Sam DeVincent loved music and art and began collecting sheet music with lithographs at an early age.
Series 4: Songwriters: A "songwriter" for this series is defined as a composer, a lyricist, or both.
An overview to the entire DeVincent collection is available here: Sam DeVincent Collection of Illustrated American Sheet Music.
Scope and Contents note:
A "songwriter" for this series is defined as a composer, a lyricist, or both. The songwriters included in this online finding aid are arranged alphabetically in the Biography of Songwriters section and alphabetically in the Name and Select Title Index.
The song sheets associated with each songwriter in this series are generally arranged in the following order: General Songs; Ethnic Songs; Armed Conflict Songs or other Topical Headings; Ragtime; Instrumental; Musical Theater Production Songs; Motion Picture Production Songs; Specialized Song Sheets/Editions; Professional/Artist Copy Song Sheets; and Folios/Volumes. Songs of four or more editions (multiple editions) are usually placed in individual folders and listed separately under the appropriate category, i.e., General Songs, Topical songs, etc. Copyright dates listed in the Container List represent the latest date on any given song sheet, i.e., a song originally published in 1906, but copyrighted in 1946, will show the date 1946.
In the Container List the word "Contains" in a descriptive entry identifies a folder that contains only the song sheet titles specified. For example, Subseries 4.1, folder B "contains" three song sheets and only those three are contained in that folder. The word "Includes" in a descriptive entry identifies a folder that holds not only the song sheet title(s) named but also other song sheet title(s) not specified in the Container List. For example, folder E of subseries 4.1 "includes" (or specifies) three song sheets ("Magic Moments," "Sad Sack," and "Warm and Tender"), but, in addition, folder E contains fourteen other song sheets that are not specified.
Variations in the size of the sheet music in this series may indicate its publication date. Large song sheets-approximately 11" x 13"- were superseded in April 1919, when publishers adopted a new "standard" or "regular" size for song sheets-9 1/4" x 12 1/4"-as recommended by the National Association of Sheet Music Dealers. The probable motivation was that smaller song sheets were cheaper to produce--a conservation effort prompted by World War I.
Titles of Musical Theater Production Songs and Motion Picture Production Songs are in capital letters. Individual song titles are within quotation marks. Portraits of the artist or artists that contributed to a song's success are featured on many song sheets. Songs are filed alphabetically, by title, within each folder.
Dates after the songwriter's name in the Biography of Songwriters section of this Register refer to the songwriter's birth and death dates. Dates after a songwriter's name in the Container List of this Register refer to the dates of the song sheets in this collection for that songwriter. Where two or more songwriters were a notable team over an extended period of time, their collaboration is noted in the Biography of Songwriters and included in the Container List.
The dates in the Container List represent the latest copyright year on the song sheets. The dates are not necessarily the same as the year of the productions. Copyright dates in the Container List represent the latest date on any given piece of sheet music, i.e., a song originally published in 1906, but re-copyrighted in 1946, will show the date 1946.
Arrangement note:
Arranged alphabetically
4.1 - 4.217
4.218: Ephemera
Biographies of Song Writers:
4.42 ADAMS, STANLEY -- (8/14/1907-1/27/1994). Lyricist. Former President of ASCAP; was a leader in the successful effort for Congressional revision of copyright law. Best known song is "What a Diff'rence a Day Made."
4.43 AGER, MILTON -- (10/6/1893-5/6/1979). Composer, publishers, pianist, arranger, vaudeville accompanist, stage entertainer for silent movies. First hit was "Everything is Peaches Down in Georgia," sung by Al Jolson.
4.44 AHLERT, FRED E. -- (9/19/1892-10/20/1953). Composer, publisher. Arranger for Fred Waring. One of first songwriters to quit Tin Pan Alley for Hollywood. First hit was "I'll Get By."
4.45 AKST, HARRY -- (8/15/1894-3/31/1963). Composer. Professional pianist as a teenager. Met Berlin at Camp Upton, worked for him as staff pianist. Hits include: and "Baby Face" and "A Smile Will Go a Long, Long Way."
4.46 ALLEN, STEVE -- (12/26/1921- ). Composer, author, pianist, comedian. Toured with parents in vaudeville; worked in radio; founder and first host of NBC-TV's Tonight Show. Composed the theme from PICNIC.
4.47 ARLEN, HAROLD -- (2/15/1905-4/23/1986). Composer, author, pianist, vocalist. Played professionally at age 15. Signed by The Cotton Club to write with Ted Koehler, producing many hits. Also teamed with Yip Harburg. Write "Get Happy," "Stormy Weather," and the score for THE WIZARD OF OZ.
4.48 ARMSTRONG, HARRY W. -- (7/22/1879-2/28/1951). Composer, vocalist, pianist, producer, prize fighter. Hits include "I Love My Wife, But Oh You Kid" and "Sweet Adeline."
4.49 ASH, PAUL -- (2/11/1891-7/13/1958). Composer, author, conductor, pianist. Led his first band in 1910; became very successful bandleader. Wrote "I'm Knee Deep in Daisies."
4.50 AUSTIN, GENE -- (6/24/1900-1/24/1971). Composer, author. Sang in vaudeville, radio, films, and TV. Established as a recording star with "My Blue Heaven." Wrote "When My Sugar Walks Down the Street."
4.1 BACHARACH, BURT F. -- (5/12/1928- ). Composer and pianist. Collaborated with lyricist Hal David on a number of film scores (e.g., BUTCH CASSIDY AND THE SUNDANCE KID) and popular songs, many of which were recorded by Dionne Warwick.
4.51 BALL, ERNEST R. -- (7/21/1878-5/3/1927). Composer, pianist. Began as pianist in vaudeville, performing with his wife Maude Lambert; then worked as a song demonstrator. Successful songs include "Let the Rest of the World Go By"and "Mother Machree."
4.52 BARGY, ROY -- (7/31/1894-1/15/1974). Composer, pianist. Arranger for Paul Whiteman; led several radio show bands. Edited, played, arranged, and composed piano rolls; composed rags. From 1943-1963 was music director for Jimmy Durante.
4.53 BAXTER, PHIL -- (9/5/1896-11/21/1972). Composer, pianist, lyricist, vocalist. Bandleader in 20's and 30's. Wrote "Have a Little Dream on Me" and "I'm a Ding Dong Daddy from Dumas."
4.54 BAYES, NORA -- (1880-3/19/1928). Vocalist, composer, lyricist. Was a top performing star; known as "The Wurzberger Girl" after her first hit. The first edition of Cohan's "Over There" featured Bayes on the cover. Bayes and husband Jack Norworth wrote "Shine on Harvest Moon."
4.55 BERLE, MILTON -- (7/12/1908- ). Comedian, vocalist, lyricist, composer. Began performing in silent movies at age 5; worked in vaudeville; was a MC in clubs and theaters. Was the first big TV star. Wrote "Sam, You Made the Pants Too Long."
4.2 BERLIN, IRVING -- (5/11/1888-9/22/1989). Composer and lyricist. One of the most versatile and popular songwriters of the 20th century. Wrote songs for some of the most successful Broadway musicals and Hollywood films. Best songs were sentimental ballads performed in unique ragtime or popular styles.
4.56 BERNIE, BEN -- (5/30/1891-10/20/1943). Bandleader, composer. Was a monologist in vaudeville; played violin until he formed his own dance band in early 20's. Known as The Old Maestro. Wrote "Sweet Georgia Brown."
4.57 BRAHAM, DAVID -- (1834-4/11/1905). Composer. Born in London; moved to New York at age 18. Was orchestral leader and composer for minstrel shows, Tony Pastor's, Theatre Comique. THE MULLIGAN GUARD was the first of many collaborations with Ned Harrigan.
4.58 BREUER, ERNEST -- (12/6/1886-4/3/1981). Composer, pianist. Born in Germany, moved to US in youth. Vaudeville pianist. WWII interpreter and entertainer. Wrote "Does the Spearmint Lose Its Flavor on the Bedpost Overnight?"
4.59 BROOKS, SHELTON -- (5/4/1886-9/6/1975). Composer. Parents American Indian/African American. Pianist in Detroit cafes; moved to Chicago. Composed rages; worked as a mimic in vaudeville. Wrote "Darktown Strutters' Ball" and "Some of These Days."
4.60 BROWN, A. SEYMOUR -- (5/28/1885-12/22/1947). Author, composer, actor. Worked in vaudeville. Composed "Oh You Beautiful Doll."
4.61 BROWN, GEORGE -- ...
4.3 BROWN, LEW -- (12/10/1893-2/5/1958). Lyricist. Achieved success with a number of songs in collaboration with composer Albert Von Tilzer, and later as member of the Ray Henderson and Buddy DeSylva songwriting team on Broadway.
4.62 BROWN, NACIO HERB -- (2/22/1896-9/28/1964). Composer. First toured as piano accompanist; worked as a tailor and realtor before first successes in early 20's. One of the movies most important composers during early sound years and many years thereafter. Wrote "Singin in the Rain" and "You Are My Lucky Star."
4.63 BROWN, NACIO HERB, JR. -- (2/27/1921- ). Composer, author, publisher. Son of Nacio Herb Brown. Professional manager of publishing firms; manager of music catalogs. Songs include "Who Put That Dream in Your Eyes."
4.64 BUCK, GENE -- (8/8/1885-2/25/1957). Lyricist. Chief aide to Ziegfeld; wrote book for some of his shows. Pioneer designer of sheet music covers. Songs include "Hello Frisco" and "Tulip Time."
4.65 BULLOCK, WALTER -- (5/6/1907-8/19/1953). Lyricist. Wrote screenplays and songs for movies. Hits include "This Is Where I Came In" and "When Did You Leave Heaven?"
4.66 CAESAR, IRVING -- (4/4/1895-12/17/1996). Lyricist, composer. Wrote mostly for New York stage but began working for films in 30's. Wrote message-bearing songs for children. Wrote "Count Your Blessings" and "Tea for Two."
4.4 CAHN, SAMMY -- (6/18/1913- ). Lyricist. Wrote many successful songs for Hollywood films, notably for Frank Sinatra, and in collaboration with Charlie Chaplin, Jimmy Van Heusen, and Jule Styne.
4.67 CALLAHAN, J. WILL -- (3/17/1874-11/15/1946). Vocalist, lyricist. Started as an accountant, then singer of illustrated songs. Wrote "Smiles."
4.5 CARMICHAEL, HOAGY -- (11/22/1899-12/27/1981). Composer, lyricist, bandleader, pianist, and singer. Abandoned law profession to pursue career in songwriting. Contributed songs to a number of very popular motion pictures.
4.68 CARROLL, EARL -- (9/16/1893-6/17/1948). Composer. Produced and directed many revues. Built two theaters in New York and had a restaurant in Hollywood. Produced movies. Hits include "Give Me All of You" and "So Long Letty."
4.69 CARROLL, HARRY -- (11/28/1892-12/26/1962). Composer. Pianist in movie theaters, cafes and vaudeville. Wrote for Winter Garden productions; wrote several Broadway stage scores. Hits include "I'm Always Chasing Rainbows" and "Trail of the Lonesome Pine."
4.70 CHAMINADE, MME. CECILE -- (born in Paris. Pianist, composer. Toured the US in 1908.
4.71 CLARIBEL (CHARLOTTE ALLINGTON BARNARD) -- (1830-1869) Composer, lyricist. English. Enormously popular in her time. Her "Come Back to Erin" is often regarded as an Irish folk song.
4.72 COBB, GEORGE L. -- (8/31/1886-12/25/1942). Composer. Began as composer of rags. Wrote for Melody magazine. First hit was "All Aboard for Dixieland."
4.6 COHAN, GEORGE M. -- (7/4/1878-11/5/1942). Composer, lyricist, actor, playwright, and producer. Best remembered for elaborately choreographed dance music, flag-waving songs, and songs for musical comedies and vaudeville. Best known for his patriotic songs, "Over There" and "Yankee Doodle Dandy."
4.73 COLUMBO, RUSS -- (1908-9/2/1934). Composer; primarily a singer, featured in Gus Arnheims band. Theme song for own band was "You Call It Madness." Also wrote "Too Beautiful for Words."
4.74 CONFREY, ZEZ -- (4/3/1895-11/22/1971). Pianist, bandleader, composer. Cut many piano rolls. Solo piano pieces have become standards: "Dizzy Fingers" and "Kitten on the Keys."
4.75 CONN, CHESTER -- (4/14/1896- 4/4/1973). Composer. Manager of publishing companies before owning own firm of Bregman, Vocco & Conn. Hits include "Don't Mind the Rain."
4.76 CONRAD, CON -- (6/18/1891-9/28/1938). Composer, pianist. Worked as theater pianist and in vaudeville; wrote for stage and movies. Had publishing firm. Wrote "The Continental," first film song awarded an Oscar; also wrote "Ma" and "Margie."
