George de Forest Brush and Percival Chubb. The property was divided in 1901 and Marion added to her half creating a lot of approximately twenty-five acres. The Volks renovated the house, which they named Hewnoaks, and eventually built four more cottages and a studio for Douglas Volk on the property. During this period Marion Volk was working with handwoven wool on traditional area looms using fruit and vegetable hand-dyes and designs based on motifs from Native American art. In 1902 the Volks held the founding meeting of the Sabatos Handicraft Society at Hewnoaks, and the property became the hub of a Center Lovell community effort to produce rugs, textiles, and other handicrafts using traditional methods. Daughter Marion worked with her mother, and son Wendell, a printmaker and woodcaver, operated the Hewn Beam Press, printing pamphlets and a newsletter entitled the Fire Fly: A Periodical of Fearless Endeavour. Swedish-born wood carver Karl von Rydingsvard offered classes on wood carving at Hewnoaks, assisted by Wendell Volk.

Douglas Volk worked to make the Hewnoaks handicraft movement a success, but focused primarily on his own painting. The Maine woods provided endless inspiration and the setting for many of his paintings and murals, which primarily depicted romanticized historical subjects in Colonial America and reflected his traditional academic training. One of his best known works, The Boy with the Arrow (1903), a portrait of his son Leonard "Leo" Volk who died at the age of eight, is now in the collection of the Smithsonian American Art Museum.

Volk taught at the National Academy of Design from 1910-1917. He served as recording secretary and then on the council for the organization from 1910-1919. His acclaimed intimate portraits of friends and acquaintances, including Felix Adler (1914) and William Macbeth (1917), were painted during this period. In 1919 Volk was one of a group of artists commissioned by the National Art Committee to paint major figures from World War I. He subsequently painted portraits of King Albert of Belgium, British Prime Minister David Lloyd George, and General John J. Pershing, and recorded his meetings and sittings with the three men in his journals.

For the last fifteen years of his life Volk, using his father's life mask, painted a series of portraits of Abraham Lincoln, one of which hangs in the Lincoln Bedroom at The White House.

At least fifteen years prior to her death in 1925, Marion Volk's involvement in handicrafts at Hewnoaks declined, while Douglas Volk continued to focus on his own work. Wendell Volk's career in civil engineering took precedence over his interest in weaving and woodcarving and both he and his brother Gerome moved West in 1909. Following Douglas Volk's death in Fryeburg, Maine in 1935, Wendell Volk and his wife Jessie, also an artist, ultimately took possession of Hewnoaks. Wendell died in 1953, but the property was eventually bequeathed by Jessie Volk to the University of Maine and now operates as an artist colony.
Separated Materials:
Volumes 1, 3, 6-7, 9, and 10 of Leonard Volk's memoirs form part of the Alfred Whital Stern Collection of Lincolniana in the Library of Congress.

The Archives of American Art also holds material lent for microfilming (reel 4280) including correspondence of Leonard Volk and photographs of his artwork. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The George Arents Research Library, Syracuse University in Syracuse, New York first lent material for microfilming in 1989. Most of the material was then donated in 2004–2005 by Jessie J. Volk, the daughter-in-law of Douglas Volk, who also bequeathed the Volk estate including additional Volk papers to the University of Maine. In 2006, University officials arranged for an auction of much of the property of the estate including the remaining family papers. The Volk Family estate auction was conducted by Cyr Auction Co., in Gray, Maine, on July 19, 2006. Several individuals purchased parts of the papers at that auction and subsequently donated them to the Archives. Those donors are: David Wright, who acquired the 1875 journal and Brush letters and donated them to the Archives in 2006; Dr. Christine Isabelle Oaklander, who purchased the account book, 1873–1875, and donated it to the Archives in honor of Judith Ellen Throm in 2007, and also donated additional letters and a photograph in 2008; and Mary K. and John F. McGuigan Jr., who purchased correspondence (1120 letters), speeches, lectures, articles, checks, check stubs and miscellaneous items and donated them to the Archives in 2015. In 2007, the University of Maine Foundation via Amos Orcutt donated the 1934 journal and 60 photographs.

