Search Results

Artist:

Yousuf Karsh, 23 Dec 1908 - 13 Jul 2002  Search this

Sitter:

Omar Nelson Bradley, 12 Feb 1893 - 8 Apr 1981  Search this

Medium:

Gelatin silver print

Dimensions:

Image: 28 x 21.5 cm (11 x 8 7/16")

Sheet: 35.4 x 27.5 cm (13 15/16 x 10 13/16")

Mount: 40.7 x 33 cm (16 x 13")

Type:

Photograph

Date:

1950

Topic:

Omar Nelson Bradley: Male  Search this

Omar Nelson Bradley: Literature\Writer  Search this

Omar Nelson Bradley: Military and Intelligence\Army\Officer\General  Search this

Omar Nelson Bradley: Military and Intelligence\Joint Chiefs of Staff\Chairman  Search this

Omar Nelson Bradley: Presidential Medal of Freedom  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of Estrellita Karsh in memory of Yousuf Karsh

Object number:

NPG.2012.77.13

Restrictions & Rights:

Usage conditions apply

Copyright:

© Estate of Yousuf Karsh

See more items in:

National Portrait Gallery Collection

Location:

Currently not on view

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4f5f8d552-7f0f-462d-98fd-cd7560481d8a

EDAN-URL:

edanmdm:npg_NPG.2012.77.13

Artist:

Yousuf Karsh, 23 Dec 1908 - 13 Jul 2002  Search this

Sitter:

Garson Kanin, 24 Nov 1912 - 13 Mar 1999  Search this

Medium:

Gelatin silver print

Dimensions:

Image: 20.2 x 19 cm (7 15/16 x 7 1/2")

Sheet: 35.4 x 27.5 cm (13 15/16 x 10 13/16")

Mount: 40.7 x 33 cm (16 x 13")

Type:

Photograph

Date:

1946

Topic:

Home Furnishings\Furniture\Seating\Chair  Search this

Costume\Dress Accessory\Neckwear\Tie\Necktie  Search this

Garson Kanin: Male  Search this

Garson Kanin: Literature\Writer  Search this

Garson Kanin: Military and Intelligence\Army\Officer  Search this

Garson Kanin: Performing Arts\Performing arts director\Film director  Search this

Garson Kanin: Literature\Writer\Playwright  Search this

Garson Kanin: Literature\Writer\Screenwriter  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of Estrellita Karsh in memory of Yousuf Karsh

Object number:

NPG.2012.77.56

Restrictions & Rights:

Usage conditions apply

Copyright:

© Estate of Yousuf Karsh

See more items in:

National Portrait Gallery Collection

Location:

Currently not on view

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4480ccb14-9a8f-4cfe-b582-64bb7c99a535

EDAN-URL:

edanmdm:npg_NPG.2012.77.56

Artist:

Yousuf Karsh, 23 Dec 1908 - 13 Jul 2002  Search this

Sitter:

Henry Harley Arnold, 25 Jun 1886 - 15 Jan 1950  Search this

Medium:

Gelatin silver print

Dimensions:

Image: 27.8 x 21.6 cm (10 15/16 x 8 1/2")

Sheet: 35.3 x 27.5 cm (13 7/8 x 10 13/16")

Mount: 40.6 x 33 cm (16 x 13")

Type:

Photograph

Date:

1944

Topic:

Artwork  Search this

Henry Harley Arnold: Male  Search this

Henry Harley Arnold: Military and Intelligence\Air Force\Officer\Air Force pilot  Search this

Henry Harley Arnold: Military and Intelligence\Air Force\Officer\General  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; gift of Estrellita Karsh in memory of Yousuf Karsh

Object number:

NPG.2012.77.6

Restrictions & Rights:

Usage conditions apply

Copyright:

© Estate of Yousuf Karsh

See more items in:

National Portrait Gallery Collection

Location:

Currently not on view

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4035e0e20-7f33-4f9b-b62c-030189abaa4c

EDAN-URL:

edanmdm:npg_NPG.2012.77.6

Creator:

Kent, Rockwell, 1882-1971  Search this

Subject:

Wildenstein, Felix  Search this

Phillips, Duncan  Search this

Hays, Lee  Search this

Untermeyer, Louis  Search this

Zigrosser, Carl  Search this

Robeson, Paul  Search this

DuBois, W.E.B. (William Edward Burghardt)  Search this

Roosevelt, Franklin D. (Franklin Delano)  Search this

Ruggles, Carl  Search this

Stefansson, Vilhjalmur  Search this

Nearing, Helen  Search this

Nearing, Scott  Search this

Pach, Walter  Search this

Rasmussen, Knud  Search this

Reeves, Ruth  Search this

Seeger, Pete  Search this

Daniel, Charles  Search this

Cleland, T. M. (Thomas Maitland)  Search this

Davies, Arthur B. (Arthur Bowen)  Search this

Chamberlain, J. E.  Search this

Boyesen, Bayard  Search this

Chase, William Merritt  Search this

Freuchen, Peter  Search this

Gellert, Hugo  Search this

Gottlieb, Harry  Search this

Hartley, Marsden  Search this

Fitzgerald, James  Search this

Keller, Charles  Search this

Miller, Kenneth Hayes  Search this

Henri, Robert  Search this

Jones, Dan Burne  Search this

United American Artists  Search this

United Office and Professional Workers of America  Search this

United Scenic Artists  Search this

National Farmers' Union (U.S.)  Search this

National Maritime Union of America  Search this

American Artists' Congress  Search this

Artists' Union (New York, N.Y.)  Search this

Artists League of America  Search this

Citizens' Committee for Government Arts Projects  Search this

Farmers Union of the New York Milk Shed  Search this

Federal Art Project  Search this

Federal Writers' Project  Search this

Macbeth Gallery  Search this

International Workers Order  Search this

Type:

Poems

Sketches

Business records

Photographs

Drawings

Citation:

Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.

Topic:

Designers -- New York (State)  Search this

Mural painting and decoration  Search this

Politics and culture  Search this

Authors -- New York  Search this

Art, Modern -- 20th century -- United States -- Political aspects  Search this

Dairy farms  Search this

Federal aid to the arts  Search this

Illustrators -- New York (State)  Search this

Illustration of books  Search this

Works of art  Search this

Art and war  Search this

Commercial art  Search this

World War, 1939-1945 -- Art and the war  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9557

(DSI-AAA_SIRISBib)211757

AAA_collcode_kentrock

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211757

Landscape architect:

Wheeler, Perry H., 1914-1989  Search this

Photographer:

Stengle, James M., Dr.  Search this

Creator:

University of Georgia  Search this

Garden Club of America  Search this

Emory University  Search this

American Society of Landscape Architects  Search this

Names:

Arlington National Cemetery (Arlington, Va.)  Search this

National Arboretum (U.S.)  Search this

Washington National Cathedral (Washington, D.C.)  Search this

Bonnet, Henri, Ambassador  Search this

Bonnet, Henri, Madam  Search this

Estes, Billie Sol  Search this

Harriman, Pamela Digby Churchill Hayward, 1920-1997  Search this

Johnson, Lady Bird, 1912-2007  Search this

Mellon, Paul  Search this

Mellon, Rachel Lambert  Search this

Mesta, Perle, 1889-1975  Search this

Onassis, Jacqueline Kennedy, 1929-1994  Search this

Palmer, Bertha Honoré, 1849-1918  Search this

Truman, Margaret  Search this

Extent:

25.75 Cubic feet

3,958 Photographs

Type:

Collection descriptions

Archival materials

Photographs

Lists

Awards

Certificates

Invoices

Negatives

Correspondence

Clippings

Invitations

Slides (photographs)

Photographic prints

Plans (drawings)

Place:

Canada

White House (Washington, D.C.)

Africa

Europe

Caribbean

South America

West (U.S.)

Georgetown (Washington, D.C.)