4.77 CONVERSE, CHARLES CROZAT -- (10/7/1832-4/8/1918). Composer. Studied in Europe; practiced law upon return. Composed partriotic overtures and cantatas, vocal quartettes. Wrote on philosophical and philological subjects under pen name Karl Redan. Wrote "What a Friend We Have in Jesus."
4.78 COOTS, J. FRED -- (5/2/1897-4/8/1985). Composer, pianist. Accompanied vaudeville acts; worked as song plugger; composed for Schuberts shows but returned to club dates in composing independently. Wrote "Love Letters in the Sand" and "You Go to My Head."
4.79 COSLOW, SAM -- (12/27/1902). Composer, lyricist, vocalist. Wrote for Broadway and movies; co-partner in music publishing; co-founded Soundies, song-movie shorts for coin machines. Hits include "Cocktails for Two" and "Was It a Dream?"
4.80 COWAN, LYNN -- (6/8/1888- ). Composer, actor, director, vocalist, pianist. Worked in vaudeville and as a film actor. Composed background scores for early sound film, and songs for LADIES MUST LOVE. Manager of Castle Terrace Club in Okinawa. Wrote "Kisses."
4.80 COWAN, RUBEY -- (2/27/1891-7/28/1957). Composer. Pianist in film theaters at age 13. Co-founded publishing company; wrote first show for Paramount Theater in New York; headed NBCs radio talent dept. then Paramounts radio dept. Wrote "You Can Expect Kisses from Me."
4.80 COWAN, STANLEY -- (2/3/1918- 12/13/1991). Composer, author, director, publicist. Wrote special material for orchestras, musicals, films; Produced shows for USAF during WWII. Joined father's (Rubey Cowan) firm, Rogers and Cowan. Wrote "Do I Worry."
4.81 COWARD, NOEL -- (12/16/1899-3/26/1973). Composer, lyricist, actor, playwright, producer. Born in England; began professional career at age 11. Best known of many popular songs are "I'll Follow My Secret Heart" and "I'll See You Again."
4.82 CRUMIT, FRANK -- (9/26/1889-9/7/1943). Composer, author, singer, actor. Vaudeville and stage performer. Had radio series with Julia Sanderson. Known for novelty numbers such as "Abdul Abulbul Amir."
4.83 CUGAT, XAVIER -- (1/1/1900- 10/27/1990). Bandleader, composer. Born in Spain; moved to Cuba when young; studied in Berlin; gave concert tours. Worked as a caricaturist for the LA Times. Led orchestra specializing in Spanish and Latin American music. Wrote "My Shawl," his theme song.
4.84 DANIELS, CHARLES N. -- (4/12/1878-1/21/1943). Composer, publisher. Pseudonym: Neil Moret. One of most significant ragtime entrepreneurs. Wrote first motion picture title song: "Mickey." Other songs include "You Tell Me Your Dream," "Moonlight and Roses," and "Chloe."
4.85 DANKS, HART PEASE -- (4/16/1834-11/20/1903). Composer. Singer and conductor in New York churches and concert stages. Published sacred and choral works; collaborated on three operettas. Best known for popular songs such as "Silver Threads Among the Gold."
4.86 DAVIS, BENNY -- (8/21/1895- 12/20/1979). Lyricist, vocalist. Performed in vaudeville as a child. Toured with Benny Fields as accompanist to Blossom Seeley. Hits include "Baby Face" and "Margie."
4.87 DEKOVEN, REGINALD -- (4/3/1859-1/16/1920). Composer, conductor, music critic. America's first significant composer of operetta: ROBIN HOOD the first American operetta to be performed in London. Founded the Philharmonic Orchestra in Washington, D.C. in 1902. Best known song is "Oh Promise Me."
4.88 DELEATH, VAUGHN -- (9/26/1896-5/28/1943). Vocalist, pianist, composer, lyricist. Reportedly the first woman on radio, sometimes credited with originating crooning. Played vaudeville, performed on Broadway, and recorded frequently. Hits include "At Eventide" and "Ducklings on Parade."
4.89 DEMING, MRS. L. L. -- (may be wife of Legrand L. Deming, born in Connecticut 10/29/1812.
4.7 DeROSE, PETER -- (3/10/1900-4/24/1953). Composer. Formed a radio team, The Sweethearts of the Air, with May Singhi Breen, whom he subsequently married. His most famous piece, "Deep Purple," became a commercial hit when lyrics were added.
4.3 DeSYLVA, BUDDY -- (1/27/1895-7/11/1950). Lyricist. Produced a number of hit songs with George Gershwin and particularly for the singer, Al Jolson. Also worked with Jerome Kern, Victor Herbert, and later as member of the Ray Henderson-Lew Brown songwriting partnership.
4.90 DILLON, HARRY -- (1866- 2/5/1916). Brother of John and Will. Started performing career on minstrel shows.
4.90 DILLON, JOHN -- (12/5/1882-9/2/1953). Brother of Will and Harry. Followed brother Harry into ministrel shows; first vaudeville engagement was at Tony Pastor's; toured. Operated grocery store in hometown, Cortland, NY, after retirement.
4.90 DILLON, WILLIAM AUSTIN -- (11/6/1877-2/10/1966). Composer, author, actor, businessman. Worked in vaudeville, medicine and minstrel shows; toured with Harry Lauder. Successes include "All Alone" and "I Want a Girl Just Like the Girl That Married Dear Old Dad."
4.91 DIXON, HAROLD -- ...
4.8 DONALDSON, WALTER -- (2/15/1893-7/15/1947). Composer. Hired in 1919 as staff writer for Irving Berlin Inc. Wrote songs throughout the 1920s that made him one of the most popular composers of the decade. Had many collaborations, the most successful with Gus Kahn.
4.9 DRESSER, PAUL -- (4/22/1858-1/30/1906). Composer, lyricist, performer and publisher. One of the first American performers to enter the music publishing trade. Wrote songs for burlesque and vaudeville stage shows. Considered the leading American writer of sentimental ballads of the late 19th century. Best-known song: "My Gal Sal."
4.92 DUBIN, AL -- (6/10/1891-2/11/1945). Lyricist. Served overseas in entertainment unit in WWI. Biggest song successes when teamed with Harry Warren. Hits include "I Only Have Eyes for You" and "Tiptoe Through the Tulips."
4.10 EDWARDS, GUS -- (8/18/1879-11/7/1945). Composer, lyricist, impresario, and singer. Collaborated with lyricist Will D. Cobb producing several hit songs introduced in Broadway reviews, notably Ziegfeld's Follies of 1907 and 1910. Best-known songs include "School Days" and "By The Light Of The Silvery Moon."
4.93 EDWARDS, LEO -- (2/22/1886-7/12/1978). Composer, author, producer. Brother of Gus Edwards. Worked in vaudeville; was staff writer for music publishing firms; cabaret producer. Hit songs include "Isle d'Amour," "Inspiration," and the official Boy Scout song "Tomorrow's America."
4.94 EMMET, JOSEPH KLINE -- (3/13/1841-1892). Actor, composer. Performed in a minstrel company using a broken German dialect that made him famous. Several plays starring his 'Fritz' character were written for him. Successful songs were "Emmet's Lullaby" and "Sweet Violets."
4.95 ERDMAN, ERNIE -- (10/23/1879-11/1/1946). Composer. Was pianist in the Original New Orleans Jazz Band. Worked on professional staff of Chicago music publishers. Songs hits include "Nobody's Sweetheart" and "Toot, Toot, Tootsie, Goodbye."
4.96 FAIN, SAMMY -- (6/17/1902- 12/6/1989). Composer, vocalist, pianist. Was a self-taught pianist; began composing songs while in grammar school. Very successful partnership with Irving Kahal writing songs for movies. Hits include "Dear Hearts and Gentle People," "I'll Be Seeing You," and "That Old Feeling." Nominated for the Oscar 10 times; won twice.
4.97 FEIST, FELIX -- (Wrote "Can't You See Im Lonely."
4.97 FEIST, LEO -- (1/3/1869-6/1/1930). Publisher, lyricist. When early songs didnt sell well Feist partnered with Joe Frankenthaler to start what became one of the leading publishing firms. His successes include "Those Lost Happy Days" and "Smokey Mokes."
4.98 FIELD, EUGENE -- (9/3/1950-11/4/1895). Author. Newspaper columnist for Chicago Morning News. His poems were set to music.
4.99 FIELDS, DOROTHY -- (7/15/1905-3/28/1974). Author, lyricist. At age 15 sang in an amateur show by Rodgers and Hart; worked with brother Herbert as co-librettist on several Broadway shows. Most successful collaboration was with Jimmy McHugh. Wrote "I Can't Give You Anything But Love" and "I'm in the Mood for Love." Won an Oscar with Jerome Kern for "The Way You Look Tonight."
4.100 FIORITO, TED -- (12/20/1900-7/22/1971). Composer, conductor, pianist. Began as a song demonstrator. First hit song was "Toot, Toot, Tootsie, Goodbye." Formed band in early 20's and continued to lead an orchestra in the 60's. Other hits include "Alone at Last" and "Charley, My Boy."
4.101 FISHER, FRED -- (9/30/1875-1/14/1942). Composer, lyricist. Immigrated from Germany at age 25 but soon assimilated popular music idioms. Early success was "Come, Josephine, in My Flying Machine." Started composing for films in late 20's. Hits include "Dardanella" and "Your Feets Too Big."
4.11 FOSTER, STEPHEN -- (7/4/1826-1/13/1864). Composer and lyricist of popular household, plantation, and minstrel songs of the 19th century. Produced over 200 songs of two main types: sentimental ballads of hearth and home, and songs for the famous Christy's Minstrels.
4.102 FRANKLIN, DAVE -- (9/28/1895-2/3/1970). Composer, lyricist, pianist. Pianist in publishing house at age 13; vaudeville accompanist; played nightclubs in New York and European cities. Hits include "The Anniversary Waltz" and "When My Dream Boat Comes Home."
4.62 FREED, ARTHUR -- (9/9/1894-4/12/1973). Lyricist, producer. Wrote for vaudeville; managed theater in Los Angeles; produced shows. Began writing for movie musicals in 1929. Many hits include "After Sundown," "All I Do Is Dream of You," and "Singin' in the Rain."
4.103 FRIEDMAN, LEO -- (7/16/1869-3/7/1927). Composer. Studied in Chicago and Berlin. Two biggest hits were "Let Me Call You Sweetheart" and "Meet Me Tonight in Dreamland."
4.104 FRIEND, CLIFF -- (10/1/1893-6/27/74). Composer, lyricist, pianist. Wrote for Broadway and movies; was a pianist for vaudeville performers in US and England. Also worked as a test pilot. Hits include "Give Me a Night in June" and "The Merry-Go-Round Broke Down."
4.12 FRIML, RUDOLF -- (12/7/1879-11/12/1972). Composer and pianist. One of the principal exponents of traditional operetta and early musical comedy in the United States. Collaborated with Oscar Hammerstein II and others to produce the most popular American musicals of the 1920s.
4.105 FROST, JACK -- (11/25/1893-10/21/1959). Composer, lyricist. Writer with Chicago music company; wrote special material for Eva Tanguay and Trixie Friganza; worked in advertising. Hits include "When You and I Were Young Maggie Blues."
4.106 GARBER, JAN -- (11/5/1897-10/4/1977). Violinist, bandleader, composer. Played violin in Philadelphia Symphony Orchestra; formed dance band in early 20's; still conducting into the 60's. Wrote his theme song, "My Dear."
4.107 GAY, BYRON -- (8/28/1886-12/23/1945). Composer, author, explorer. Educated at US Navel Academy and was on 1933 Byrd Expedition. Successful songs include "The Little Ford Rambled Right Along" and "The Vamp."
4.108 GILBERT, L. WOLFE -- (8/31/1886-7/12/1970). Lyricist. Started as a singer in New York clubs, writing parodies of popular songs for entertainers such as Al Jolson. Moved to Hollywood where he wrote for films and the Eddie Cantor radio show. Had his own publishing firm. Hits include "Lucky Lindy" and "Waiting for the Robert E. Lee."
4.13 GERSHWIN, IRA -- (12/6/1896-8/17/1983). Lyricist. Collaborated with various composers throughout his life, at times using pseudonym, Arthur Francis. He collaborated with brother George from 1924 until the latter's death in 1937. Their first musical comedy together was LADY, BE GOOD.
4.13 GERSHWIN, GEORGE -- (9/26/1898-7/11/1937). Composer, conductor, and pianist. Composer of Broadway shows and one of America's most famous composers of popular concert music. Brought jazz and classical styles together in concert pieces, African American folk music and opera, e.g. PORGY AND BESS.