John F. McGuigan Jr. and Mary K. McGuigan have purchased and donated additional archival materials to the Archives, including the Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection, and 69 letters now among the Sylvester Rosa Koehler papers.

In 2007, the University of Maine Foundation via Amos Orcutt donated the 1934 journal and 60 photographs that were part of the Volk Family estate, but not included in the June 19, 2006 auction.

In 2019 Dr. Christine Isabelle Oaklander donated additional material purchased at auction, primarily photographs and some printed material.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Douglas Volk and Leonard Wells Volk papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painters -- Maine  Search this
Painters -- New York (State) -- New York  Search this
Art teachers -- New York (State) -- New York  Search this
Sculptors -- Illinois -- Chicago  Search this
Art -- Study and teaching  Search this
World War, 1914-1918  Search this
Genre/Form:
Scrapbooks
Diaries
Sketchbooks
Paintings
Photographs
Sketches
Citation:
Douglas Volk and Leonard Wells Volk papers, circa 1858-1965, 2008, bulk circa 1870-1935. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.volkleon
See more items in:
Douglas Volk and Leonard Wells Volk papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-volkleon
Online Media:

Princeton University Poster Collection

Creator:
Princeton University  Search this
Extent:
135 Cubic feet (10,690 posters)
Type:
Collection descriptions
Archival materials
Posters
Date:
1863-1950
Scope and Contents:
Primarily war-related posters.
Arrangement:
The collection is arranged into six series.

Series 1: Pre-World War One, 1863-1917

Series 2: World War One, 1911-1923

Series 3: Between Wars, 1912-1939

Series 4: World War Two, 1939-1945

Series 5: Post World War Two, 1945-1948

Series 6: Unknown, 1913-1918
Biographical / Historical:
The Princeton University Library donated this extensive collection of World War I and World War II materials to the Smithsonian Institution in 1963 and 1967. The bulk of the 1963 donation, stored in six large wooden crates, was sent to an off site storage location. Other posters donated in 1963, primarily World War II British in origin, were stored in the Division of Political History; they were later transferred to the Division of Armed Forces History. In 1967, Princeton donated an additional five albums of posters that had been overlooked in 1963; these albums were also stored in the Division of Armed Forces History.

In 1990 and again in 1991, the NMAH Division of Conservation was awarded Smithsonian Research Resources grants to conserve and catalog the collection. The posters in the crates were in extremely precarious condition, evidencing extensive tears, water damage, dirt, mold, and insect damage. Their condition was so extreme that handling, cataloging, or mere counting was not deemed possible outside of a major rehousing project. In 1992, the NMAH Archives Center assumed curatorial responsibility for the collection and took over direction of the project.
Provenance:
Collection donated by the Princeton University Library in 1963 and 1967.
Restrictions:
Collection is open for research.
Rights:
Copyright status of items varies. 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:
War  Search this
World War, 1914-1918 -- Posters  Search this
World War, 1939-1945 -- Posters -- United States  Search this
Genre/Form:
Posters -- 1860-1950
Citation:
Princeton University Posters Collection, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0433
See more items in:
Princeton University Poster Collection
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0433
Online Media:

Oeuvre du soldat Belge sous le haut patronage de S.A.R. la Duchess de Vendôme Solemnité à l'occasion de la Fête de LL.MM. le Roi et la Reine des Belges en l'eglise de Notre-Dame.