Date:

1880-1984

bulk 1950-1965

Summary:

The Perry H. Wheeler Collection includes the design, client and business records of Perry H. Wheeler, a landscape architect best known for his work on numerous townhouse gardens in the Georgetown neighborhood of Washington, D.C., during the 1960s as well as the redesign of the White House Rose Garden in collaboration with Rachel Lambert ('Bunny') Mellon during the Kennedy administration.

Scope and Contents note:

The Perry H. Wheeler Collection includes the design, client and business records of Perry H. Wheeler, a landscape architect best known for his work on numerous townhouse gardens in the Georgetown neighborhood of Washington, D.C. during the 1960s as well as the redesign of the White House Rose Garen in collaboration with Rachel ('Bunny') Lambert Mellon during the Kennedy adminstration. The collection includes photographic images, plans, drawings, client correspondence, plant lists, invoices, newspaper and magazine clippings, certificates, awards, and invitations. The bulk of the collection and most of the professional papers date from about 1950 to 1965 and relate to various garden design projects by Wheeler, many of them located in the Georgetown neighborhood of Washington, D.C. Of particular note are documents for Wheeler's public design work including the White House grounds, Washington National Cathedral, U. S. National Arboretum, President John F. Kennedy's gravesite in Arlington National Cemetery, and the British and Cambodian Embassies in Washington, D.C. Noteworthy correspondents include President and Mrs. John F. Kennedy, Ladybird Johnson, Mr. and Mrs. Paul Mellon, and Margaret Truman.

There are also over 3,000 35mm slides dating from the 1950s and 1960s that document Wheeler's personal travels to Europe, Africa, South America, the Caribbean, Canada, and the American West.

Biographical/Historical note:

Perry Hunt Wheeler (1913-1989), a Georgia native, began his higher education at Emory University, going on to graduate from the University of Georgia with a Bachelor of Fine Arts degree in 1937. Immediately afterward Wheeler enrolled in Harvard University from which he earned a graduate degree in Landscape Architecture in 1938. After graduation, Wheeler collaborated on garden projects in Atlanta, Georgia with fellow landscape architect Helen Hawkins Clarke. During World War II, Wheeler moved to Washington, D.C. to serve under the Office of Civilian Defense and the Office of Strategic Services Camouflage Division. Following the war, Wheeler worked at Garden House a Georgetown shop where he advised homeowners on tasteful garden design, accessories, and furnishings. By 1948 Wheeler had established a landscape architecture practice in Washington, D.C. His practice grew via word of mouth through Washington's social circles and through a shared office with landscape architect Rose Ishbel Greely, and later with architect Gertrude Sawyer.

In 1947, he formed a 'bachelor household' in Georgetown with James Snitzler. Later, at the invitation of Rachel Lambert "Bunny" Mellon, he and Snitzler created a second home outside of Washington called "Spring Hill" on property owned by Mellon. Shortly after Snitzler's death in 1968, Wheeler moved permanently to Middleburg, Virginia and continued to travel, lecture, and consult with clients. Wheeler semi-retired in 1981 to 'Budfield,' a property in Rectortown, Virginia where he passed away in 1989, leaving his estate to his partner, James M. Stengle.

Wheeler is best known for his work on private gardens in Washington's Georgetown neighborhood. He frequently employed the use of intricate brickwork, low-maintenance planting, and simple water features in creating his charming and functional designs. His most noteworthy commissions outside the private realm include collaboration with Bunny Mellon on the White House Rose Garden, designing a Garden Club of America-commissioned gazebo and its surroundings for the U.S. National Arboretum, and plantings for the National Cathedral and President John F. Kennedy's gravesite in Arlington National Cemetery.

Provenance:

Gift from the estate of James M. Stengle, 1993.

Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Presidents -- United States  Search this

Landscape architects  Search this

Presidents' spouses -- United States  Search this

Gardens -- Washington (D.C.)  Search this

Genre/Form:

Lists

Awards

Certificates

Invoices

Negatives

Correspondence

Clippings

Photographs

Invitations

Slides (photographs)

Photographic prints

Plans (drawings)

Citation:

Smithsonian Institution, Archives of American Gardens, Perry H. Wheeler collection.

Identifier:

AAG.WHE

See more items in:

Perry H. Wheeler collection

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb62b29cd93-c01c-4a8c-ae82-fdd6e8499072

EDAN-URL:

ead_collection:sova-aag-whe

Collector:

Vincent Colyer  Search this

Donor Name:

Vincent Colyer  Search this

Height - Object:

ca 4.9 m

Width - Object:

ca 11 m

Culture:

Arapaho (Inunaina, Hinono'ei), Southern  Search this

Object Type:

Tipi

Place:

Indian Territory (Oklahoma), United States, North America

Accession Date:

1872

Collection Date:

1869

Topic:

Ethnology  Search this

Accession Number:

002478

USNM Number:

E18900-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/353ad9b7b-334a-4596-ab6d-e5d4ab758dbe

EDAN-URL:

edanmdm:nmnhanthropology_8353625

Collector:

Richard W. Woon  Search this

Donor Name:

Philadelphia Centennial International Exhibition, New Zealand Commission  Search this

Length - Object:

64 cm

Width - Object:

95.6 cm

Culture:

Maori  Search this

Object Type:

Cape

Place:

North Island (Te Ika-a-Māui) / Whanganui District, New Zealand (Aotearoa), Polynesia

Accession Date:

1877

Collection Date:

1875

Topic:

Ethnology  Search this

Accession Number:

005733

USNM Number:

ET105-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/3a1a8a062-91f7-43d7-970e-594f8b99d4e8

EDAN-URL:

edanmdm:nmnhanthropology_8492762

Collector:

Richard W. Woon  Search this

Donor Name:

Philadelphia Centennial International Exhibition, New Zealand Commission  Search this

Culture:

Maori  Search this

Object Type:

Cloak

Place:

North Island (Te Ika-a-Māui) / Whanganui District, New Zealand (Aotearoa), Polynesia

Accession Date:

1877

Collection Date:

1875

Topic:

Ethnology  Search this

Accession Number:

005733

USNM Number:

ET11446-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/3de508f03-60d4-474f-bbc5-70d540551098

EDAN-URL:

edanmdm:nmnhanthropology_8493406

Collector:

Richard W. Woon  Search this

Donor Name:

Philadelphia Centennial International Exhibition, New Zealand Commission  Search this

Length - Object:

73 cm

Width - Object:

114 cm

Culture:

Maori  Search this

Object Type:

Cape

Place:

North Island (Te Ika-a-Māui) / Whanganui District, New Zealand (Aotearoa), Polynesia

Accession Date:

1877

Collection Date:

1875

Topic:

Ethnology  Search this

Accession Number:

005733

USNM Number:

ET9350-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/3844ad7d0-128a-4f25-9fbd-9e315c73e143

EDAN-URL:

edanmdm:nmnhanthropology_8501060

Names:

Cino, Joe, 1931-1967  Search this

Donor:

Dominic, Magie  Search this

Extent:

1 Cubic foot (3 boxes)

Type:

Collection descriptions

Archival materials

Advertisements

Ephemera

Magazines (periodicals)

Off off broadway

Photographs

Theater programs

Place:

Broadway (New York, N.Y.)

Greenwich Village (New York, New York)

Date:

1948-2023, undated

Summary:

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

Content Description:

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

Arrangement:

Collection is unarranged.

Biographical / Historical:

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

An Overview with Personal Reflections by Magie Dominic

Early Years: 1931-1958

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

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

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

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

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

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

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

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

MAGIE DOMINIC: PERSONAL REFLECTIONS

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

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

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

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

TIMELINE, PLAYWRIGHTS, KEY MOMENTS

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

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

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

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

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

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

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

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

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

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

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

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

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

THE ARCHIVES. KEY MOMENTS

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

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

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

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

Provenance:

Collection donated by Magie Dominic, 2024.