4.109 GILLESPIE, HAVEN -- (2/6/1888-3/14/1975). Lyricist. Left job as journeyman printer and began writing songs in the mid-20's. Wrote for film, theater and radio. Awarded Freedoms Foundation Award for "God's Country." Hits include "Santa Claus Is Comin' to Town" and "You Go to My Head."
4.110 GLOVER, CHARLES W -- (1806-3/23/1863). Composer. English. Violinist in orchestras of Drury Lane and Covent Garden; musical director of Queen's Theatre. "Do They Think of Me at Home" was one of his greatest successes in the USA.
4.111 GLOVER, STEPHEN -- (mid 1812-1870). Composer. English. One of his most popular songs was "What Are the Wild Waves Saying?"
4.112 GOETZ, E. RAY -- (6/12/1886-6/12/1954). Composer, lyricist, producer. Contributed to many Broadway musicals. Hits include "For Me and My Gal" and "Yaaka Hula Hickey Dula."
4.113 GOODHART, AL -- (1/26/1905-11/30/1955). Composer, pianist. Early career as radio announcer, vaudeville pianist, special material writer. With USO during WWII. Hits include "Auf Wiedersehen, My Dear," "I Apologize," and "Who Walks in When I Walk Out?"
4.114 GORDON, MACK -- (6/21/1904-3/1/1959). Lyricist, vocalist. Boy soprano in minstrel shows; comedian and singer in vaudeville. Hits include "Chatanooga Choo-Choo," "Time on My Hands," and "You'll Never Know" which won an Academy Award.
4.115 GREEN, JOHN W. -- (10/10/1908- 5/15/1989 ). Composer, arranger, pianist, ` bandleader. Accompanied various singers; formed own band. On many radio shows in New York then moved to Hollywood. MGM musical director for many years. Scored and conducted three Academy Award films. Hits include "Body and Soul" and "I Cover the Waterfront."
4.116 GUEST, EDGAR -- ( 8/20/1881-8/5/1959). Poet, Newspaperman for Detroit Free Press. Poems Syndicated in nearly 300 papers; 17 volumes of poetry published. Apeared on national radio for many years.
4.117 GUMBLE, ALBERT -- (9/10/1883-11/30/1946). Composer, pianist for publishers. Entertained troops during WWII. Hits include "Are You Sincere?" and "How's Every Little Thing in Dixie?"
4.118 HALL, WENDELL WOODS -- (8/23/1896-4/2/1969). Composer, author, singer, ukelele player. Known as "The Red-Headed Music Maker." Played the ukelele on radio and in vaudeville; made world radio tour in 20's. Worked as advertizing executive. Successful songs include "Underneath the Mellow Moon" and "Whispering Trees."
4.14 HAMMERSTEIN, OSCAR, II -- (7/12/1895-8/23/1960). Lyricist, librettist, producer, and publisher. Produced and wrote some of the most successful Broadway musicals in collaboration with composer Richard Rodgers and Jerome Kern. Many of his works later appeared in Hollywood films.
4.14 HAMMERSTEIN, OSCAR, I -- (5/8/1846-8/1/1919). Composer. An impresario who wrote several works, including orchestral pieces for use before or as intermezzi in his productions, a ballet, MARGUERITE (1896), and the operettas, SANTA MARIA (1896) and THE KOHINOOR (1893).
4.119 HANLEY, JAMES F. -- (2/17/1892-2/8/1942). Composer, pianist. Accompanist in vaudeville. Produced WWI army show TOOT SWEET. Wrote for early sound movie shorts. Hits include "Second Hand Rose" and "Zing! Went the Strings of My Heart."
4.57 HARRIGAN, EDWARD -- ...
4.15 HARRIS, CHARLES K. -- (5/1/1865-12/22/1930). Composer, lyricist, and music publisher. Known principally as a successful publisher of popular music. First publisher to use an illustration of a performer on a song sheet cover. Most successful song: "After the Ball." Cofounder of ASCAP.
4.120 HARRISON, ANNIE FORTESQUE -- (Lady Arthur Hill)(1851-1944). Composer. Best known songs include "In the Gloaming."
4.14 HART, LORENZ -- (5/2/1845-11/22/1913). Lyricist and librettist. Collaborated with composer Richard Rodgers on the scores of several successful Broadway musicals and Hollywood productions.
4.121 HAYS, WILLIAM SHAKESPEARE. -- (7/19/1837-7/22/1907). Began writing songs at age 19. Very popular because of charming melodies, easy execution of music, and lyrics that projected authentic feelings.
4.122 HEMANS, MRS FELICIA DOROTHEA -- (1794-1835). Very prolific and popular English poet. Composer for some of the songs was her younger sister Harriet Mary Browne.
4.3 HENDERSON, RAY -- (12/1/1896-12/31/1970). Composer. Collaborated extensively with lyricists Lew Brown and Buddy DeSylva. Wrote many of the hit tunes of the 1920s and 1930s. Produced music of wide popular appeal performed by Al Jolson and others on stage and in films.
4.16 HERBERT, VICTOR -- (2/1/1859-5/26/1924). Composer, cellist, and conductor. Successful particularly as composer of American operettas, of which forty (40) were written between 1894 and 1924, mostly romantic and having happy endings.
4.123 HILL, DEDETTE LEE -- (11/2/1900-6/5/1950). Collaborated with her husband, Billy Hill, and later with Johnny Marks.
4.123 HILL, BILLY -- (7/14/1899-12/24/1940). Also used nom de plume George Brown. Composer, author, pianist, violinist, conductor. Worked as a cowboy and surveyors assistant in the west. Led first jazz band in Salt Lake City. Best known songs include "In the Chapel in the Moonlight" and "The Last Roundup."
4.124 HILLIARD, BOB -- (1/28/1918-2/1/1971). Lyricist. Wrote scores for Broadway. Successes include "Our Day Will Come" and "They've Got an Awful Lot of Coffee in Brazil."
4.113 HOFFMAN, AL -- (9/25/1902-7/21/1960). Composer, lyricist, drummer. Bandleader in hometown, Seattle; drummer in NY night clubs; songwriter early 30's through 50's. Hits include "Black Coffee" and "Mairzy Doats."
4.125 HOWARD, JOSEPH E. -- (2/12/1878-5/19/1961). Composer, author, actor, singer, producer, director. Boy soprano in vaudeville; wrote Broadway stage scores; also produced and directed on Broadway. Entertainer in night clubs, radio, TV. Hits include "Goodbye, My Lady Love" and "I Wonder Who's Kissing Her Now."
4.126 INGRAHAM, HERBERT -- (7/7/1883-8/24/1910) Music Director of touring theater companies. Led own orchestra. Staff composer for Shapiro Bernstein Publishing Co. Brother of Roy.
4.126 INGRAHAM, ROY -- (12/6/1893-?) Composer, author, singer. First song published at age 17. Had own orchestra; toured in vaudeville. Wrote for several motion pictures; radio broadcaster. Wrote special material for Sophie Tucher and others. Brother of Herbert.
4.17 JACOBS-BOND, CARRIE -- (8/1861-12/1946). Composer, lyricist, and music publisher. Called "the Riley of the Music World," her songs, such as "A Perfect Day," and "I Love You Truly," are beloved by many.
4.127 JENKINS, GORDON -- (5/12/1910-5/1/1984). Composer, author, conductor, arranger. Played organ in movie theater at age 10; quit high school to play piano in speakeasy. Pianist, arranger for leading bands; Broadway radio conductor. Grammy Award for arrangement of "It Was a Very Good Year" as recorded by Frank Sinatra. Hits include "P.S. I Love You" and "When a Woman Loves a Man."
4.128 JENTES, HARRY -- (8/28/1897-1/19/1958). Composer, pianist. Successes include "He May Be Old But He Has Young Ideas" and "Put Me to Sleep with an Old-Fashioned Melody."
4.18 JOHNSON, CHARLES L. -- (12/3/1876-12/28/1950). Composer and ragtime pianist. Known for his most popular ragtime piece, "Dill Pickles" (1906); also, piano pieces that evoked American Indian culture.
4.129 JONES, ISHAM -- (1/31/1894-10/19/1956). Composer, bandleader, pianist. Formed and led outstanding dance band, touring U.S. and Europe. Many radio appearances and recordings. Equally well known as composer. Two standards are "It Had to Be You" and "I'll See You in My Dreams."
4.19 KAHN, GUS -- (11/6/1886-10/8/1941). Lyricist. Writer of lyrical material for vaudeville performances and Hollywood film musicals. Collaborated with such leading composers as Donaldson, Gershwin, Romberg, Whiting, and Van Alstyne.
4.130 KALMAR, BERT -- (2/16/1884-9/18/1947). Lyricist, publisher. Worked in tent shows and vaudeville as a child. Wrote scores for Broadway and songs for movies; wrote screenplays. Hits include "I Wanna Be Loved by You," "Three Little Words," and "Who's Sorry Now?"
4.131 KASSEL, ART -- (1/18/1896-2/3/1965). Composer, author, vocalist, saxophonist, lyricist and bandleader. Early radio and TV appearances as bandleader after service in World War I. Composed his two theme songs, "Doodle Doo Doo" and "Hells Bells."
4.132 KENNEDY, HARRY -- (circa 1800-1894). Minstrel; ventriloquist who used two dummies simultaneously. Brother William H. Kennedy was his publisher and occassional collaborator.
4.133 KENNY, NICK -- (2/3/1895- ? ). Lyricist, newspaper reporter, produced early amateur radio show; radio editor of New York Daily Mirror. Successes include "Love Letters in the Sand" and "Gone Fishin'."
4.133 KENNY, CHARLES -- (6/23/1898- ? ). Composer, violinist, author. Collaborated with brother Nick.
4.20 KERN, JEROME -- (1/27/1885-11/11/1945). Composer. Considered the most prolific composer of Broadway musicals. He extended the popularity of the musical play form by introducing songs and themes, avoiding operatic styles, and using jazz rhythms and chords instead to characterize the dramatic demands of plot.
4.134 KING, ROBERT A. -- (9/20/1862-4/14/1932). Composer. Wrote under several noms de plume including Mary Earl ("Beautiful Ohio"), R. A. Wilson, and Mrs. Ravenhall. Staff composer for music publishers. Appeared in vaudeville. Hits include "I Scream, You Scream, We All Scream for Ice Cream."
4.135 KIPLING, RUDYARD -- (12/30/1865-1/18/1936). Author, poet. Best remembered for his celebrations of British imperialism, his tales and poems of British soldiers in India and Burma, and his children's stories. He won the Nobel Prize for Literature in 1907.
4.136 KLICKMANN, F. HENRI -- (2/4/1885- ? ). Composer, pianist, violinist; arranger for Broadway musicals, music publishers, dance bands, and performers. Professional violinist, pianist, and accordianist. Successes include "Sing Me the Rosary" and "Sweet Hawaiian Moonlight."
4.137 KOEHLER, TED -- (7/14/1894-1/17/1973). Lyricist. Began music career as pianist for nickelodeon, silent film theaters. Wrote for Cotton Club, other stage shows, and films. Most successful collaboration with Harold Arlen ("Stormy Weather"). Also wrote "I Love a Parade" and "I've Got the World on a String."
4.138 KRAMER, ALEX -- (9/13/1893-8/25/1955). Composer, arranger; cellist in theater orchestras; arranger for vaudeville and muscial comedy singers. Compiled and arranged many music folios. Collaborated with wife, Joan Whitney. Hits include "High on a Windy Hill" and "Candy."
4.139 KUMMER, CLARE (Clare Rodman Beecher) -- (1/9/1888-4/21/1958). Composer, playwright. Wrote scores and librettos for Broadway. Successes include "Bluebird."
4.140 LAWNHURST, VEE -- (11/24/1905- 5/16/1992). Pianist, singer, composer. Arranged piano rolls. Original member of Roxy's Radio Gang. Successful songs include "Sunday Go to Meetin' Time."
4.141 LAWRENCE, JACK -- (4/7/1912- ? ). Composer, lyricist. Organized bands for the armed services. Wrote "Tenderly," and English Lyrics for "Ay, Ay, Ay" and "Cielito Lindo."
4.142 LEONARD, EDDIE, -- (10/18/1875-7/29/1941). Composer, author, singer, actor; professional baseball player. Performed in minstrel shows, sang in variety shows. Fought in the Spanish American War. Wrote "Ida, Sweet as Apple Cider."
4.143 LESLIE, EDGAR -- (12/31/1885-1/20/1976). Lyricist, author, publisher. Wrote special material for performers and films. Hits include "For Me and My Gal" and "Moon over Miami."