Artist:
Romberg, Maurice  Search this
Names:
Albert, King of the Belgians, I, 1875-1934  Search this
Elisabeth, Queen, consort of Albert I, King of the Belgians, 1876-1965  Search this
Vendôme, Henriette de, duchesse de, 1870-1948  Search this
Collection Creator:
Princeton University  Search this
Extent:
1 Poster (1/2 size; Multi-color, 69 x 53.5 cm)
Container:
Map-folder 113
Type:
Archival materials
Posters
Place:
France
Date:
1915
Image:
Main Image: Soldier carrying tattered Belgian flag with 2 soldiers with bayonets next to him
Local numbers:
Princeton Poster# 1007
Translation:
Action of Belgian Soldiers under the patronage of SAR (HRH?) the duchess of Vendôme. The solemness of the occasion of the holiday of LL:MM: the king and queen of Belgium at the church of Notre Dame
General:
Artist(s): Maurice Romberg
Locale:
Paris
Collection Restrictions:
Collection is open for research.
Collection Rights:
Copyright status of items varies. 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:
Tribute to Allies  Search this
World War, 1914-1918  Search this
World War, 1914-1918 -- Posters -- France  Search this
Soldiers -- 1910-1920  Search this
World War, 1914-1918 -- Belgium -- Pictorial works.  Search this
Genre/Form:
Posters
Posters -- World War, 1914-1918 -- France
Collection Citation:
Princeton University Posters Collection, Archives Center, National Museum of American History.
See more items in:
Princeton University Poster Collection
Princeton University Poster Collection / Series 2: World War One / France
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0433-ref5414

Batouala

Published by:
Thomas Seltzer Inc., 1919 - 1926  Search this
Written by:
René Maran, French Guyanese, 1887 - 1960  Search this
Medium:
ink on paper
Dimensions:
H x W x D: 7 5/8 × 5 1/4 × 1 3/8 in. (19.4 × 13.3 × 3.5 cm)
Type:
hardcover books
Place depicted:
Gabon, Central Africa, Africa
Date:
1922
Topic:
African American  Search this
Africa  Search this
African diaspora  Search this
Folklife  Search this
Literature  Search this
World War I  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2018.65
Restrictions & Rights:
Public domain
See more items in:
National Museum of African American History and Culture Collection
Classification:
Documents and Published Materials-Published Works
On View:
NMAAHC (1400 Constitution Ave NW), National Mall Location, Concourse, C 050
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd57885dc6d-ac43-4132-9cf8-16cc7b8db56b
EDAN-URL:
edanmdm:nmaahc_2018.65
Online Media:

Marie Curie letter dated Faculté des sciences de Paris, Institut du radium, Laboratoire Curie, 1, Rue Pierre-Curie, Paris, 24 August 1917

Correspondent:
Curie, Marie 1867-1934  Search this
Former owner:
Lende, H. W. Jr. DSI  Search this
Author:
H.W. Lende, Jr. Manuscript Collection (Smithsonian Libraries) DSI  Search this
Associated name:
British Red Cross Society London Branch  Search this
France Service de santé des armées  Search this
Institut Curie  Search this
Subject:
Curie, Marie 1867-1934  Search this
Physical description:
1 sheet (1 unnumbered page) ; 28 cm
Type:
Electronic resources
Manuscripts (documents)
Place:
France
Date:
1917
Topic:
World War, 1914-1918--Medical care  Search this
Call number:
MSS 002029 A
Restrictions & Rights:
Use by appointment with Dibner Library staff.
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1100587

The Arcadian observer

Author:
United States Army Balloon School  Search this
Physical description:
v. : ill. ; 30 cm
Type:
Electronic resources
Place:
United States
Date:
1918
1918-
Topic:
World War, 1914-1918--Periodicals  Search this
Aeronautics, Military--Study and teaching--Periodicals  Search this
Balloons--Periodicals  Search this
Call number:
D501 .A668
D501.A668
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_159641

The war romance of the Salvation Army, by Evangeline Booth ... and Grace Livingston Hill ..