Restrictions:

Collection is open for research.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Experimental theater  Search this

Genre/Form:

Advertisements

Ephemera

Magazines (periodicals) -- 20th century

Off Off Broadway

Photographs

Theater programs -- 20th century

Citation:

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

Identifier:

NMAH.AC.1596

See more items in:

Magie Dominic Caffe Cino Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

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

EDAN-URL:

ead_collection:sova-nmah-ac-1596

Collection Collector:

Archives Center, National Museum of American History  Search this

Collection Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Collection Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Extent:

1 Film reel (color, silent, work print, 16mm, 50 feet)

Type:

Archival materials

Film reels

Date:

1984-04-07

Scope and Contents:

Grand Opening party for location at 213 State Street

Appearances by: Mary Savo, Stacy Snyder, Abbe Lyons, Peg Johnston, Melanie Wexler, Faith Rogow, Claudia Stallman, Lori Keane, Elaine Knapp, Bonnie Morris, Liz Schillinger, Lisa Leber, Deb Hibbard, Del Brown

Collection Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 23: Brown, Adele "Del" and Herizon Social Club / 23.2: Audiovisual Materials (Addendum) / Segment 5, Herizon Highlights

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8a023580e-af0c-48d5-882e-23cd0ba1cbd9

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref3551

Collection Collector:

Archives Center, National Museum of American History  Search this

Collection Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Collection Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Extent:

1 Film reel (color, composite optical soundtrack, release print, 16mm; 200 feet)

Type:

Archival materials

Film reels

Collection Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 23: Brown, Adele "Del" and Herizon Social Club / 23.2: Audiovisual Materials (Addendum) / Segment 6, Feminist Film and Events Herizon

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep854ab7f16-cecd-4319-85e6-aa531fc7cfdd

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref3554

Collection Collector:

Archives Center, National Museum of American History  Search this

Collection Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Collection Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Extent:

1 Film reel (color, silent and composite optical soundtrack segments, print , 16mm; 300 feet)

Type:

Archival materials

Film reels

Scope and Contents:

Performance piece; to be projected under specific conditions.

Collection Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 23: Brown, Adele "Del" and Herizon Social Club / 23.2: Audiovisual Materials (Addendum) / Segment 6, Feminist Film and Events Herizon

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8c760b4e8-c122-44c6-b4f4-3e7cb66c0eee

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref3556

Collector:

Archives Center, National Museum of American History  Search this

Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

American Federation of Teachers  Search this

Department of Defense, Comprehensive Review Working Group  Search this

Gay Officers Action League. GOAL  Search this

Gay, Lesbian, Bisexual and Transgender Community Center of Baltimore and Central Maryland  Search this

ONE National Gay and Lesbian Archives  Search this

San Diego LGBT Pride  Search this

Servicemembers Legal Defense Network  Search this

Smith College  Search this

University of Connecticut  Search this

William Way Community Center  Search this

Biren, Joan E.  Search this

Bushnell, Megan  Search this

Davidson, James, Dr.  Search this

Dietrich, Joe  Search this

Exline, Gregory  Search this

Florence, Laura  Search this

Huebner, David  Search this

Jain, Shawn  Search this

Karazsia, Amy  Search this

Karazsia, William G.  Search this

Lombardi, Angela  Search this

Lynch, Patsy  Search this

Meinke, Mark  Search this

Nitz, Ryan  Search this

Reichard, Bradley  Search this

Robinson, Franklin A., Jr., 1959- (actor)  Search this

Ros, Silvia  Search this

Sabatino, Michael  Search this

Shannon, Michael A.  Search this

Sheets, Justin  Search this

Snodgrass, Adam  Search this

Voorheis, Robert  Search this

Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Other:

Larson, Gordon P., 1910-1988 -- 20th century  Search this

Names:

McWaine, Dwayne, Dr.  Search this

Extent:

71.1 Cubic feet (214 boxes, 22 map-folders)

Type:

Collection descriptions

Archival materials

Passports

Postcards

Photographs

Posters

Videocassettes

Advertising

Dvds

Songbooks

Periodicals

Place:

Canada -- Description and Travel

Germany -- description and travel

Amsterdam (Netherlands)

Washington, D.C. -- history

Los Angeles (Calif.)

New York, New York

Date:

1825-2023, undated

bulk 1960-2023

Summary:

This collection contains a variety of periodicals, photographs, correspondence, business and advertising ephemera (corporate and non-profit, personal), organizational records and ephemera, created by, for, and in reaction to the Lesbian, Gay, Bisexual, Transgender (LGBT) community.

Scope and Contents:

The Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection contains periodicals, ephemera, posters, postcards, advertisements, photographs, organizational records, publications, correspondence, and other materials related to all aspects of the LGBT community and the civil rights issues pertaining thereto. The collection was created by the Archives Center to bring together materials specifically pertaining to the LGBT community. This collection contains material from communities and individuals throughout the United States. The collection is currently strongest in periodicals, newspapers and ephemera and very strong in material from California and New York. The collection continues to add new items and the researcher would be wise to take a broad view in targeting their research topics in the collection.

Arrangement:

The collection is divided into twenty-eight series.

Series 1: Periodicals, 1937-2023

Series 2: Agencies, Associations, and Organizations, 1965-2023, undated

Series 3: Community Life and Subject Files, 1825-2023, undated

Subseries 3.1: Photographs and Slides, 1870-2009, undated

Subseries 3.2: Ephemera and Buttons, 1969-2022, undated

Subseries 3.3: Posters and Prints, 1825-2018, undated

Subseries 3.4: Subject Files, 1958-2023, undated

Subseries 3.5: Pride, 1976-2023, undated

Subseries 3.6: HIV and AIDS, 1987-2020, undated

Subseries 3.7: Gay Games, 1982-2018

Series 4: Advertising, Business, and Publications, 1912-2023, undated

Subseries 4.1: Advertising, 1970-2018, undated

Subseries 4.2: Business, 1986-2021, undated

Subseries 4.3: Television, Theater, and Motion Pictures, 1978-2023, undated

Subseries 4.4: Bar ephemera and advertisement, 1979-2018, undated

Subseries 4.5: Publications, 1912-2023, undated

Series 5: Biren, Joan E. (JEB), 195-2018, undated

Subseries 5.1: Xerographic Copies of Photoprints, 1971-1995, undated.

Subseries 5.2: Posters and Oversize Advertisement, 1973-2018, undated

Series 6: Dietrich, Joseph A., 1992-2010

Series 7: Mattachine Society Records, 1942-1996, undated

Subseries 7.1: Correspondence, 1952-1991, undated

Subseries 7.2: Board of Directors Minutes, 1954-1974, undated

Subseries 7.3: Organizational Information, 1942-1993, undated

Subseries 7.4: Councils, Chapters, and Committees, 1953-1965, undated

Subseries 7.5: Conventions, 1953-1960, undated

Subseries 7.6: Publications, 1944-1996, undated

Series 8: Rainbow History Community Pioneers, 2003-2012, undated

Series 9: Strub, Sean O., addendum, 1987-2011, undated

Series 10: Gay and Lesbian Community Center of Baltimore (GLCCB, 1990-2014, undated

Series 11: Ros, Silvia, 2009-2011

Series 12: Huebner, David, 2009-2014

Series 13: St. George, Philip, 1945-1955, undated

Series 14: Will & Grace, 1995-2006

Series 15: Barna, Joseph T. and Heritage of Pride (HOP), New York, New York, 1910-2014, undated

Subseries 15.1: Photographs, Photographic Negatives, and Slides, 1985-2010, undated

Subseries 15.2: Heritage of Pride (HOP), 1984-2014, undated

Subseries 15.3: Barna, Joseph T., 1910-2013, undated,

Series 16: Becker, John M., 1999-2014, undated

Series 17: Rohrbaugh, Richard, 1972-1986, undated

Series 18: Guest, Michael E., 2001-2009

Series 19: The Fosters, 2013

Series 20: Pride at Work, 1990-2015

Series 21: Sabatino, Michael and Voorheis, Robert, 1980-2016, undated

Subseries 21.1: Archilla, Gustavo A. and Lokkins, Elmer T., 1916-2014, undated

Series 22: Gay Officers Action League (GOAL), 1982-2016, undated

Series 23: Brown, Adele "Del" and Herizon's Bar, 1985-1991, undated

Subseries 1: Changing Herizons, and Herizons Newsletter, 1983-1991

Series 24: Universal Fellowship Metropolitan Community Churches (UFMCC), 1957-2019, undated