4.144 LEWIS, AL -- (4/18/1901-4/4/1967). Composer, lyricist; became a music publisher later in career. Hits include "Now's the Time to Fall in Love."
4.145 LEWIS, SAM M. -- (10/25/1885-11/22/1959). Lyricist. Started as runner in a brokerage house. Sang in cafes; wrote material for self and other performers, also for stage and movies. Hits include "Dinah," "Five Foot Two, Eyes of Blue," and "How Ya Gonna Keep' Em Down on the Farm?"
4.146 LIEBER, JERRY -- (4/25/1933- ). Lyricist. Grew up in Baltimore hearing R&B. Struggled with acting in Hollywood when met and teamed with Mike Stoller to write many hits, including "Searching."
4.147 LITTLE, JACK -- (5/28/1900-4/9/1956). Pianist, composer, lyricist, vocalist, bandleader. Had a popular radio porgram in 20's. Led a band in the 30's. Successes include "In a Shanty in Old Shanty Town."
4.148 LOESSER, FRANK -- (6/29/1910-7/28/1969). Composer, lyricist, publisher. Wrote songs for college shows and later for Army shows. Worked as newspaper reporter and caricaturist in vaudeville. Became leading writer for Broadway and Hollywood musicals. Founded own publishing company. Won Oscar and Tony Awards and the Pulitzer Prize. Among many hits are "Two Sleepy People" and "On a Slow Boat to China."
4.149 LOGAN, FREDERICK KNIGHT -- (10/15/1871-6/11/1928). Composer. Wrote sentimental ballads in collaboration with his mother, Viginia. Wrote "Missouri Waltz."
4.149 LOGAN, VIRGINIA K. -- (1800's). Mother of Frederick Knight Logan.
4.150 LOMBARDO, CARMEN -- (7/16/1903-4/17/71). Arranger and composer in brother Guy Lombardo's dance band for forty years. Played sax with heavy vibrato and sang most vocals.
4.151 LYMAN, ABE -- (8/4/1897-10/23/1957). Composer, author, singer. Led own dance orchestra, The Californians.
4.69 MacDONALD, BALLARD -- (10/15/1882-11/17/1935). Lyricist. Began writing material for vaudeville after attending Princeton. Lyricist, librettist for Broadway musicals.
4.152 MANCINI, HENRY -- (4/16/1924-). Composer. Very popular composer of songs and themes for film ("Moon River" and "The Days of Wine and Roses") and TV ("Peter Gunn" and "Mr Lucky"). Began career in Pittsburgh dance bands pre-WWII.
4.153 MARKS, EDWARD B. -- (11/28/1865-12/17/1945). Publisher. Started company with focus on popular music but added the more serious composers. Bought the Cohan Publishing Company; and was the agent for Polish and English companies. His own early song success was "The Little Lost Child."
4.154 MASTERS, FRANKIE -- (4/12/1904- ). Composer, bandleader. Led hotel and ballroom bands in New York and Chicago; on the West Coast circuit in 30's and 40's; TV shows in the 50's. Active in the midwest into the 70's.
4.155 McGLENNON, FELIX -- ...
4.156 McHUGH, JIMMY -- (7/10/1894-5/23/69 ). Composer. Early fame with score for BLACKBIRDS OF 1928. Popular composer for movies during 30's-40's. Important collaboration with many songwriters, especially Dorothy Fields. Hits include "I'm in the Mood for Love" and "When My Sugar Walks Down the Street."
4.157 McKINLEY, MABEL -- (1879?-6/7/1937) Pseudonym: Vivian Grey. Daughter of President McKinley's youngest brother, Abner. Married Dr. Hermanus Baer of Reading, PA.
4.21 MERCER, JOHNNY -- (11/18/1909-6/25/1976). Composer and lyricist with a gift for incorporating southern vernacular speech and images of country settings into songs. Wrote lyrics for Broadway musicals and words and music to many popular songs.
4.158 MERRILL, BLANCHE -- (7/23/1895-10/5/1966). Author, lyricist. Wrote special material for Eva Tanguay, Fanny Brice, and other prominent singers; also wrote for musicals. Successes include "Jazz Baby."
4.159 MERRILL, BOB -- (5/17/1921- 2/17/1998). Composer, lyricist. Leading writer of novelty songs in the 50's, including "How Much Is That Doggie in the Window" and "If I Knew You Were Comin' Id've Baked a Cake."
4.145 MEYER, GEORGE W. -- (1/1/1884-8/28/1959). Composer of many popular songs during the first half of the 20th Century, including "For Me and My Gal," "Tuck Me to Sleep in My Old Tucky Home," and "Sittin in the Corner."
4.160 MILLARD, HARRISON -- (11/27/1829-9/10/1895). Composer. Singer early in career, studied in Italy and toured England and the Continent. Returned to U.S.; wounded in the Civil War. Wrote about 350 songs and many church works. Set UNCLE TOM'S CABIN to music.
4.161 MILLARD, MRS. P. -- ...
4.73 MILLER, NED -- (8/2/1899-1/26/1990)
4.22 MILLS, KERRY -- (2/1/1869-12/5/1948). Composer and music publisher. Specialized in ragtime songs and instrumental pieces. His ragtime cakewalks and the non-ragtime piece, "Meet Me in St. Louis," popularized by Judy Garland, were particularly successful.
4.162 MOHR, HALSEY -- ...
4.163 MOORE, THOMAS -- (6/28/1779-2/26/1852). Irish poet, composer, lyricist, musician.Provided words and music to a selection of Irish songs and did much to kindle an interest in little known Irish tunes. As poet, he appealed to a wide range of tastes.
4.23 MONACO, JAMES V. -- (1/13/1885-12/17/1945). Composer. Earned reputation as a Tin Pan Alley composer playing rag music in cabarets and nightclubs. Contributed several song hits to Broadway and Hollywood musical productions, among which is the song, "You Made Me Love You," made famous by Judy Garland in 1937.
4.164 MORGAN, CAREY -- (12/25/1885-1/6/1960). Composer. Wrote special material for vaudeville and scores for Broadway. Hits include "Rain" and "My Own Iona."
4.165 MORGAN, RUSS -- (4/19/1904-8/8/1969). Bandleader, composer. Arranger for Victor Herbert, Fletcher Henderson, Louis Armstrong, Chick Webb, among many others. Developed muted wha-wha trombone style with Freddy Martin. Wrote songs for Cotton Club Revues. Musical driector for Brunswick Records.
4.166 MORSE, THEODORA -- (7/11/1890-11/10/1953). Lyricist. Wrote under pseudonyms D. A. Esrom, Dorothy Terriss, and Dolly Morse. Most famous songs written in collaboration with husband Theodore Morse: "Three O'Clock in the Morning" and "My Wonderful One."
4.167 MORSE, THEODORE -- (4/13/1873-5/24/1924). Composer. Collaborated with several lyricists including his wife, Theodora. Successes include "M-O-T-H-E-R" and "Blue Bell."
4.168 MUIR, LEWIS F. -- (1884-1/19/1950). Composer. Ragtime pianist. Hits include "Take Me to That Swanee Shore" and "Waiting for the Robert E. Lee."
4.169 NELSON, STEVE -- ( ? ). Hits include "Frosty the Snowman."
4.169 NELSON, EDWARD G. -- (3/18/1885-3/30/1969). Composer, conductor; pianist in nightclubs and cabarets; orchestra leader. Wrote material for vaudeville and songs for movies. Successes include "Peggy O'Neil."
4.169 NELSON, EDWARD G., JR. -- (3/26/1916-). Composer, author. Served with Special Services during WWII.
4.24 NEVIN, ETHELBERT -- (11/25/1862-2/17/1901). Composer. Wrote songs and short piano pieces, sometimes overly sentimental but expressive of gentler and amorous moods.
4.170 NOBLE, RAY -- (12/17/1903- ). Composer, pianist, bandleader. Established as outstanding leader of dance bands in England and then in USA after emigrating. Radio work including Burns & Allen show. Successes include "Good Night Sweetheart" and "The Very Thought of You."
4.54 NORWORTH, JACK -- (1/5/1879-9/1/1959). Vocalist, Composer, lyricist. Entertainer in vaudeville and Broadway; blackface comedian in minstrel shows. Performed and collaborated with wife Nora Bayes. Their most famous song "Shine on Harvest Moon." Wrote lyrics to "Take Me Out to the Ball Game."
4.171 OLMAN, ABE -- (12/20/1888-1/4/1984). Composer, publisher. Started as a song demonstrator; established LaSalle Music Company. Wrote for early movie musicals. Hits include "Oh, Johnny Oh" and "Down Among the Sheltering Palms."
4.172 PALEY, HERMAN -- (5/5/1879-11/4/1955). Composer, publisher, radio executive. Studied music professionally. Worked as staff composer, then executive with music publishing companies. Director of New York Stage Door Canteen shows; talent scout and composer for Fox Films.
4.173 PARISH, MITCHELL -- (7/10/1900-4/2/1993). Lyricist. Attended Columbia and NYU. Staff writer for music publisher; began writing lyrics in 20's. Among the most famous songs are "Deep Purple," "Moonlight Serenade," and "Star Dust."
4.174 PETRIE, H. W. -- (3/4/1857-5/25/1925). Composer, vocalist. Performed in minstrel shows. Successes include "Asleep in the Deep" and "I Dont Want to Play in Your Yard."
4.175 PIANTADOSI, AL -- (7/18/1884-4/8/1955). Composer, pianist; accompanist in vaudeville. Popularized ragtime when touring US, Europe, and Australia. Worked for NY publishing house. Hits include "Pal of My Cradle Days."
4.25 PORTER, COLE A. -- (6/9/1891-10/15/1964). Composer and lyricist. One of the most thoroughly trained popular songwriters, whose theatrically elegant, sophisticated, and musically complex songs contributed to America's most popular music of the 20th century.
4.176 POWELL, W. C. -- (Pseudonym: Polla)
4.114 REVEL, HARRY -- (12/21/1905-11/3/1958). Composer and pianist. Born in London, had early classical piano training. Moved to USA and accompanied Mack Gordon in vaudeville. They started writing for Ziegfeld but were in Hollywood by 1933. The team broke up in 1939. He founded Realm Music Co., a publishing house, in 1949. Successes include "Did You Ever See a Dream Walking?"
4.177 ROBERTS, LEE S. -- (11/12/1884-9/10/1949). Composer, pianist. Worked in piano manufacturing business. Developed QRS artist-recorded music rolls and catalogs. Pianist on radio. Hits include "A Little Birch Canoe and You" and "Patches."
4.178 ROBINSON, J. RUSSEL -- (7/8/1892-9/30/1963). Composer, lyricist, pianist. Began performing and composing as a teenager. Played with Original Dixieland Band; wrote songs for London revues; made piano rolls; accompanied singers. Pianist and vocal coach for radio show CHILDRENS HOUR. Hits include "Margie."
4.179 ROBISON, WILLARD -- (9/18/1894-6/24/1968). Composer, lyricist, pianist, vocalist, bandleader. Radio performer most active in 20's and 30's. Formed Deep River Orchestra; often featured African American folk music and spirituals. Radio shows "Deep River Music" and "Plantation Echoes." Hits include "Cottage for Sale."
4.14 RODGERS, RICHARD -- (6/26/1902-12/30/1979). Composer. Collaborated with Lorenz Hart and Oscar Hammerstein II, whose partnership led to a series of musicals that enjoyed unprecedented artistic, critical, and financial success in both Hollywood and Broadway in the 1930's and 1940's.
4.26 ROMBERG, SIGMUND -- (7/29/1887-11/9/1951). Composer and conductor. Composed musical scores in the traditional style of the operetta of the 1920s. Proved to be more flexible than rival Rudolph Friml in adapting to the new tastes and musical styles emerging in American music of the 1930's.
4.180 ROONEY, PAT -- (7/4/1880-9/9/1962). Composer, vocalist. Dancer-singer in vaudeville and on Broadway, first with sister, then with wife Marion Brent. Successes include "You Be My Ootsie, I'll Be Your Tootsie."
4.27 ROOT, FREDERICK W. -- (6/13/1846-?). Composer and music teacher. He was the son of George Frederick Root. One of the country's most active and successful singing teachers, F. W. Root's School of Singing describes the first of his many singing methods.
4.27 ROOT, GEORGE F. -- (8/30/1820-8/6/1895). Composer and music educator. Pseudonym: G. Friedrich Wurzel. Best known for his songs of sentiment and patriotism published during the Civil War era. Also composed over 30 hymns and gospel songs rivaling Stephen Foster in number and popular success.
4.28 ROSE, BILLY -- (9/6/1899-2/10/1966). Lyricist and producer. Provided the lyrics to some of the most successful popular songs of the 1930's and 1940's. Also produced several Broadway musicals and perhaps known more for his editing, polishing, and promoting of songs than as a lyricist.