Author:
Booth, Evangeline 1865-1950  Search this
Hill, Grace Livingston 1865-1947  Search this
Physical description:
356 p. incl. facsim. front., plates, ports. 20 cm
Type:
Electronic resources
Date:
1919
[c1919]
Topic:
World War, 1914-1918--War work--Salvation army  Search this
Call number:
D639.S15B6X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_198183

Basil Lee Rowe Collection

Creator:
Rowe, Basil Lee  Search this
Names:
Pan American World Airways, Inc.  Search this
West Indian Aerial Express  Search this
Lindbergh, Charles A. (Charles Augustus), 1902-1974  Search this
Rowe, Basil Lee  Search this
Extent:
5.35 Cubic feet (5 document boxes, 4 flat boxes)
Type:
Collection descriptions
Archival materials
Photographs
Logs (records)
Scrapbooks
Publications
Date:
1917-1973
bulk 1930-1968
Summary:
Basil Lee Rowe (1896-1973) enjoyed a long and successful career in aviation, initially as a military exhibition pilot, barnstormer, air racer, charter operator, flight instructor, aircraft salesman, and rumrunner, before moving to the West Indies to start an airline, the short-lived West Indian Aerial Express, bought out by Pan American Airways in 1928. Rowe became a pioneering senior pilot for Pan Am, flying with them for 28 years before his retirement in 1956. This collection includes scrapbooks, photo albums, memorabilia, and first day covers, in addition to the draft manuscript for Rowe's 1956 autobiography, Under My Wings.
Scope and Contents:
The collection consists of Rowe's pilot's log books covering his career from 1927 to 1956, assorted periodicals, cartoons featuring Rowe, scrapbooks and photo albums assembled by Rowe (featuring newspaper clippings, photographs, and ephemera), several draft manuscripts of Rowe's 1956 autobiography Under My Wings, and first day air mail postal covers collected by Rowe.
Arrangement:
Materials in this collection are grouped into series by format. See individual series Scope and Content notes for details on arrangement within that series. Note that with the exception of the chronologically arranged flight log books, Rowe did not appear to organize his materials in any particular order.
Biographical / Historical:
Basil Lee Rowe, born February 10, 1896, grew up in the small town of Shandaken, New York, in the Catskill Mountains. He began his flying career in 1914 as an apprentice to aviator Turk Adams after seeing Adams fly at a local county fair. Impatient to become a military pilot, Rowe arranged to join the Royal Canadian Air Force, but was sidelined by a ruptured appendix before he could get to Canada. By the time Rowe had recovered, the United States had entered World War I and Rowe was able to join the Aviation Section of the U. S. Army Signal Corps; he was sent to Texas. During the Third Liberty Loan drive, Rowe was assigned to a group of fliers who were to give exhibition flights; after his discharge, he used his savings to buy a used Avro biplane and barnstormed around the East Central United States, using Hadley Field (New Brunswick, New Jersey) as his home field. Rowe soon bought a second aircraft, hired pilot William S. "Bill" Wade, and moved his base of operations to the Aeromarine Base at Keyport, near Perth Amboy, New Jersey. Rowe prospered through the early 1920s, and his troupe the "Rowe Fliers" (including at various times wingwalkers Bill Stacy and Marguerite L. "Peggy" Roome) toured the eastern US giving exhibition flights and passenger rides. In the winter, Rowe moved his operation to Florida, and, with a rebuilt Curtiss Seagull, ferried passengers eager to escape Prohibition from Miami to Nassau, Bahamas--with a bit of rumrunning on the side. Back in New Jersey, Rowe formed the Chamberlin-Rowe Aircraft Corporation with fellow aviator Clarence Chamberlin to buy and resell Army surplus aircraft; the short-lived business went bust in 1924 when the government finished selling off its aircraft. Rowe, a talented racing pilot, kept busy from 1924 through 1926 on the racing circuit, winning numerous prizes.