Series 25: The Christmas House, Crown Media Family Networks, 2020-2021

Series 26: Cones, Myra L. and Harris, G. Yvonne, 1979-2001, undated

Series 27: Atlantic States Gay Rodeo Association (ASGRA), 1993-2004, undated

Series 28: Hooker, Meryl, 1989-1996, undated

Historical Note:

While the quest for equal rights has been pursued by generations, it is generally acknowledged that the modern day Lesbian, Gay, Bisexual, and Transgender (LGBT) civil rights movement began in New York City in June 1969 with the Stonewall Riots. Prior to this time a number of activists, individuals, and organizations such as The Mattachine Society, Daughters of Bilitis and others, fought to bring recognition of LGBT civil rights to the forefront of American society. While the movement was primarily, and most visably, centered in New York City and San Francisco, periodicals, guide books, and ephemeral material interconnected the larger LGBT community throughout the United States. The increased visibility of the LGBT movement inspired affinity groups at odds with the LGBT community's new found visibility and quest for broader civil rights. The challenge to what was termed "traditional" values encouraged these counter-LGBT groups to define and solidfy their constituency and also become more pro-active. This collection comprises material that is generated by individuals and organizations promoting both points of view.

Related Materials:

Materials in the Archives Center

Michio and Aveline Kushi Macro-Biotics Collection (AC0619)

The Shamrock Bar: Photographs and Interviews (AC0857)

John-Manuel Andriote Victory Deferred Collection (AC1128)

Archives Center Wedding Documentation Collection (AC1131 )

Division of Science, Medicine, and Society HIV/AIDS Reference Collection (AC1134)

John-Manuel Andriote Hot Stuff: A Brief History of Disco Collection (AC1184)

Joan E. Biren (JEB) Queer Film Museum Collection (AC1216)

World AIDS Institute (WAI) Collection (AC1266)

Servicemembers Legal Defense Network (SLDN) Records (AC1282)

Helping Persons with AIDS (HPA) Records (AC1283)

DC Cowboys Dance Company Records (AC1312)

Bil Browning and Jerame Davis Papers (AC1334)

David Hadley Rockwell New York Disco Ephemera Collection (AC1342)

Leonard P. Hirsch Federal Globe Records (AC1357)

Corbett Reynolds Papers (AC1390)

Mark Segal Papers (AC1422)

The Mattachine Society of Washington "Love in Action" Collection (AC1428)

Academy of Washington Records (AC1458)

Matthew Shepard Papers (AC1463)

I'm From Driftwood Records (AC1503)

The Division of Political History holds artifacts related to gay activist Franklin Kameny and a variety of political buttons. They also hold LGBT related artifacts from Joan E. Biren (JEB).

The Division of Medical and Science holds objects donated from Dr. Renee Richards, Sean O. Strub, and Leonard Hirsch.

The Division of Entertainment and the Arts holds objects donated by The Fosters, Will & Grace, and The Christmas House.

Provenance:

This collection was assembled by the Archives Center, National Museum of American History, Smithsonian, beginning in 2004.

Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

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:

Women's music  Search this

Transgender people -- Identity  Search this

Sexual orientation  Search this

Political activists  Search this

Lesbianism  Search this

Lesbian and gay experience  Search this

Gay activists  Search this

Homosexuality  Search this

HIV and AIDS  Search this

Feminism  Search this

Bisexuality  Search this

Bars (Drinking establishments)  Search this

Gay Pride  Search this

Genre/Form:

Passports

Postcards

Photographs -- 2000-2010

Posters

Videocassettes

Advertising

DVDs

Photographs -- 20th century

Songbooks

Periodicals

Citation:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

Identifier:

NMAH.AC.1146

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep80327b53b-2daa-47d1-8c11-89a7b3f4e1bd

EDAN-URL:

ead_collection:sova-nmah-ac-1146

Collection Collector:

Archives Center, National Museum of American History  Search this

Collection Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Collection Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Container:

Box 192, Folder 4

Type:

Archival materials

Graphic Materials

Date:

undated

Collection Restrictions:

The collection is open for research use.

Researchers must handle unprotected photographs with gloves. Researchers must use reference copies of audio-visual materials. When no reference copy exists, the Archives Center staff will produce reference copies on an "as needed" basis, as resources allow.

Do not use original materials when available on reference video or audio tapes.

Collection Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Collection Citation:

Archives Center Lesbian, Gay, Bisexual, and Transgender (LGBT) Collection, Archives Center, National Museum of American History, Smithsonian Institution

See more items in:

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 24: Universal Fellowship of Metropolitan Community Churches (UFMCC)

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8581039b4-82dd-43a4-93b1-090fe09d4290

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref3178

Creator:

Gray, Cleve, 1918-2004  Search this

Subject:

Richter, Hans  Search this

Marin, John  Search this

Lipchitz, Jacques  Search this

Pollock, Jackson  Search this

Grace, Louise N.  Search this

Gray, Francine du Plessix  Search this

Duchamp, Marcel  Search this

Dillenberger, Jane  Search this

Gabo, Naum  Search this

Ernst, Jimmy  Search this

Davis, Jim  Search this

Calder, Alexander  Search this

Barzun, Jacques  Search this

Weber, Nicholas Fox  Search this

Smith, David  Search this

Villon, Jacques  Search this

Pratt Institute  Search this

Rhode Island School of Design  Search this

Neuberger Museum of Art  Search this

Jacques Seligmann & Co  Search this

Betty Parsons Gallery  Search this

Connecticut. Commission on Arts, Tourism, Culture, History and Film  Search this

Princeton University  Search this

Berry-Hill Galleries  Search this

Type:

Poems

Articles

Photographs

Reviews (documents)

Notes

Illustrations

Notebooks

Sketches

Drafts (documents)

Video recordings

Sound recordings

Interviews

Manuscripts

Paintings

Prints

Watercolors

Drawings

Lectures

Citation:

Cleve Gray papers, 1933-2005. Archives of American Art, Smithsonian Institution.

Topic:

Art, Modern -- 20th century -- United States  Search this

Vietnam War, 1961-1975 -- Protest movements -- United States  Search this

Designers  Search this

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9567

(DSI-AAA_SIRISBib)211768

AAA_collcode_grayclev

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211768

Creator:

White, Charles (1918-1979)  Search this

Names:

Belafonte Enterprises  Search this

Heritage Gallery  Search this

Otis Art Institute  Search this

Barthé, Richmond, 1901-1989  Search this

Catlett, Elizabeth, 1915-2012  Search this

White, Frances Barrett  Search this

Extent:

12.9 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Sound recordings

Scrapbooks

Date:

1933-1987

bulk 1960s-1970s

Summary:

The papers of Los Angeles painter, printmaker, and educator, Charles W. White, measure 12.9 linear feet and date from 1933 to 1987, with the bulk of the material dating from the 1960s to the 1970s. The collection contains biographical material, including a sound recording of an interview with White; personal and professional correspondence; writings by White and others about his philosophy of art, his life, and career; professional files documenting White's participation in a variety of boards, committees, juries, symposiums, professional projects, and commissions; teaching files documenting White's tenure at Otis Art Institute; extensive printed material charting White's career from the 1930s until his death; scrapbooks primarily documenting his early career; and a small series of photographs.

Scope and Contents:

The papers of Los Angeles painter, printmaker, and educator, Charles W. White, measure 12.9 linear feet and date from 1933 to 1987, with the bulk of the material dating from the 1960s to the 1970s. The collection contains biographical material including a sound recording of an interview with White; personal and professional correspondence; writings by White and others about his philosophy of art, his life, and career; professional files documenting White's participation in a variety of boards, committees, juries, symposiums, professional projects, and commissions; teaching files documenting White's tenure at Otis Art Institute; extensive printed material charting White's career from the 1930s until his death; scrapbooks primarily documenting his early career; and a small series of photographs.