4.181 ROSE, VINCENT -- (6/13/1880-5/20/1944). Composer, pianist, vocalist, bandleader. Early training in Italy. Formed orchestra 1904. Successes include "Whispering."
4.182 ROSENFELD, MONROE H. -- (1861-12/13/1918). Pseudonyms: F. Heiser and F. Belasco. Composer, journalist. Credited with coining the term 'Tin Pan Alley.' Wrote more than 1,000 songs.
4.183 ROSSITER, WILL -- (3/15/1867-6/10/1954). Composer, publisher. Pseudonyms: Cleve Williams and W. R. Williams. Immigrated to USA from England in 1881. Appeared at Tony Pastor's. Very successful publisher of popular music; initiated innovative marketing techniques for sheet music. Wrote "I'd Love to Live in Loveland with a Girl Like You."
4.130 RUBY, HARRY -- (1/27/1895-2/23/1974). Composer. Professional pianist at age 16; song plugger for Tin Pan Alley publishers; vaudeville performer. Had many collaborators; partnership with Bert Kalmar produced many hits including score for Marx Brothers' ANIMAL CRACKERS; wrote theme for TV series THE REAL McCOYS.
4.130 RUBY, HERMAN -- (3/15/1891-7/31/1959). Composer. Older brother of Harry Ruby. Hits include "My Sunny Tennessee" and "Cecelia."
4.184 RUSSELL, HENRY -- (12/24/1812-12/8/1900). English. Composer, pianist; sang with children's opera troupe; studied composition in Italy. Came to US, worked as organist and choirmaster, then toured as one of the few major singers of his time to present unassisted entertainment. Wrote "The Old Arm Chair" and "Woodman! Spare That Tree!"
4.185 SANDERS, JOE -- (10/15/1896-5/15/1965). Composer, pianist, vocalist, arranger, bandleader. Co-leader of the Coon-Sanders Orchestra in 20's and 30's. Known as The Old Lefthander from early days as amateur baseball pitcher. Hits include "Got a Great Big Date with a Little Bitta Girl."
4.186 SCHWARTZ, JEAN -- (11/4/1878-11/30/1956). Composer, pianist. Prolific leading composer from turn of century. Pianist in cafes, publishing houses. Teamed with William Jerome on Broadway shows and performed with him in vaudeville. Successes include "Hello Central, Give Me No Man's Land."
4.140 SEYMOUR, TOT -- ( 10/23/1889-8/31/1966). Lyricist of the 30's. Worked for New York publishing house. Wrote special material for Fanny Brice, Belle Baker, Sophie Tucker, Mae West; also songs and scripts for raido shows.
4.187 SHAND, TERRY -- (10/1/1904- 11/11/1988). Composer, lyricist. Pianist in silent movie theaters early in career. Pianist/vocalist in 30's; later had own band. Hits include "Dance with a Dolly."
4.188 SHAY, LARRY -- (10/10/1897- 2/22/1988). Composer, arranger, pianist. WWI military service. Musical director for MGM; program director for NBC radio in New York. Hits include "Get Out and Get Under the Moon."
4.144 SHERMAN, AL -- (9/7/1897-9/15/1973). Composer, lyricst. As pianist provided mood music for silent movies; pianist for publishing house. Successes include "On a Dew-Dew-Dewy Day."
4.144 SILVER, ABNER -- (12/28/1899- 11/24/1966). Composer, lyricist, pianist. Dance band pianist; worked for publishing house. Song publisher. Composed many popular songs from 1920 into 60's, including songs for Elvis Presley movies JAILHOUSE ROCK, KING CREOLE, and G.I. BLUES.
4.189 SIMONS, SEYMOUR B. -- (1/14/1896-2/12/1949). Composer, lyricist, bandleader. Wrote Michigan Union operas while attending the University. In AAF during WWI, and with USO in WWII. Wrote material for revues in London and Paris early 20's, then led dance band in US. Later record company executive. Hits include "Breezin Along with the Breeze" and "All of Me."
4.190 SKYLAR, SUNNY -- (11/11/1913- ). Composer, lyricist, author; band singer with Abe Lyman, Paul Whiteman, and others; also worked as a single act. Wrote band material for Betty Hutton and others. Hits include "Besame Mucho."
4.191 SMITH, HARRY B. -- (12/28/1860-1/2/1936). Lyricist. Librettist-lyricist of Broadway musicals 1887-1932, one of most prolific. Brother of Robert B. Smith. Collaborated with DeKoven on first American comic opera. Music and drama critic for Chicago newspapers. Adaptations of French and German operettas. Successes include "The Sheik of Araby."
4.192 SMITH, LEE OREAN -- (1874-?)
4.191 SMITH, ROBERT B. -- (6/4/1875-11/6/1951). Lyricist. Reporter for Brooklyn Eagle. Publicity for Casino Theater, wrote material for shows there. Collaborated with brother Robert B. Smith in Broadway shows. Adapted some stage shows to musicals. Successes include "All the World Loves a Lover."
4.193 SNYDER, TED -- (8/15/1881-7/16/1965). Composer, lyricst, pianist. Early career pianist in cafes and publishing houses. Hired Irving Berlin as staff pianist for his publishing company; collaborated in early songs; Berlin later became partner. Successes include "Whos Sorry Now?"
4.194 SOLMAN, ALFRED -- (5/6/1868-11/15/1937)
4.29 SOUSA, JOHN PHILIP -- (11/6/1854-3/6/1932). Composer, bandleader, and writer. Known as the "March King" and as the most important figure in the history of American bands and band music. His contributions to band brass instrumentation includes the sousaphone and a bass tuba with bells, built in the 1890's.
4.195 SPENCER, HERBERT -- (5/27/1878-8/26/1944). Composer, arranger, singer. Studied voice with Enrico Caruso. In vaudeville for 12 years. Accompanist and arranger for prominent singers. Successes include "There's Egypt in Your Dreamy Eyes."
4.196 SPINA, HAROLD -- (6/21/1906-7/18/1997). Composer, lyricist. Pianist, arranger for publishing house; wrote special material. Founder-President of Telefilm. Director and producer for record companies. Hits include "Annie Doesnt Live Here Anymore."
4.197 STEPT, SAM -- (9/18/1897-12/1/1964). Composer, lyricist, bandleader. Pianist for publishing house. Vaudevile accompanist for Mae West and Jack Norworth among others. Led dance band in early 20's. Songwriting mainly in 30's and 40's. Hits include "Don't Sit Under the Apple Tree" and "That's My Weakness Now."
4.30 STERLING, ANDREW B. -- (1874-1955). Composer and lyricist. Collaborated extensively with the popular Tin Pan Alley songwriter, Harry Von Tilzer, providing the lyrics to some of the most popular songs, including so-called coon songs of the early 1900's as "One Sunday Afternoon" and "Down Where The Cotton Blossoms Grow."
4.153 STERN, JOSEPH W. -- (1/11/1870-3/31/1934)
4.146 STOLLER, MIKE -- (3/13/1933-). Composer. Early piano lessons in New York. Moved to Los Angeles and met Jerry Lieber. First hits were "Kansas City" and "Hound Dog."
4.198 STRAIGHT, CHARLEY -- (1/16/1891-9/21/ or 10/17/1940). Composer, lyricist, pianist, bandleader. Early career in vaudeville. Leader of band in 30's. Musical director of company producing player-piano rolls. Hits include "Funny, Dear, What Love Can Do."
4.31 STYNE, JULE K. -- (12/31/1905- ). Composer. Collaborated with Sammy Cahn on several Broadway musicals. Became one of the most prolific theatrical composers of the post-WWII era, creating scores for over 20 musicals performed by such artists as Carol Channing, Mary Martin, Ethel Merman, and Barbra Streisand.
4.32 SULLIVAN, SIR ARTHUR S. -- (5/13/1842-11/22/1900). English composer and conductor. Composed comic operas whose music, written to librettos by W.S. Gilbert, represents a peculiarly English style of operetta that achieved exceptional renown in both England and the United States. One of the most widely popular of all British composers.
4.199 TAYLOR, TELL -- ...
4.200 THORNTON, JAMES -- (12/5/1861-7/27/1938). Composer, performer. Worked as a singing waiter, then toured in vaudeville, often performing with wife, Bonnie. Successes include "When You Were Sweet Sixteen."
4.201 TIERNEY, HARRY -- (5/21/1890-3/22/1965). Composer, pianist. Toured US and abroad as concert pianist. Worked for Remick publishing house. Wrote scores for several Broadway shows. Hits include "Alice Blue Gown."
4.202 TOBIAS, CHARLES -- (8/15/1898-7/7/1970). Lyricist, composer, vocalist. Prolific songwriter mid-20's into 50's. Collaborated with brothers Harry and Henry. Early career sang in vaudeville, for publishing houses, and on radio. Formed publishing company in 1923. Hits include "Those Lazy Hazy Crazy Days of Summer."
4.202 TOBIAS, FRED -- (3/25/1928-). Lyricist. Son of Charles Tobias. Wrote special material for Carol Burnett and Julius Monk, among others. Made Broadway debut as co-lyricist of Ellington's POUSSE CAFE. Wrote lyrics for TV specials THE GIFT OF THE MAGI and QUINCY. Songs recorded by Patti Page, Tony Bennett, Steve Lawrence, Elvis Presley and others.
4.202 TOBIAS, HARRY -- (9/11/1895-12/15/1994). Lyricist. Brother Charles among several collaborators; most songwriting in 30's and 40's. Wrote special material for movies. Hits include "It's a Lonesome Old Town."
2.202 TOBIAS, HENRY -- (4/23/1905 - 12/5/1997). Lyricist, composer pianist, vocalist. Wrote for vaudeville and night club performers and for radio. Pianist, singer and disc jockey; TV producer for CBS. Collaborated with brothers Charles and Harry. Directed and produced shows for summer stock and resort hotels. Hits include "What Are You Doing the Rest of Your Life?"
4.33 VAN ALSTYNE, EGBERT -- (3/5/1878-7/9/1951). Composer and lyricist. Best known for his collaboration with lyricist Harry H. Williams, with whom he wrote songs exploiting Indian themes and the popular "In The Shade of the Old Apple Tree." Later joined forces with lyricist Gus Kahn.
4.203 VINCENT, NAT -- (11/6/1889-6/6/1979). Pianist on vaudeville circuit. One of radio's "Happy Chappies." Remained active in later years despite total blindness. Wrote "I'm Forever Blowing Bubbles."
4.34 VON TILZER, ALBERT -- (3/29/1878-10/1/1956). Composer, lyricist, and publisher. Wrote some of the most popular songs of the early 20th century, and contributed songs to a number of films and Broadway productions. Like brother Harry, Albert's songs incorporate dance rhythms and slang idioms typical of Tin Pan Alley that have since become standards.
4.35 VON TILZER, HARRY -- (7/8/1872-1/10/1946). Composer, lyricist, performer, and publisher. Wrote and published over 2,000 of his own songs and other sentimental and moralistic ballads. Also wrote so-called coon songs for blackfaced minstrels and vaudeville acts of the period. Plugged and published many of the Gershwin and Berlin songs that later became famous.
4.204 WALLACE, WILLIAM VINCENT -- (3/11/1812-10/12/1865). Irish composer, pianist, violinist. Debuted as composer at age 22. Moved to Australia, then various North and South American cities; finally settled in London where he had his great success with MARITANA.
4.36 WARREN, HARRY -- (12/24/1893-9/22/1951). Composer, lyricist. Wrote songs for Broadway reviews, including several co-authored and produced with Billy Rose. Considered one of the most successful composers of American films. The wide dissemination of his music through the film medium made him one of the most influential of all 20th-century songwriters.
4.205 WASHINGTON, NED -- (8/15/1901- 12/20/1996). Lyricist. Early career in vaudeville as M.C. and agent, and writing special material. Popular lyricist from late 20's into 60's; wrote for Broadway shows and movies, including title songs. Hits include "High Noo n" and "When You Wish Upon a Star."
4.206 WAYNE, BERNIE -- ( ? ). Composed "There She Is," the Miss America Pageant Theme Song.
4.207 WAYNE, SID -- (1/26/1923-). Composer, author. Wrote songs and comedy material for TV. Popular songs include "Nintey- nine Years" and "Two Different Worlds."
4.208 WEBSTER, JOSEPH PHILBRICK -- (2/18/1819-1/18/1875). Composer and performer. Toured in concerts of popular music. Managed a Connecticut troupe, The Euphonians, and composed many of their successful songs. Public opposition to slavery forced several moves. Published over 400 songs, ballads, patriotic songs and hymns.