By the end of 1926, at the age of thirty, Rowe felt that he had reached a turning point in his life. Dismayed by the increase in US government regulation of aviation, Rowe moved his operations to the West Indies, settling in Santo Domingo in the Dominican Republic. With Bill Wade, Rowe rapidly established a business flying charters around the country, with flights to neighboring Haiti and Puerto Rico. In June 1927, with financial backing provided by sugar industry businessmen and the government of the Dominican Republic, Rowe founded West Indian Aerial Express (abbreviated variously as WIAE or WIAX) to provide airline service between Cuba, Haiti, the Dominican Republic, and Puerto Rico, hoping to be well positioned to bid on future US foreign air mail routes. With this in mind, Rowe returned to the Unites States and purchased a Fairchild FC-2W floatplane (christened "La Niña") and a larger Keystone K-47 Pathfinder trimotor (the former "American Legion," r/n NX179, rebuilt by the Keystone factory following a crash in April 1927 and rechristened as "Santa Maria"). To his dismay, Rowe was forced to acquired a US transport pilot license in order to be allowed to fly the "Santa Maria" back to Santo Domingo; he hired Canadian pilot Cy Caldwell to ferry "La Niña." On the way south in mid October 1927, Rowe found himself and his two aircraft in Florida just as Pan American Airways (PAA), which had been successful in obtaining a temporary contract to deliver mail from the US to Cuba, found itself without any aircraft able to fly out of their Key West, Florida, field to fulfill the contract before it expired. PAA struck a deal with Rowe to lease "La Niña" (piloted by Caldwell) to fly the first Pan American Airways flight on October 19, 1927.

With its two new aircraft, West Indian Aerial Express started regularly scheduled twice-weekly flights on December 1, 1927, between Cuba, Haiti, Santo Domingo, and Puerto Rico, later extending the routes to St. Thomas and St. Croix in the US Virgin Islands. On June 30, 1928, WIAX filed a bid with the US government for air mail service on the route from Key West to Puerto Rico, but was outmanuevered by the more politically-savvy Pan American Airways which won the contract. A final crippling blow was dealt to WIAX in September 1928 when a severe hurricane hit their base in San Juan, Puerto Rico, destroying "La Niña" and two older Waco biplanes. Rowe made his last flight in the "Santa Maria" on September 20, 1928, before turning the aircraft over to Pan American. On October 16, 1928, PAA purchased WIAX, with Rowe becoming PAA's senior pilot.

During his first ten years with Pan Am, Rowe flew a record number of hours and surveyed most of the new air routes through the Caribbean to Central and South America, several times flying with Charles Lindbergh. When the US entered World War II, Rowe was assigned to Pan Am's Africa and Orient Division to serve with the US Army Air Forces Air Transport Command on their supply route across the South Atlantic and Africa to India and China (the "Cannonball Run"). His wife, Florence May Sharp, whom Rowe had married in 1930, served as an aircraft spotter during the war. During the Korean Conflict, Rowe was once again pressed into service, and was transferred to Pan Am's Pacific Division to fly transpacific supply routes and medical evacuation flights. May's early death in 1943 left Rowe a widower at his retirement from Pan Am in 1956. At their Coral Gables, Florida, home he wrote his autobiography, Under My Wings (The Bobbs-Merrill Company, Inc., New York, 1956) and remained active as a tennis instructor until his death on October 28, 1973.
Related Materials:
See related collection Basil Lee Rowe First Day Air Mail Covers, NASM.XXXX.0487.

Basil Lee Rowe air racing medals in the Smithsonian National Air and Space Museum collection:

Medal, 1926 National Air Races [Winner, Relay Race], A19690242000.

Medal, 1926 National Air Races [Winner, Relay Race], A19690243000.

Medal, Aviation [Dayton Air Race], A19690244000.

Medal, Third Annual Dayton Air Race Winner, A19690245000.

Medal, 1926 National Air Races [2nd Place, Free-For-All Race, 510 cu. in. Class], A19690246000.

Medal, 1926 National Air Races [Winner, First Elimination, 500 cu. in. Class], A19690247000.