Biographical material includes documentation of awards received by White, biographical notes, resumes, White's high school report cards, interview transcripts and a sound recording of an interview, and records related to Elizabeth Catlett from the 1940s.

Correspondence includes scattered letters from family and friends but is primarily professional. White's correspondence was often conducted by Benjamin Horowitz and, occasionally, by Frances White, although some scattered original drafts of letters by White can also be found in this series. The series documents many aspects of White's career including: his relationship with Horowitz and Heritage Gallery as his representative; sales, loans, and exhibitions of White's artwork at many museums, galleries, and art institutions; the publication of his work in journals, magazines, and books, and it's use in the film and music industries; and his relationships with others in the arts and the entertainment industry including Richmond Barthé, Margaret Burroughs, Bing Davis, David Driskell, Lorraine Hansberry, and Harry Belafonte's company, Belafonte Enterprises.

Writings by White include two addresses made to the Annual Conference of Negro Artists, statements on his philosophy of art, and an autobiographical essay. Writings by others include drafts of Benjamin Horowitz's book Images of Dignity:The Drawings of Charles White.

White's professional activities are further documented through records related to the many boards, committees, and exhibition and art contest juries he served on, as well as lectures he delivered, and panels and symposiums he participated in. White's professional files also contain records relating to fellowships he received and document projects such as designs for books, films, and magazines.

White's teaching files primarily relate to Otis Art Institute and contain some records related directly to his work there as well as general faculty and board material. The records document, to some extent, White's role as spokesperson for the faculty and students during the transfer of the Otis charter to Parsons School of Design in 1979. Documentation of White's association with Howard University is minimal and includes letters related to his appointment and resignation in 1978-1979.

Gallery and exhibition files document specific solo and group exhibitions and include records on two visits White made to Germany in 1974 and 1978.

Printed material includes announcements, exhibition catalogs, articles in journals, magazines, and news clippings, and publications with artwork by White that provide extensive coverage of White's career from the 1930s to his death. Also found is printed material collected by White on other artists, and on subjects of interest to him.

Three disbound scrapbooks provide compilations of printed material and occasional letters further documenting White's career. A small series of photographs includes holiday card photos of White, Frances White, and their two children, and photos of White and others taken at a workshop in 1969.

Throughout the collection there are folders containing notes written by Frances White, circa 1980-1981, which provide important contextual information about people, organizations and subjects in the collection, and sometimes highlight the racism White encountered, particularly during his early career. The dates of these notes are not included in folder dates.

Arrangement:

The collection is arranged as nine series.

Series 1: Biographical Material, circa 1934-1979 (Box 1; 0.2 linear feet)

Series 2: Correspondence, 1937-1984 (Boxes 1-4, 13; 3.64 linear feet)

Series 3: Writings, 1936-circa 1981 (Boxes 4-5; 0.45 linear feet)

Series 4: Professional Activities, circa 1942-1982 (Boxes 5-6, 13, OV 15; 1.81 linear feet)

Series 5: Teaching Files, 1950-1979 (Boxes 6, 13; 0.72 linear feet)

Series 6: Gallery and Exhibition Files, 1946-1980 (Box 7, Box 14; 0.98 linear feet)

Series 7: Printed Material, 1933-1987 (Boxes 8-14, OVs 15-17; 4.8 linear feet)

Series 8: Scrapbooks, 1936-1970s (Box 12; 0.15 linear feet)

Series 9: Photographic Material, 1940-1976 (Box 12; 0.15 linear feet)

Biographical / Historical:

Painter, printmaker, and educator, Charles W. White (1918-1979), was a prominent figure in the Chicago Black Renaissance and became one of the most celebrated and influential African American artists of the twentieth century. Born and raised in Chicago, Illinois, White lived and worked in California beginning in 1956, and taught at the Otis Art Institute from 1965 until his death.

White began painting at a young age, earning first prize in a nationwide high school art contest. He studied at the School of the Art Institute of Chicago, where he was awarded a full scholarship, from 1937-1938. After graduating from the school, White worked as a muralist for the Illinois Federal Arts Project sponsored by the Works Progress Administration from 1939 to 1940. He then received two fellowships from the Julius Rosenwald Foundation in 1942 and 1943 and created the mural The Contribution of the Negro to American Democracy at the Hampton Institute. From 1943-1945 he taught at the George Washington Carver School in New York City, and was artist-in-residence at Howard University in Washington, D.C., in 1945.

White's first marriage to Elizabeth Catlett ended in divorce and he married Frances Barrett in 1950. The couple relocated to Los Angeles where White was represented by Benjamin Horowitz's Heritage Gallery. White was widely exhibited in Los Angeles, and at the Art Institute of Chicago, the Metropolitan Museum of Art, the Whitney Museum of American Art, the Newark Museum, the Santa Barbara Museum of Art, and elsewhere. Working primarily in black and white or sepia and white drawings, paintings, and lithographs, White's artwork was primarily figurative and depicted African American history, socio-economic struggles, and human relationships.

Charles White received a number of awards and honors and in 1972 he was the third African American artist to be elected a full member of the National Academy of Design.

Related Materials:

The Archives of American Art also holds the Charles W. and Frances White letters and photographs to Melvin and Lorraine Williamson, the Lucinda H. Gedeon research material on Charles W. White, and an oral history interview with Charles W. White conducted by Betty Hoag, March 9, 1965.

Separated Materials:

The Archives of American Art also holds microfilm of loaned materials (reels LA7 and 3099). Reel LA7 includes photographs of White, his work, and a career resume. Reel 3099 contains 31 items consisting of three travel diaries kept by Frances White, photographs and a recording of their trip to Russia in 1950, and 11 record album covers designed by Charles White. Loaned materials were returned to the lenders after microfilming and are not described in the collection container inventory.

Charles White's "Black Experience Archive," originally received with the papers, was donated to Howard University's Moorland-Springarn Research Center in 1985 at the request of Frances White.

Provenance:

Photographs on reel LA7 and material on reel 3099 were lent to the Archives of American Art for microfilming in 1965 and 1982, by Benjamin Horowitz, White's dealer, and by Frances White. Material on reel 2041 was donated by the George Arents Research Library, Syracuse University, 1976, who had originally received it from Horowitz. The remainder of the papers were donated by Charles White, 1975-1978, and after his death by Frances White and Benjamin Horowitz, 1981-1989.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- California -- Los Angeles  Search this

Printmakers -- California -- Los Angeles  Search this

Educators -- California -- Los Angeles  Search this

Topic:

African American artists  Search this

African American educators  Search this

African American painters  Search this

African American printmakers  Search this

Genre/Form:

Interviews

Sound recordings

Scrapbooks

Citation:

Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.

Identifier:

AAA.whitchar

See more items in:

Charles W. White papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9280ca62a-d068-4695-872f-041df8333648

EDAN-URL:

ead_collection:sova-aaa-whitchar

Creator:

White, Charles, 1918-1979  Search this

Subject:

White, Frances Barrett  Search this

Catlett, Elizabeth  Search this

Barthé, Richmond  Search this

Heritage Gallery  Search this

Otis Art Institute  Search this

Belafonte Enterprises  Search this

Type:

Interviews

Sound recordings

Scrapbooks

Citation:

Charles W. White papers, 1933-1987, bulk 1960s-1970s. Archives of American Art, Smithsonian Institution.