4.209 WEBSTER, PAUL FRANCIS -- (12/20/1907- 3/22/1984). Lyricist. After college became seaman, dancing instructor. To Hollywood mid-30's for movie work. In 50's and 60's wrote many movie and title songs; had several Academy Award nominations and awards. Hits include "Giant" and "Love Is a Many Splendored Thing."
4.210 WEIL, KURT -- (3/2/1900-4/3/1950). German. Composer, arranger, pianist. Very successful career in Germany; left in 1933 with wife Lotte Lenya, first to Paris then to US in 1935. Composed many Broadway musicals in the 40's including KNICKERBOCKER HOLIDAY ("September Song") and THE THREEPENNY OPERA, first produced in Germany.
4.37 WENDLING, PETER -- (6/6/1888-4/8/1974). Composer, lyricist, and pianist. Wrote several hit songs of the post-WWII era in partnership with Bert Kalman and Edgar Leslie. Most popular song: "Oh, What a Pal Was Mary."
4.38 WENRICK, PERCY -- (1/23/1887-3/17/1952). Composer, lyricist, pianist, and singer. Best known for his pre-WWII popular songs such as "Put On Your Old Grey Bonnet," "Moonlight Bay," and others, that became favorites of barbershop quartets and sing-alongs. Known in Tin Pan Alley as "The Joplin Kid".
4.39 WHITING, RICHARD A. -- (11/12/1892-2/10/1938). Composer and lyricist. Among the most successful Tin Pan Alley songwriters of the 1920s and 1930s. He was one of the first important Hollywood composers to began writing music for silent film and later for sound productions such as the very successful movie, HOLLYWOOD HOTEL.
4.138 WHITNEY, JOAN -- (6/26/1914-7/12/1990). Composer, lyricist, vocalist. Own radio show; sang in clubs and hotels. Formed publishing firm with husband Alex Kramer. Hits include "Candy" and "High on a Windy Hill."
4.211 WILLIAMS, GUS -- (7/19/1847-1/16/1915). Composer, actor, singer. Performed at Tony Pastor's before playing legitimate leading roles. Toured in vaudeville.
4.212 WOOODBURY, ISAAC BAKER -- (10/23/1819-10/26/1858). Composer. Studied in London, Paris. Taught music; was conductor, editor, writer. Compiled music collections. Popular songs include "Be Kind to the Loved Ones at Home."
4.213 WOODS, HARRY -- (11/4/1896-1/14/1970). Composer, lyricist. Pianist and singer while student at Harvard. Wrote for English movies mid-30's. Hits include "When the Red, Red Red Robin Comes Bob-Bob-Bobbin' Along" and "Side by Side."
4.214 WRUBEL, ALLIE -- (1/15/1905-12/13/1973). Coposer, lyricist, bandleader. Saxman in bands; led own band; theater manager. Wrote for Warner Brothers, then Disney. Hits include "Gone with the Wind" and "Zip-a Dee-Doo-Dah."
4.40 YELLEN, JACK -- (7/6/1892-4/17/1991 ). Lyricist. Permanent lyricist for Tin Pan Alley songwriter, Milton Ager. Also wrote special material for entertainer Sophie Tucker for over 20 years. A famous song by the Yellen/Ager combination was "I Wonder What's Become of Sally." "Happy Days Are Here Again" was another great hit.
4.41 YOUMANS, VINCENT M. -- (9/27/1898-4/5/1946). Composer. Wrote and produced three successful Broadway musicals. Published fewer than 100 songs, but 18 of these were considered standards by ASCAP, including "Tea For Two," "Take A Chance," and "I Want To Be Happy."
4.145 YOUNG, JOE -- ...
4.215 YOUNG, VICTOR -- (b. Chicago, 8/8/1900-11/11/1956). Composer, violinist, conductor. Worked in radio and theater as violinist, arranger, conductor. Wrote over 200 scores for movies, including SHANE. Song hits include "Stella by Starlight" and "Sweet Sue."
4.216 YOUNG, VICTOR -- (b. Bristol, Tennessee, 4/9/1889-9/2/1968). Pianist and composer. Studied and toured in Europe. Accompanist to prominent singers. Music director in Thomas A. Edison's Experimental Laboratory. Composed for about 300 movies including some of the earliest sound productions.
4.217 ZAMECNIK, JOHN S. -- (5/14/1872-6/13/1953). Composer. Classical training included time under Antonin Dvorak. Violinist in Pittsburgh Orchestra under Victor Herbert. Wrote operettas.
Materials in Other Organizations:
Sam DeVincent Collection of American Sheet Music, Lilly Library, Indiana University, Bloomington, Indiana
This collection contains duplicates of materials in the Smithsonian collection, as well as materials acquired by Mr. DeVincent after the donation to the Smithsonian. The phonograph records described above were transferred to the University of Missouri at Kansas City.
Materials in the Archives Center, National Museum of American History:
Donald J. Stubblebine Collection of Musical Theater and Motion Picture Sheet Music and Reference Material, 1843-2010 (AC1211)
Forms Part Of:
Series 4: Songwriters forms part of the
Sam DeVincent Collection of Illustrated American Sheet Music
.
An ongoing, updated list of DeVincent topical series is available via the Smithsonian finding aid portal.
Provenance:
This collection was purchased by the Smithsonian Institution in 1988 from Sam and Nancy Lee DeVincent.
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.
Citation:
The Sam DeVincent Collection of Illustrated American Sheet Music, Archives Center, National Museum of American History, Smithsonian Institution
Carrying the Fire: An Astronaut's Journey is the 1974 autobography of Michael Collins (1930--2021). While his early aviation career in the United States Air Force is covered, the vast majority of the text details his experiences as Command Module Pilot during the historic Apollo 11 mission in July 1969. This manuscript features hand-corrections from the author.
Scope and Contents:
This is the original manuscript of Carrying the Fire: An Astronaut's Journeys, the book in which Apollo 11 astronaut Michael Collins describes his experiences as a test pilot and in the space program. It features hand corrections by his editor (in red) and Collins (in black) and includes passages which are crossed out and do not appear in the published version.
Arrangement:
Collection is a single item and divided into five folders.
Biographical / Historical:
Michael Collins (1930 - 2021) served as a fighter pilot and an experimental test pilot at the Air Force Flight Test Center, Edwards Air Force Base from 1959-1963. He was one of the third group of astronauts named by NASA in October 1963. Collins was pilot on the three-day Gemini 10 mission in 1966, during which he became the nation's third spacewalker and set a world altitude record. His second flight was as command module pilot of the Apollo 11 mission in July 1969. He remained in lunar orbit while Neil Armstrong and Buzz Aldrin became the first men to walk on the moon. After leaving NASA in 1970, Collins became Assistant Secretaty of State for Public Affairs and, in 1971, became the Director of the National Air and Space Museum, where he remained for seven years. Collins has received numerous decorations and awards and is the author of several books, including this, Carrying the Fire: An Astronaut's Journeys, which was released to critical acclaim by Farrar Straus Giroux in 1974.
A Chronology of Major General Michael Collins' Life
1930, October 31 -- Born to James and Virginia Collins in Rome, Italy. He is the youngest of four children.
1942, September 22 -- Enters St. Albans School in Washington, DC.
1948 -- Graduates from St. Albans School.
1952, June -- Graduates from the United States Military Academy in West point with a Bachelor of Science degree in Military Science.
1952, August -- Joins the United States Air Force (USAF) and begins basic training at Columbus Air Force Base in Mississippi, where he learns to fly the T-6 Texan.
1953 -- At Connally Air Force Base, Waco, Texas, he learns to fly T-33A Shooting Star jet trainers.
1953, September -- Learns advanced day-fighter training on an F-86 Sabre at Nellis Air Force Base, Nevada.
1954, January -- Joins the 21st Fighter-Bomber Wing at George Air Force Base, California, where he learns nuclear weapons delivery systems and ground attack.
1954, mid-December -- Transfers with the 21st Fighter-Bomber Wing at Chambley-Bussières Air Base, France.
1956 -- Wins first place in a gunnery competition.
1956 -- Deploys to West Germany during the Hungarian Revolution.
1957, April 28 -- Marries Patricia Finnegan, a social worker, in Chambley, France.
Late 1957 -- Enrolls in a nine-month aircraft maintenace officer course at Chanute Air Force Base, Illinois, that he finishes in six months.
1959, May 6 -- Birth of daughter, Kathleen.
1960 -- Commands a Mobile Training Detachment (MTD) at Nellis Air Force Base, Nevada. This requires him to travel to airbases world-wide. He later becomes the first commander of a Field Training Detachment (FTD).
1960, August 29 -- Enrolls in the USAF Experimental Flight Test Pilot School at Edwards Air Force Base, as a member of Class 60C. While there, his flight test instructional aircraft are the F-104 Starfighter, F-86 Sabre, T-33 Shooting Star, B-52 Stratofortressand T-28 Trojan. He logs more than 5,000 hours of flying time.
1961, October 31 -- Birth of daughter, Ann.
1962, February 20 -- Collins' interest in becoming an astronaut is piqued after seeing coverage of John Glenn's orbit around Earth.
1962, October 22 -- Begins a postgraduate course on spaceflight at the USAF Aerospace Research Pilot School (ARPS) (formerly the USAF Experimental Flight Test Pilot School) where he flew the T-38A Talon and the NF-101 Voodoo. Classmates include future astronauts Joe Engle, Charles Bassett and Edward Givens.
1963, February 23 -- Birth of son, Michael.
1963, May -- Returns to fighter operations at Edwards Air Force Base after having successfully completed the coursework at ARPS.
1963, June -- Applies to the National Aeronautics and Space Administration (NASA) to become an astronaut.
1963, September 2 -- Is interviewed by NASA in Houston, Texas.
1963, October 14 -- Receives a phone call from NASA's Director of Flight Crew Operations Donald K. "Deke" Slayton, asking if he would like to be an astronaut. He does.
1963, October 18 -- At the Manned Space Center (MSC). later renamed the Lyndon B. Johnson Space Center (JSC), Collins is selected as one of fourteen new astronauts (7 from the Air Force, 4 from the Navy, 1 from the Marines and two civilians), bringing the total number of NASA astronauts to 30. This third group includes Edwin Eugene "Buzz" Aldrin Jr. Each astronaut is assigned a specialization. His is extravehicular activities (EVAs) and pressure suits.
1965, July 1 -- Collins and Edward White II are named the backup crew for Gemini 7. Frank Borman and James A. Lovell Jr are the prime crew.
1966, January 24 -- Collins is assigned to the prime crew of Gemini 10, along with John Young as mission commander. This makes Collins the seventeenth American to fly in space.
1966, July 18 -- At 5:20 pm EST, Gemini 10 lifts off from Launch Complex 19 at Cape Canaveral, Florida. Among the accomplishments on this three-day mission were the successful rendezvous and docking with an Agena target vehicle, conducting dual rendezvous maneuvers using the target vehicle's propulsion systems, conducting two EVAs, practice docking maneuvers, executing fifteen scientific experiments and evaluating various docked spacecraft systems.
1966, July 21 -- Gemini 10 splashes down in the Atlantic Ocean, 529 miles east of Cape Kennedy, and is recovered by the amphibious assault ship USS Guadalcanal. Gemini 10 attained an apogee of approximately 475 statute miles and traveled a distance of 1,275,091 statute miles. It was the second spacecraft in the Gemini program to land within eye and camera range of the prime recovery ship.
1966, late July -- Receives Air Force Command Pilot Astronaut Wings.
1966 -- Receives NASA's Exceptional Service Medal.
1967, January 27 -- While attending a meeting in the Astronaut Office in Houston, Texas, Collins and others hears of the tragic deaths of astronauts Virgil "Gus" Grissom, Roger Chaffee and Ed White. Collins went to the Chaffee home where he informed Roger's wife Martha that her husband died during a routine launch rehearsal test.
1967, November 19 -- NASA announces the crews for the first two manned Apollo/Saturn V flights. Collins (as command module pilot), Frank Borman (as commander) and William A. Anders (as lunar module pilot) are named the prime crew for AS-505, the second mission.
1968, July 22-23 -- At Wilford Hall Hospital at Lackland Air Force Base in Texas, Collins undergoes surgery to fuse two vertebrae after a bone spur is found on his spine.. His role as prime Apollo 9 crew in jeopardy as his convalescence might take up to four months.
1968, August 8 -- NASA announces that James Lovell will replace Collins as prime command module pilot for the upcoming Apollo mission.
1968, December -- Collins serves as capsule communicator (CAPCOM) for Apollo 8
1969, January 9 -- NASA names Neil A. Armstrong (commander), Edwin "Buzz" Aldrin, Jr (lunar module pilot) and Collins (command module pilot) as prime crew of Apollo 11.