Basil Lee Rowe air racing trophies in the Smithsonian National Air and Space Museum collection:

Trophy, Allen W. Hinkle, Basil L. Rowe, A19690238000 [Allen W. Hinkle Trophy for Two, Three, and Four Place Airplanes, 1924]

Trophy, Glenn H. Curtiss, Basil L. Rowe, A19690239000 [The Glenn H. Curtiss Trophy for Two Seater Low Horsepower Airplane, National Air Races, Mitchel Field L. I., 1925]

Plaque, B.B.T. Corporation, National Air Races 1926, A19690240000 [B.B.T. Corporation of America Relay Race for Commercial Planes won by Basil L. Rowe, Charles S. Jones, A. H. Kreider]

Plaque, 1926 National Air Races, Benjamin Franklin Trophy, A19690241000 [Benjamin Franklin Trophy donated by Joseph A. Steinmetz, Relay Race for Commercial Planes won by Basil L. Rowe, Charles S. Jones, A. H. Kreider]
Provenance:
Basil Lee Rowe, gift, 1969; United States Air Force Museum, transfer, 1973; NASM.XXXX.0019
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Topic:
Aeronautics  Search this
Aeronautics, Commercial  Search this
Aeronautics, Military  Search this
Aeronautics -- Exhibitions  Search this
Aeronautics -- Competitions  Search this
Air pilots  Search this
World War, 1914-1918  Search this
World War, 1939-1945  Search this
Works of art  Search this
Periodicals  Search this
Genre/Form:
Photographs
Logs (records)
Scrapbooks
Publications
Citation:
Basil Lee Rowe Collection, Acc. NASM.XXXX.0019, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.XXXX.0019
See more items in:
Basil Lee Rowe Collection
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-xxxx-0019
Online Media:

Reproduction of sketch for Gertrude Vanderbilt Whitney's Fourth Division memorial

Subject:
World War, 1914-1918  Search this
Type:
Photographs
Date:
circa 1920
Topic:
War memorials  Search this
Record number:
(DSI-AAA)14264
See more items in:
Gertrude Vanderbilt Whitney papers, 1851-1975, bulk bulk 1888-1942
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_14264

Gertrude Vanderbilt Whitney at the dedication of the Washington Heights memorial

Creator:
De Witt Ward studio  Search this
Subject:
Whitney, Gertrude Vanderbilt  Search this
World War, 1914-1918  Search this
Type:
Photographs
Date:
1922 May 30
Topic:
War memorials  Search this
Record number:
(DSI-AAA)14265
See more items in:
Gertrude Vanderbilt Whitney papers, 1851-1975, bulk bulk 1888-1942
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_14265
Online Media:

Gertrude Vanderbilt Whitney with her sculpture for the Washington Heights World War I memorial

Photographer:
Fairchild, Charlotte, 1876-1927  Search this
Subject:
Whitney, Gertrude Vanderbilt  Search this
World War, 1914-1918  Search this
Type:
Photographs
Date:
1921 or 1922
Topic:
Artists at or with their work  Search this
War memorials  Search this
Record number:
(DSI-AAA)14266
See more items in:
Gertrude Vanderbilt Whitney papers, 1851-1975, bulk bulk 1888-1942
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_14266
Online Media:

Interview with Paul Vanderbilt reel 14

Creator:
Vanderbilt, Paul, 1905-1992  Search this
Subject:
Grosz, George  Search this
Vanderbilt, Paul  Search this
University of Massachusetts at Amherst  Search this
Type:
Sound Recording
Date:
196-?
Topic:
World War, 1914-1918  Search this
Record number:
(DSI-AAA)16900
See more items in:
Paul Vanderbilt papers, 1854-1992, bulk bulk 1945-1992
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_16900

Sketch for Saint-Nazaire memorial

Creator:
Whitney, Gertrude Vanderbilt, 1875-1942  Search this
Subject:
World War, 1914-1918  Search this
Type:
Artworks
Place:
Saint-Nazaire, France
Date:
not after 1926
Record number:
(DSI-AAA)20042
See more items in:
Gertrude Vanderbilt Whitney papers, 1851-1975, bulk bulk 1888-1942
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_20042
Online Media:

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