Topic:

African American artists  Search this

African American educators  Search this

African American painters  Search this

African American printmakers  Search this

Theme:

Diaries  Search this

African American  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9350

(DSI-AAA_SIRISBib)211546

AAA_collcode_whitchar

Theme:

Diaries

African American

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211546

Creator:

Patterson, Frederick D. (Frederick Douglass), 1901-1988  Search this

Names:

Phelps-Stokes Fund  Search this

Tuskegee Institute  Search this

United Negro College Fund  Search this

Carver, George Washington, 1864?-1943  Search this

Moton, Robert Russa, 1867-1940  Search this

Patterson, Frederick D. (Frederick Douglass), 1901-1988  Search this

Extent:

18.66 Linear feet (21 boxes)

Type:

Collection descriptions

Archival materials

Diplomas

Notebooks

Articles

Manuscripts

Photographic prints

Ephemera

Scrapbooks

Newsletters

Awards

Photographs

Invitations

Legal documents

Programs

Correspondence

Clippings

Date:

1882 - 1988

Summary:

President of Tuskegee Normal and Industrial Institute (later Tukegee Institute; now Tuskegee University) from 1935 - 1953 and founder of the United Negro College Fund (1944). Patterson was born on October 10, 1901. Orphaned at age two, he was raised by his eldest sister, Wilhelmina (Bess), a school teacher in Texas. He studied at Iowa State College, where he received a doctorate in veterinary medicine in 1923 and a master of science degree in 1927. Five years later, he was awarded a second doctorate degree from Cornell University. Patterson taught veterinary science for four years at Virginia State College, where he was also Director of Agriculture. His tenure at Tuskegee University started in 1928 and spanned almost 25 years, first as head of the veterinary division, then as the director of the School of Agriculture and finally as Tuskegee's third president. He married Catherine Elizabeth Moton, daughter of Tuskegee University's second president, Dr. Robert R. Moton. Patterson also founded the School of Veterinary Medicine at Tuskegee in 1944, the same year he founded the United Negro College Fund (UNCF). The UNCF continues today as a critical source of annual income for a consortium of Historically Black Colleges and Universities, Tuskegee University among them.

Scope and Content note:

The Frederick Douglass Patterson Collection comprises 18.66 linear feet of correspondence, manuscripts, research material, published writings, photographs, audiovisual material, scrapbooks, diplomas, awards, and other materials chronicling the personal life and professional career of Frederick D. Patterson.

The collection is comprised of glimpses into the life of Dr. Patterson. The little correspondece that survived is located in Series 2: Career, Series 3: Correspondence, and Series 4: Organizations. Some of the correspondence takes the form of congratulatory notes from 1953 during Patterson's transfer from Tuskegee Institute to the Phelps-Stokes Fund, located in Series 2. There is also a personal note sent to Patterson's wife, Catherine Patterson, from George Washington Carver in which he describes peanut oil as a good massage oil.

Arrangement note:

The collection is arranged by series and chronologically therein:

1. Biography: This series provides insight into Patterson's family life through primary documents. It is comprised of family wills, insurance policies, and his autobiography. Sub-series are arranged alphabetically by title.

2. Career: This series contains materials from Patterson's long professional career in the field of higher education, including his tenure as present of both the Tuskegee Institute and the Phelps-Stokes Fund. Sub-series are arranged chronologically.

3. Correspondence: This series contains letters sent to Patterson (and his wife) of a personal and professional nature. Several letters relate to Patterson's personal business "Signs and Services," which was a small billboard advertising company. There are also letters from George Washington Carver. The series is arranged chronologically. 4. Organizations: This series contains material from the various foundations Patterson founded and to which he belonged, including the R.R. Moton Fund and the College Endowment Funding Plan. He is especially noted for developing the United Negro College Fund. The series is organized alphabetically by sub-series title.

5. Honors: This series contains the awards, citations, and resolutions Patterson received during his lifetime. Folders are organized chronologically. 6. Subject Files: This series comprises articles, employee vitas, and other documents collected and organized by Patterson. Among the subjects in the files are higher education, Negroes, segregation, civil rights, and employee records. There is no key to this system.

7. Photographs: The Photograph series mostly documents Patterson's tenure at Tuskegee University. The series includes images of Patterson and various other notable figures during formal functions at the university. Noteworthy personalities include George Washington Carver, Eleanor and Franklin D. Roosevelt, and President Kwame Nkrumah of Ghana.

8. Printed Materials: This series contains books, programs, and other documents from Patterson's personal collection. The series is organized alphabetically by author's last name.

Biographical note:

Frederick Douglass Patterson was born on October 10, 1901 to parents William and Mamie Brooks Patterson, in the Buena Vista Heights area of Anacostia in Washington, D.C. The youngest of six children, Patterson's parents died of tuberculosis before he reached the age of two years, his mother when he was eleven months old and his father a year later. Following his parents' death, the Patterson children were split up and sent to live in the homes of family and friends as stipulated in his father's last will and testament until he was seven years old, Patterson lived in the Anacostia area with a family friend he called "Aunt Julia."

When he was seven years old, Patterson's older sister Bess (a recent graduate of the Washington Conservatory of Music) decided to seek employment in Texas and took him with her. Many of their parents' family still lived in the state, which allowed Patterson the opportunity to spend months with various aunts and uncles, while his sister taught music throughout the South. After completing eighth grade, Patterson joined his sister at the Prairie View Normal School, where she taught music and directed the choir. Patterson attended the school for four years, during which time he developed an interest in veterinary medicine.

In 1920, Patterson enrolled at Iowa State College as a veterinary student. He graduated in 1923 and moved to Columbus, Ohio, to join his brother John. While there, he took the Ohio State Board exam for Veterinary Medicine. Although he became certified, a lack of money prevented him from practicing. Four years later he received a teaching offer from Virginia State College (VSC) in Petersburg, Virginia, which afforded him the opportunity to work within his profession. While at VSC Patterson took a leave of absence and returned to Iowa, in 1926, to pursue a Master's degree in veterinary medicine.

After five years at VSC, the Tuskegee Normal and Industrial Institute offered Patterson a position running the veterinarian hospital and teaching veterinary science. He moved to Tuskegee, Alabama in 1928. While at Tuskegee, Patterson decided to pursue a Ph.D. in bacteriology at Cornell University. During his year and a half leave from Tuskegee, Patterson completed his coursework and wrote his dissertation. After he returned to Tuskegee, a serial killer murdered three people, including the head of the Department of Agriculture. Confronted with this tragedy, school officials quickly offered Patterson the vacant position, which he accepted in 1934.

Robert R. Moton, second president of Tuskegee, retired in 1935 and a search was soon commenced to find the next president for the school. Patterson, in the meantime, pursued more personal matters when he met and married Catherine Moton (with whom he would have a son) in June 1935. By then he was already hired to take his now, father-in-law's, position as President of Tuskegee Normal and Industrial Institute.

As president of Tuskegee, Patterson made several changes and many additions to the institution. He increased faculty housing for professors; integrated the Board of Trustees' meeting meals and eventually arranged for both balck and white members to eat at one table; shortened the name to Tuskegee Institute; and established the Department of Commercial Dietetics in 1935, the veterinary medicine program in 1942, and the engineering program in 1948. While many considered Patterson's changes important achievements, it was his development of the Commercial/Military Aviation Program that would bring the school distinction and fame.

Patterson first attempted to develop the aviation program in 1939. The government fostered the development of such programs by subsiding the expenses. All a university had to do was present able-bodied instructors and willing pupils. Tuskegee had both. By 1940 the United States Air Force was interested in integrating its forces. In order to do this they needed trained black pilots. Tuskegee was the perfect place to provide the needed pilots since the school was situated in an all-black environment where students could concentrate on learning to fly without having to worry about racist reactions from their fellow classmates. To accommodate this program, the Tuskegee Army Air Base was created. Tuskegee pilots flew missions throughout World War II and would later be recognized for their bravery.

An important part of Patterson's duties as president was fund-raising. By 1943 he found it increasingly difficult to find ample sources of funds to run the Institute. He came to realize Tuskegee and similar black colleges would benefit if they pooled their funding resources and asked for larger amounts of money from philanthropic individuals and organizations as a collective. Working together would cut fund-raising expenses; this in turn would leave more money for the colleges to use as they wished. Patterson named his new creation the United Negro College Fund (UNCF); it would go on to raise millions of dollars for the nation's historically black colleges. He served as the first president of the organization.

During the fifteen years Patterson served as president of Tuskegee, he hosted many famous personalities, including W.E.B. DuBois, Mary McLeod Bethune, Eleanor Roosevelt, Duke Ellington, Paul Robeson, Pearl Buck, and Andre Segovia. He developed a lasting relationship with George Washington Carver, who had been a professor with Tuskegee since the days of Booker T. Washington.