1969, May 24 -- Armstrong, Collins and Aldrin practice splashdown and anticontamination procedures they will use after returning from the moon in two months. They donned plastic-coated biological isolation garments and sprayed each other with Betadine disinfectant before leaving a test spacecraft in the Gulf of Mexico.
1969. July 3 -- Armstrong, Collins and Aldrin complete their final countdown rehearsal test. They achieved simulated liftoff at 9:32 am EST, the exact time of the scheduled July 16th launch.
1969, July 5 -- At MSC, the Apollo 11 astronauts hold a press conference where they are seated 50 feet away from the nearest reporters and were partially enclosed in a plastic booth to limit their contact 21 days prior to flight lest they get ill. Collins says that he doesn't not feel "the slightest bit frustrated" about going to the moon without landing on it. "I'm going 99.9 percent of the way there," he states, "and that suits me fine."
1969, July 11 -- The Apollo 11 crew undergo the last major preflight medical examination at KSC and are cleared for launch.
1969, July 16 -- At 9:22 am EST, Apollo 11 lifts off from launch complex 39A by Saturn V 506 booster at the Kennedy Space Center in Florida. Liftoff was relayed live on TV to 33 countries on 6 continents and watched by an estimated 25 million TV views in the United States. Onboard is command module pilot Collins, spacecraft commander Neil Armstrong and Buzz Aldrin, lunar module pilot. While the latter two descend to the lunar surface on the Sea of Tranquility in the lunar module Eagle, Collins orbits the moon alone 30 times for more than 21 hours in the command module Columbia. It takes 48 minutes to pass behind the far side of the moon and is the most distant part of space that humans have yet visited alone. During that time, Collins loses all means of communication; the moon's 2,100-mile rocky diameter stood between him and all other human beings. While the press would later shortsightedly dub him "The Loneliest Man in History" during this period of disconnect, Collins recalled in Carrying the Fire that he was not having an existential, solipsistic crisis. Instead, he was preoccupied with the very real problem of failure on a scale that was hard to fathom. He documented his fear on audiotape recorded at the time, saying, "My secret terror for the last six months has been leaving them on the Moon and returning to Earth alone; now am within minutes of finding out the truth of the matter." What if things went terribly wrong and he returned to Earth alone? "I will be a marked man for life, and I know it." His worries proved to be unfounded. After Armstrong becomes the first man to set foot on the moon, he and Aldrin collect 21 kg of lunar surface material and conduct scientific experiments. After spending 21 hours and 36 minutes on the lunar surface, Armstrong and Aldrin lift off the moon's surface using the Eagle's ascent stage and return to lunar orbit, where Collins successfully docks Columbia to it.
1969, July 21 -- After almost a full day on the lunar surface, Armstrong and Aldrin launch off the moon's surface using the Eagle's ascent stage and return to lunar orbit, where Collins successfully docks Columbia to it. After jettisoning the lunar module, Apollo 11 begins its journey home.
1969, July 25 -- The Air Force promotes Collins to the rank of full colonel. In a congratulatory message, General John P. McConnell, Air Force Chief of Staff, says the Apollo 11 mission was "indeed a momentous achievement" and the promotion was a "token of appreciation for the part you played."
1969, July 25 -- Armstrong, Aldrin and Collins splash down on July 24 in the Pacific Ocean and are retrieved by the USS Hornet. After donning biological isolation garments, they enter the Mobile Quarantine Facility along with the recovery physician, a recovery technician and the lunar samples where they remain until August 10, 1969.
1969, August 12 -- Armstrong, Aldrin and Collins hold their first postflight press conference at MSC, where they narrate a 45-minute film of the mission and answer questions. While discussing hte lunar landing, Collins says it was a "technical triumph for this country to have said what it was going to do a number of years ago and then, by golly, do it. It was also a triumph of the nation's overall determination, will, economy, attention to detail, and a thousand and one other fators that went into it."
1969, August 13 -- The three Apollo 11 astronauts attended parades in their honor in New York City and Chicago, Illinois and Los Angeles, California. An estimated six million people attend.
1969, August 17 -- Armstrong, Aldrin and Collins appear on CBS's "Face the Nation". Collins mentions that he would not fly in space again because he found it increasingly difficult "to keep up year after year" with the rigorous training required.
1969, September -- The three Apollo 11 astronauts embarked on a 38-day world tour. In all, they visited 22 countries.
1969, September 6 -- The Apollo 11 astronauts attend celebrations in their hometowns. Collins, who was born in Rome, Italy, chooses to visit New Orleans, Louisiana, as his adopted hometown, where he also visits NASA's Michoud Assembly Facility.
1969, December 15 -- Begins work as Assistant Secretary of State for Public Affairs. President Nixon announced his plan to nominate Collins on November 28th.
1970 -- Receives NASA's Distinguished Service Medal.
1970 -- After 18 years of Active Duty service in the Air Force, begins serving in the Air Force Reserve.
1971, February 22 -- President Nixon accepts Collins' resignation as Assistant Secretary of State for Public Affairs, effective April 11.
1971, April 12 -- Becomes Director of the National Air and Space Museum (NASM) in Washington, DC. Collins tirelessly lobbied for funding from Congress to build the museum. $40 million was allocated for construction.
1973, April 6 -- The Senate confirms the nomination of Col. Michael Collins to be a brigadier general.
1974 -- Completes the Harvard Business School's Advanced Management Program.
1974, August 11 -- Publishes Carrying the Fire: An Astronaut's Journeys to critical acclaim.
1976 -- Publishes Flying to the Moon and Other Strange Places.
1976, March 10 -- Is confirmed by the Senate as a reserve major general.
1976, July 1 -- The National Air and Space Museum opens to the public. Thanks to Collins' leadership, it is both under budget and three days ahead of schedule. The ceremony was presided over by President Gerald R. Ford and ribbon was cut by a signal transmitted by the Viking I spacecraft in orbit around Mars.to a large metal arm.
1976, November 16 -- Collins in one of 3 NASA employees to win the National Civil Service League's career service awards.
1976, December -- The Air Force Systems Command (AFSC) announce that Collins has been appointed mobilization assistant to the AFSC commander. This position was the top Air Force Reserve post in AFSC.
1977 -- Is inducted into the International Space Hall of Fame atthe New Mexico Museum of Space History.
1977, September 30 -- The National Aeronautic Association announces that the Federation Aeronautique Internationale (FAI) will present the gold space medal to Collins, at a ceremony to be held in Rome, Italy, on October 3rd. It is awarded yearly as the world's highest award for spaceflight.
1978 -- Becomes an Undersecretary of the Smithsonian Institution, a position he holds until he resigns on January 28, 1980.
1980 -- Is Vice President of Vought, Inc. (formerly Ling-Temco-Vought (LTV) Aerospace and Defense Company) in Arlington, Virginia.
1982 -- Retires from the Air Force as a Major General.
1983, March 4 -- Asteroid 6471 Collins is named after him.
1985 -- Resigns from LTV Aerospace and starts his own consulting firm, Michael Collins Associates.
1987, March -- Aviation Week and Space Technology reports that the Space Goals Task Force of the NASA Advisory Council, headed by Collins, will recommend a crew-tended mission to Mars. Collins stressed that the development and operation of a US/international Space Station was a prerequisite for exploration of Mars and beyond.
1988 -- Publishes Liftoff: The Story of America's Adventures in Space.
1990 -- Publishes Mission to Mars.
1993, March 18 -- NASA announces that 14 astronauts who orbited the Earth during Project Gemini (which includes Collins) were inducted into the US Astronaut Hall of Fame.
1993, March 3 -- Death of son Michael in Massachusetts.
2011, November 16 -- Collins, Armstrong and Aldrin receive the Precedential Medal of Freedom, the highest civilian award in the United States.
2014, April -- His wife Pat passes away.
2020 -- The National Air and Space Museum Award, established in 1985, is re-named The Michael Collins Trophy.
2021, April 28 -- Michael Collin dies of cancer at his home in in Naples, Florida.
2023, January 30 -- Collins' ashes are interred in Arlington National Cemetery.
Provenance:
Material found in collection, October 1992.
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Collection Citation:
William Jones World War II Scrapbook, NASM.2006.0067, National Air and Space Museum, Smithsonian Institution.
The Fletcher and Horace Henderson Collection contains original scores and band books, loose sheet music, both original and published, from both Fletcher and Horace's libraries, playlists, lyrics, photographs, personal papers and correspondences, newspaper clippings, jazz publications, an oral history manuscript of an interview with Horace, audio tapes, and other personal memorabilia documenting the lives and careers of the two brothers as pianists, band leaders, and arrangers. The majority of the material dates from the mid 1920s to the early 1980s.
Series 1: Fletcher and Horace Henderson's Music ca. 1930s - 1980s Boxes 1-68.
Original band books and scores, lyrics, playlists, loose music, and published music either arranged or used by Fletcher or Horace Henderson during their careers as pianists, band leaders, and arrangers. The series is organized into six subseries: Subseries 1A: Horace's Band Books, Subseries 1B: Loose Music, Subseries 1C: Original Scores, Subseries 1D: Lyrics, Suberies 1E: Playlists, and Suberies 1F: Published Music.
Suberies 1A, ca. 1940s -1980s, boxes 1-21. Horace Henderson Band Books. Each Band Book stands on its own, and is identified by the musician who used it or the location where the music was performed. Some performers include Gail Brochman, Eddie Calhoun, and George Reed. Many of the band books were used for performances at the Trianon Ballroom in Chicago.
Subseries 1B, ca. 1930s - 1980s, boxes 22-58. Music in boxes 22-54 comes from Horace Henderson's band library, and boxes 55-58 from Fletcher Henderson's band library. The music consists of full scores, piano scores, and parts arranged or used by Horace or Fletcher Henderson. Arranged alphabetically by title; FS - Full Score, PS - Piano Score, and P - Parts. * Indicates an overlap between loose music, and music known to have been performed at the Trianon Ballroom in Chicago. **Indicates an overlap between Horace and Fletcher's Libraries. The music is arranged alphabetically by music title.
Subseries 1C, ca. 1930s - 1940s, boxes 59-60. Original scores arranged by Fletcher Henderson, many for Benny Goodman and other bandleaders, including AHoneysuckle Rose@, AKing Porter's Stomp@, and AStealin' Apples@. There is also a complete band book written and arranged by Fletcher. Arranged alphabetically by title.
Subseries 1D, ca. 1940s - 1980s, box 61. Original lyrics used in performances by Horace Henderson's bands. Arranged alphabetically by title where identified.
Subseries 1E, ca. 1940s - 1980s, boxes 62-63. Playlists compiled in preparation for performances by Horace Henderson's orchestras, listing titles played at various performances. Un-arranged.
Subseries 1F, ca. 1920s-1980s, boxes 64-68. Published sheet music and books for piano/vocal parts. Includes art music, method books, popular music, fake books, and music book covers. Folders are arranged by type of publication, and the music is arranged alphabetically by title within each folder.
Series 2: Photographs, ca. 1920s - 1980s Boxes 69-70.
Photographs documenting the lives of both Fletcher and Horace Henderson's personal lives and careers. Photographs are arranged by category including Fletcher Henderson Candids with Friends, Horace Henderson Candids, Performance Marquees, and both brothers with their orchestra. Some unique pictures include portraits of Mr. and Mrs. Henderson (Fletcher and Horace's parents), candids of Fletcher with Benny Goodman, and Horace with Lena Horne.
Series 3: Personal Papers and Correspondences, ca. 1920s - 1980s Boxes 71-78. Programs and broadsides, newspaper articles, letters, essays, publications, and other personal documents tracing the lives of Horace and Fletcher, as well as some personal items of their parents. The series is divided into six subseries: Subseries 3A: Programs and Broadsides, Subseries 3B: Newspaper Articles and Clippings, Subseries 3C: Personal Papers and Correspondences, Subseries 3D: Miscellaneous Publishings, Subseries 3E: Transcript of an Oral History Interview, and Subseries 3F: Henderson Family Scrapbook.
Subseries 3A, ca 1930s - 1980s Boxes 71-72. Contains broadsides and ad clippings promoting both Horace and Fletcher's performances, along with programs for various jazz festivals. There are also three sets of Las Vegas Programs, advertising the weekly happenings during the years Horace was performing there, mainly at the Riviera Hotel and Casino (1959-1961). These include; Ken's Spotlight Las Vegas, Fabulous Las Vegas Magazine, On The Go, and other miscellaneous circulations. Arranged by category (Fletcher's broadsides, Horace's broadsides, Programs), and by date within each set of publications or programs.