Patterson served on many organizational boards in addition to his educational work. His involvement with the Phelps-Stokes Fund would ultimately lead Patterson to leave his beloved Tuskegee Institute to apply his educational philosophies on a broader scale. In 1953 the Fund approached Patterson and offered him the presidency of the organization. Patterson, feeling he needed a change, accepted the offer. He resigned from Tuskegee that same year and moved to New York to begin a new life.

Organized in 1911, the Phelps-Stokes Fund supported African, African American, and Native American education and worked on solving housing problems in New York City. Patterson's interest in African education began before he joined Phelps-Stokes. In 1950 the World Bank/International Bank Commission to Nigeria hired him to "evaluate the resources of Nigeria and…to study the educational programs and the organizational structure of advanced education." Through his work with the Fund he continued his efforts to improve the educational opportunities for Africans and help them move beyond colonialism. Patterson traveled extensively throughout the west coast of Africa in support of these goals.

In addition to forming the UNCF, Patterson created two other organizations (the Robert R. Moton Institute and the College Endowment Funding Plan), during the mid 1960s and 1970s. Each was designed to improve funding efforts for historically black colleges. The Robert R. Moton institute began as an off-shoot of the Phelps-Stokes as a site for conferences to address the Fund's primary concerns. Patterson's idea for the Institute came from a desire to put to use a piece of property inherited after Moton's death. Empathy with the frustrations of college presidents regarding the restricted funding for institutional expenses led Patterson to create the College Endowment Funding Plan. The Endowment was designed to alleviate this situation by providing matching funds to eligible colleges. The Endowment made its first payment in 1978. Unfortunately, by the 1980s, the Moton Institute lost most of its government funding due to federal cutbacks. This resulted in reductions to the Institute's programming.

It was not until Patterson was well into his eighties that he began to retire from his life of public service. On June 23, 1987, President Ronald Reagan presented Dr. Patterson with the Presidential Medal of Freedom, the highest possible honor that can be bestowed upon a civilian, for his service in higher education and his role in creating funding sources for the nation's historically black colleges. A year later Frederick Douglass Patterson died at the age of eighty-seven.

Honorary Degrees

undated -- Xavier University

1941 -- Virginia State College

1941 -- Wilberforce University

1953 -- Morehouse College

1956 -- Tuskegee Institute

1961 -- New York University

1966 -- Edward Waters College

1967 -- Atlanta University

1969 -- Franklin and Marshall College

1970 -- Virginia Union University

1975 -- Bishop College

1977 -- St. Augustine's College

1982 -- Brooklyn College of the City University of New York

1984 -- Stillman College

1985 -- Payne College

Distinctions

undated -- Association for the Study of Negro Life and History Carter

undated -- The Southern Education Foundation, Inc. Distinguished Service Citation

undated -- The United Negro College Fund (UNCF) and Texas Association of Developing Colleges Annual Leadership Awards

1950 -- Christian Education department, African Methodist Episcopal Zion Church, Inc. Citation for Distinguished Service

1953 -- Bethune-Cookman College, the Mary McLeod Bethune Medallion

1953 -- John A. Andrew Clinical Society at Tuskegee Institute, Citation for Distinguished Service in the Cause of Humanity

1953 -- Tuskegee Institute, Certificate of Appreciation for 25 Years of Service

1957 -- Phi Beta Sigma Fraternity, Inc. Beta Lamda Sigma Chapter, Bigger and Better Business Award

1960 -- National Alumni Council of the UNCF, Inc. Award

1963 -- National Business League, Booker T. Washington Award

1965 -- Booker T. Washington Business Association, Certificate of Acknowledgement

1970 -- Moton Conference Center Award

1970 -- Tuskegee National Alumni Association, R.R. Moton Award

1972 -- American College Public Relations Association, 1972 Award for Distinguished Service to Higher Education

1972 -- UNCF F.D. Patterson 71st Birthday Award

1975 -- National Business League, Booker T. Washington Symbol of Service Award

1976 -- Phelps-Stokes Fund, Continuous Creative and Courageous Leadership in the Cause of Higher Education for Blacks

1977 -- Yale Alumni Associates of Afro-America, Distinguished Service Award

1979 -- Alpha Phi Alpha Education Foundation Inc., Distinguished Educator Award

1979 -- Tuskegee Institute Alumni Association Philadelphia Charter Award

1980 -- The Iowa State University Alumni Association, Distinguished Achievement Citation

1980 -- Gary Branch NAACP Life Membership Fight for Freedom Dinner 1980, Roy Wilkins Award

1980 -- State of Alabama Certificate of Appreciation

1982 -- St. Luke's United Methodist Church Achievement Award

1983 -- Tuskegee Airmen, Inc., Distinguished Service Award

1984 -- Booker T. Washington Foundation, Booker T. Washington Distinguished Service Award

1984 -- The Ohio State University Office of Minority Affairs, Distinguished Humanitarian and Service Award

1985 -- Alpha Phi Alpha Fraternity, Inc, Eta Zeta Lamda Chapter Civic Award

1985 -- United States, Private Sector Initiative Commendation

1987 -- Alpha Phi Alpha Fraternity, Inc of New York State, Founders Day Award

1987 -- Presidential Medal of Freedom

1987 -- Brag Business Achievement Award

1987 -- Phelps-Stokes Fund, Aggrey Medal

Public Service

1941-1971 -- Southern Educational Foundation, Inc., Board Member

1943-1988 -- United Negro College Fund, Founder, President, and Member

1960s-1988 -- Robert R. Moton Memorial Institute, Founder

1970s-1988 -- The College Endowment Funding Plan, Founder

undated -- American National Red Cross, Board of Governors Member

undated -- Boys Scouts of America, National Council Member

undated -- Citizens Committee for the Hoover Report on Reorganization of Federal Government, Board Member

undated -- Institute of International Education, Advisory committee Member

undated -- National Association for the Advancement of Colored People, Life Member

undated -- National Business League, President and Board Member

undated -- National Urban League, National Committee Member

undated -- Phelps-Stokes Fund, Board of Trustees Member

undated -- President's Commission on Higher Education for Negroes

undated -- Southern Regional Education, Board of Control Member

Related Materials:

Additional biographical materials in the Dale/Patterson Collection of the Anacostia Community Museum Archives.

This collection contains artifacts catalogued in the ACM Objects Collection.

Provenance:

The Frederick Douglass Patterson papers were donated to the Anacostia Community Museum in 2001 by Frederick Douglass Patterson, Jr.

Restrictions:

Use of the materials requires an appointment. Please contact the archivist to make an appointment: ACMarchives@si.edu.

Rights:

The Frederick Douglass Patterson papers are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.

Topic:

Universities and colleges -- Administration  Search this

African Americans -- Education (Higher)  Search this

African American universities and colleges  Search this

Genre/Form:

Diplomas

Notebooks

Articles

Manuscripts

Photographic prints

Ephemera

Scrapbooks

Newsletters

Awards

Photographs

Invitations

Legal documents

Programs

Correspondence

Clippings

Citation:

Frederick Douglass Patterson papers, Anacostia Community Museum Archives, Smithsonian Institution, gift of Frederick Douglass Patterson, Jr.

Identifier:

ACMA.06-010

See more items in:

Frederick Douglass Patterson papers

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa7da84300b-c608-41af-b59a-1f44dce53a26

EDAN-URL:

ead_collection:sova-acma-06-010

Creator:

Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this

Names:

Smithsonian Folklife Festival  Search this

Extent:

1 Cubic foot (approximate)

Type:

Collection descriptions

Archival materials

Audiotapes

Videotapes

Memorandums

Plans (drawings)

Sound recordings

Photographic prints

Negatives

Audiocassettes

Business records

Correspondence

Notes

Digital images

Slides (photographs)

Video recordings

Contracts

Date:

October 4-9, 1978

Summary:

The Smithsonian Institution Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998. The materials collected here document the planning, production, and execution of the annual Festival, produced by the Smithsonian Center for Folklife and Cultural Heritage (1999-present) and its predecessor offices (1967-1999). An overview of the entire Festival records group is available here: Smithsonian Folklife Festival records.

Scope and Contents note:

This collection documents the planning, production, and execution of the 1978 Festival of American Folklife. Materials may include photographs, audio recordings, motion picture film and video recordings, notes, production drawings, contracts, memoranda, correspondence, informational materials, publications, and ephemera. Such materials were created during the Festival on the National Mall in Washington, D.C., as well as in the featured communities, before or after the Festival itself.

Arrangement note:

Arranged in 10 series.

Series 1: Program Books, Festival Publications, and Ephemera

Series 2: Chesapeake Bay Traditions

Series 3: Children's Folklife

Series 4: Coal Miners & Oil Workers

Series 5: D.C. Folklore

Series 6: Folklife in the Museum: A Nation of Nations

Series 7: Folklife in the Museum: Renwick Gallery

Series 8: Mexican & Mexican American Traditions

Series 9: Other Programs

Series 10: San Juan Pueblo Culture

Historical note:

The Festival of American Folklife, held annually since 1967 on the National Mall in Washington, D.C., was renamed the Smithsonian Folklife Festival in 1998.

The 1978 Festival of American Folklife was produced by the Smithsonian Folklife Program of the Office of American and Folklife Studies and cosponsored by the National Park Service.

For more information, see Smithsonian Folklife Festival records.

Introduction:

With the 1978 Festival, the Smithsonian began a five-year cycle of variations on the theme of "community," exploring folklore as the artistic expression of community life, and the pleasure and dignity found in that process. When the Smithsonian Folklife Program staff decided to use "community" as the theme of the 1978 presentation, they were not grafting an idea onto the Festival, but featuring an aspect of the Festival that had been present throughout its history. Folklore consists of the traditional ways in which community people work and play together, and their customary forms of entertaining and instructing each other. Community is composed of people meeting regularly who have inherited or developed ways of celebrating their sense of coming together.

"Community" had been involved in the past eleven festivals in many ways. For communities - whether inherited or joined - serve as a vital buffer between individuals and a world of megastates and megacorporations. They are more manageable units in which all can participate - men and women, young and old - and give some living proof of Schumacher's notion that "small is beautiful." Festival organizers sought to reaffirm that humans are important, and that we are, like plants and other animals, dependent upon communities for survival.

As with the preceding year, the 1978 Festival (October 4-9) was held on a site on the National Mall later to be occupied by the National Museum of African American History and Culture, between 14th and 15th Streets and between Constitution Avenue and Madison Drive (see site plan). Indoor activities took place in the National Museum of History and Technology, the National Museum of Natural History, and the Renwick Gallery. The San Juan Pueblo programs took place outside of the National Museum of Natural History. As had been the case in 1977, Festival programming in the museums sought to connect objects on exhibit with people who could demonstrate, explain, or comment upon them; programming was again marked by collaboration between Folklife Program staff and museum curators. Festival programs included:

Missing Title

Chesapeake Bay Traditions

Children's Folklife

Coal Miners & Oil Workers

D.C. Folklore

Folklife in the Museum: A Nation of Nations (including presentations on Ellis Island, Dunham School,family folklore, sleeping car porters, and a wheelwright)

Folklife in the Museum: Renwick Gallery (featuring presentations on Mexican masks and on musicalinstruments)

Mexican & Mexican American Traditions

Other Programs (featuring organ-building in the Hall of Musical Instruments and sharecroppers in the Hallof Everyday Life in the American Past)

San Juan Pueblo Culture

The 1978 Program Book provided information on each of the programs, including a schedule and participant lists.

The 1978 Festival was again co-presented by the Smithsonian Institution and National Park Service, with support from the U.S. Department of Energy, McDonald's Washington Area Family Restaurants, and the Music Performance Trust Funds. It was organized by the Folklife Program within the Office of American and Folklife Studies.

Folklife Advisory Council

Wilcomb E. Washburn, Chairman, Roger Abrahams, Richard Ahlborn, Richard Dorson, William Fitzhugh, Lloyd Herman, Robert Laughlin, Scott Odell, Bernice Reagon, Ralph Rinzler, E. Richard Sorenson

Folklife Program, Office of American and Folklife Studies

Ralph Rinzler, Director; Jeffrey LaRiche, Program Coordinator; Peter Seitel, Senior Folklorist; Thomas Vennum, Jr., Ethnomusicologist; Susan Kalcik, Folklorist; Steve Zeitlin, Folklorist; Jack Santino, Folklorist; Frank Proschan and Richard Derbyshire, Archivists

National Park Service

William J. Whelan, Director; Manus J. Fish, Jr., Regional Director, National Capital Region

Fieldworkers and presenters:

Héctor Aguíñiga, Holly Baker, Karen Baldwin, Charles Camp, Susan G. Davis, Hazel Dickens, Jason Dotson, Ben Evans, Alicia González, Richard Haefer, Charlotte Heth, Marjorie Hunt, Amy Kotkin, Maria La Vigna, Phyllis May, Pat Mullen, Salvador Ortega, Keith Rollinson, Daniel Sheehy, Nick Spitzer, Peggy Yocom, Jean Alexander, Kate Rinzler, George McDaniels

Shared Stewardship of Collections:

The Center for Folklife and Cultural Heritage acknowledges and respects the right of artists, performers, Folklife Festival participants, community-based scholars, and knowledge-keepers to collaboratively steward representations of themselves and their intangible cultural heritage in media produced, curated, and distributed by the Center. Making this collection accessible to the public is an ongoing process grounded in the Center's commitment to connecting living people and cultures to the materials this collection represents. To view the Center's full shared stewardship policy, which defines our protocols for addressing collections-related inquiries and concerns, please visit https://doi.org/10.25573/data.21771155.

Forms Part Of:

Smithsonian Folklife Festival records: 1978 Festival of American Folklife forms part of the Smithsonian Folklife Festival records .

Smithsonian Folklife Festival records

Smithsonian Folklife Festival records: Papers

1967 Festival of American Folklife records - [Ongoing]

Related Archival Materials note:

Within the Rinzler Archives, related materials may be found in various collections such as the Ralph Rinzler papers and recordings, the Lily Spandorf drawings, the Diana Davies photographs, the Robert Yellin photographs, and the Curatorial Research, Programs, and Projects collection. Additional relevant materials may also be found in the Smithsonian Institution Archives concerning the Division of Performing Arts (1966-1983), Folklife Program (1977-1980), Office of Folklife Programs (1980-1991), Center for Folklife Programs and Cultural Studies (1991-1999), Center for Folklife and Cultural Heritage (1999-present), and collaborating Smithsonian units, as well as in the administrative papers of key figures such as the Secretary and respective deputies. Users are encouraged to consult relevant finding aids and to contact Archives staff for further information.

Restrictions:

Access to the Ralph Rinzler Folklife Archives and Collections is by appointment only. Visit our website for more information on scheduling a visit or making a digitization request. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies.

Rights:

Permission to publish materials from the collection must be requested from the Ralph Rinzler Folklife Archives and Collections. Please visit our website to learn more about submitting a request. The Ralph Rinzler Folklife Archives and Collections make no guarantees concerning copyright or other intellectual property restrictions. Other usage conditions may apply; please see the Smithsonian's Terms of Use for more information.

Topic:

Food habits  Search this

Folk festivals  Search this

Folk music  Search this

Folklore  Search this

Folk art  Search this

World music  Search this

arts and crafts  Search this

Genre/Form:

Audiotapes

Videotapes

Memorandums

Plans (drawings)

Sound recordings

Photographic prints

Negatives

Audiocassettes

Business records

Correspondence

Notes

Digital images

Slides (photographs)

Video recordings

Contracts

Citation:

Smithsonian Folklife Festival records: 1978 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.SFF.1978

See more items in:

Smithsonian Folklife Festival records: 1978 Festival of American Folklife

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk53f9480fa-0587-4c44-8098-782e5c3c5e5c

EDAN-URL:

ead_collection:sova-cfch-sff-1978