Subseries 3B, ca. 1950s - 1980s, Boxes 73 & 78. Contains newspapers, articles, and clippings, ranging from 1951 to 1986, documenting the lives of Fletcher, Horace, and some of their contemporaries (ie: Duke Ellington) through the eyes of the media. Arranged by categories; reference to Fletcher, Horace, or Miscellaneous. Box 73 contains the oversized articles.
Subseries 3C, ca. 1920s-1980s, Box 74. Contains letters, contracts, and other personal documents of Fletcher, Horace, and their parents. Also contains a copied photo collection of Horace, a manuscript of AHorace Henderson Presents his Interpretation of Jazz@, and an essay (author unknown) about Fletcher's influence on jazz.
Subseries 3D, ca. 1960s - 1980s, Box 75. Contains miscellaneous publishings collected from the various locations Horace lived and worked. Includes weekly circulations from Denver and the surrounding area where Horace lived from the mid sixties until his death, along with various music magazines that he subscribed to (ADownbeat@, AInternational Musician@). Arranged by date within each category.
Subseries 3E, ca. 1975, box 76. Contains the original transcript of the Oral History Interview of Horace Henderson, for the Smithsonian Institution, performed by Tom MacCluskey on April 9-12, 1975.
Subseries 3F, box 77. Contains a Henderson Family Scrapbook which includes photographs of Fletcher's and Horace's father and mother, and various newspaper clippings commending the careers of Mr. Henderson, Horace, and Fletcher. The scrapbook's original order has been maintained.
Series 4: Audio Tape Recordings ca.1970s - 1980s Boxes 79-80.
Contains a collection of recordings of live performances of Horace's orchestra in various Denver area locations such as the Esquire Supper Club and the Petroleum Club. Also includes a sample tape, a brief Atest@ recording by Horace and Angel, a radio tribute to Horace, and a few miscellaneous mix tapes. The tapes are arranged by date when available. Box 79 contains the original copies, and box 80 contains the duplicates.
Arrangement:
The collection is arranged into four series.
Series 1: Horace and Fletcher Henderson's Music, 1954-1955
Series 2: Photographs, 1942-1977
Series 3: Horace and Fletcher Henderson's Personal Papers, 1937-1987
Series 4: Horace Henderson Audio Tapes, 1978-1983, undated
Biographical / Historical:
Fletcher Hamilton Henderson, Jr. (a.k.a. Smack) was born on December 18, 1897 in Cuthbert, Georgia. He was born into a middle class black family, and as a child studied European art music with his mother, a piano teacher. His sister later became the head of the music department at the Tuskeegee Institute in Alabama, and his younger brother, Horace, would eventually follow in his footsteps as a jazz musician, arranger, and band leader. Horace W. Henderson (a.k.a. Little Smack) was born on November 22, 1904. He also studied piano with his mother and sister, and like his brother, began formal music training as a teenager. Fletcher Henderson attended Atlanta University where he earned a degree in chemistry and math in 1919.
In 1920, Fletcher Henderson moved to New York City to find a job as a chemist. Because employment in this field was hard to come by, especially for African Americans, he began working as a song demonstrator for the Pace Hardy Music Company. Shortly after Fletcher Henderson's arrival Harry Pace founded Pace Phonograph Corporation to produce records on the Black Swan label in 1921. Fletcher joined Pace's music team and was responsible for contracting and leading a jazz bands to accompany the label's singers.
In 1924, Fletcher's orchestra, under the direction of Don Redman, began to perform at Club Alabam (sic) on New York City's Broadway Avenue. That same year he and the band was offered a job performing at the Roseland Ballroom, where the band remained for ten years and gained national fame. His band was no different than the hundreds of dance bands, springing up across the country in response to the growing demand for social dance music, such as Count Basie's Orchestra, King Oliver and his Dixie Syncopators, and McKinney's Cotton Pickers. Don Redman left the Fletcher Henderson Orchestra in 1927 to direct McKinney's Cotton Pickers. However the music collaboration of Redman and Henderson had by then established what would become the "standard" big band arrangement for several decades, specifically the dynamic interplay between the brass and reed sections of the orchestra that included interspersed solos made famous by such esteemed soloists of the band as Louis Armstrong and Coleman Hawkins. Some of the band's most notable recordings made between 1924 and 1925 include Copenhagen and Sugarfoot Stomp.
By this time Horace Henderson had formed his own college jazz band in 1924, The Wilberforce Collegians, after transferring from Atlanta University to Wilberforce University to pursue a music degree. His older brother sent him arrangements and piano parts used by the Fletcher Henderson Orchestra for performances by the Collegians. Later that year Horace Henderson left the university to travel and perform with his band in New York City. His newly formed band included such notable musicians as Benny Carter and Ben Webster. While in New York he also began playing as a guest musician in his brother's band and learning from such legends of jazz as Coleman Hawkins, Buster Bailey, Louis Armstrong, and Don Redman that were working for the Fletcher Henderson Orchestra. During a Smithsonian Institution sponsored oral history interview with Tom MacCluskey, Horace recalled late night jam sessions at Hawkins' (Hawk) apartment where they would play through pieces from "Fletch's" library and analyze each individual's performance. We would "stop and discuss what had transpired during that session, you know, that particular tune. And man, that was a lesson...It was a session that was actually to help everybody, so that they would try things out and take another tune, and use these particular little points that Hawk would tell 'em.'"
Until the 1930s, the Fletcher Henderson Orchestra was the principal model for big jazz bands. However, his management of the band and its finances led to frequent band break-ups. In 1934, severe financial problems forced Fletcher to sell some of his best arrangements to Benny Goodman. Horace Henderson and others suggested Goodman's rapid rise in popularity among swing bands for white audiences was largely due to Fletcher Henderson's innovative band arrangements. Fletcher Henderson continued to lead bands until 1939 when he joined Goodman's orchestra as a full time staff arranger. In 1941 he returned to band leading and arranging, but suffered a severe stroke in 1950. Fletcher was partially paralyzed from the stroke, and died on December 29, 1952.
Horace, also, formed many bands throughout the 1930s and 40s, and became a sideman for leaders such as Don Redman (1931-33) and, most notably, his brother. He was a pianist and arranger for Fletch's band intermittently between 1931 and 1947. During this time, Horace spent a lot of time in Chicago with Fletcher's band at the Grand Terrace, and formed his own band at Swingland. Horace also worked as a freelance arranger for Benny Goodman, Charlie Barnet, and Earl Hines3. From November 1942 through August 1943, Horace was the leader of the 732nd Military Police Band in Joliet, Illinois. The position was first offered to Louis Armstrong, who turned it down and recommended Horace for the position. After leaving the army, he played with Fletcher's band for two years. Horace began writing for Charlie Barnet in 1944, where he first came across Lena Horne. During a job at the Paramount, Charlie had Called Horace to say that his vocalist had laryngitis, and he needed a new singer. Horace went to the Apollo in Harlem in search of some talent, and they sent him to the Regent where he could find Lena Horne. She joined Charlie's show the next day, and from there went on to fame. Horace joined her for an extended tour as a pianist and arranger, and later worked with Billie Holiday3.
Horace moved to Denver with his wife, Angel, in the late 1960s. The Horace Henderson Combo performed at many nightclubs and resorts in the Denver area, including Estes Park, the Broadmoor Hotel, and the Petroleum Club. He began playing the organ in 1970 because the clubs didn't want to pay for four or five piece bands, and with an organ to replace the piano, a bass player was no longer necessary3. Horace continued to lead bands in the Denver area until his death on August 29, 1988.
Although both brothers had a major impact on the future of jazz, Horace is often thought of merely as a shadow to his more celebrated brother. Fletcher Henderson's career as a pianist, bandleader, and arranger is one of the most important in jazz history. Bands of leaders such as Count Basie, Charlie Barnet, Tommy and Jimmy Dorsey, and Benny Goodman all played arrangements, which were either written or influenced by Fletcher Henderson. Fletcher constantly surrounded himself with the most talented musicians of his era, and patterned the basic formula, which were imitated throughout the big band era.
However, at least thirty of Fletcher's arrangements, many for Benny Goodman, are accredited as Horace's work. His arrangement Hot and Anxious was based on the traditional riff that later became the basis for Glenn Miller's In the Mood. Christopher Columbus is the most notable example of Horace's potent piano style, which is often noted to be stronger than his brother's. Although the brothers had differences, Horace insists that they did not involve music. Fletcher's style and success had a huge influence on Horace's career, and he was incredibly grateful for all his brother taught him. In an interview in April of 1975, he was quoted as saying, "I idolize his way of thinking because he was successful. You don't fight success, you join it." 3
Sources
1. Biographical information derived from The New Grove Dictionary of Jazz, edited by Barry Kernfeld (New York: Macmillan Press Ltd, 1988).
2. The Pace Phonograph corporation was the first African-American-owned recording company in the United States. Historical information derived from The Greenwood Encyclopedia of Black Music; Biographical Dictionary of Afro-American and African Musicians, by Eileen Southern (USA: Greenwood Press, 1982).
3. Interview with Horace Henderson, April 2-12, 1975, Smithsonian Institution, Washington, DC.
Provenance:
The Fletcher and Horace Henderson collection was acquired by the museum in December of 2001, donated by Barbara and Barry Lewis.
Restrictions:
Collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Music -- 20th century -- United States Search this
Genre/Form:
Audiocassettes
Audiotapes
Manuscripts -- Music -- 20th century
Parts (musical)
Photographs -- 20th century
Citation:
Fletcher and Horace Henderson Music and Photographs, 1930s-1980s, Archives Center, National Museum of American History
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection 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.
Collection Citation:
Exhibition records of the Contemporary Study Wing of the Finch College Museum of Art, 1943-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Andrew W. Mellon Foundation, administered through the Council on Library and Information Resources' Hidden Collections grant program. Funding for the digitization of two motion picture films was provided by the Smithsonian Women's Committee, and for the remaining sound and video recordings from the Smithsonian's Collection Care Pool Fund. Funding for the digitization of the collection, not including audiovisual materials, was provided by The Walton Family Foundation and the Terra Foundation for American Art.
The records of the American Federation of Arts (AFA) provide researchers with a complete set of documentation focusing on the founding and history of the organization from its inception through the 1960s. The collection measures 79.8 linear feet, and dates from 1895 through 1993, although the bulk of the material falls between 1909 and 1969. Valuable for its coverage of twentieth-century American art history, the collection also provides researchers with fairly comprehensive documentation of the many exhibitions and programs supported and implemented by the AFA to promote and study contemporary American art, both nationally and abroad.
Scope and Content Note:
The records of the American Federation of Arts (AFA) provide researchers with a complete set of documentation focusing on the founding and history of the organization from its inception through the 1960s. The collection measures 79.8 linear feet, and dates from 1895 through 1993, although the bulk of the material falls between 1909 and 1969. Valuable for its coverage of twentieth-century American art history, the collection also provides researchers with fairly comprehensive documentation of the many exhibitions and programs supported and implemented by the AFA to promote and study contemporary American art, both nationally and abroad.
The earliest documentation from 1895 to 1909 concerns the organization's history and founding and is located in Series 1: Board of Trustees. Also found in this series are meeting minutes, 1909-1963 and 1968. Interfiled with the board meeting minutes are minutes of the executive committee and other special and ad hoc committees, reports to the board, financial statements and reports, and lists of committee appointments and board membership. This series also contains the scattered correspondence and subject files of various officers. Although not a complete set of officers' files, Presidents' Frederick Allen. Whiting (1931-1936), Lawrence M.C. Smith (1948-1952), Thomas Brown Rudd (1952-1954), Daniel Longwell (1954-1956), James S. Schramm (1956-1958), and Roy R. Neuberger (1958-1961) are represented. Leila Mechlin served on AFA's board as secretary from its founding to 1929, and her files are a particularly rich resource for AFA's activities during its early years. Lawrence M.C. Smith's files documenting his years as board treasurer are also arranged in this series. Additional officers' correspondence is interspersed throughout the Alphabetical Files and other series.
General information about the scope of AFA's programs, affiliations, founding, functions, and proceedings are arranged in Series 2: Administrative Records. The first subseries, Alphabetical Files, houses a wide variety of subject files that contain memoranda, correspondence, printed materials, lists, reports, and other papers. These files document the AFA's general history and founding, organizational affiliations, buildings and moves, grants, federal and state government art programs, auctions and other fund-raising efforts, publicity and public relations, publications, and fiftieth anniversary celebration. The subject headings by which these files are arranged are, for the most part, the ones designated by the AFA. The second subseries, Staff Records, houses the scattered files of AFA's director, assistant director, registrar, and special state representative, Robert Luck.
During its most active period, the AFA sponsored or participated in several special programs and Series 3: Special Programs houses the files that document many of them. The first subseries consists of the files for the Artists in Residence program that was funded by the Ford Foundation. Awarded in 1963, the grant sponsored short-term teaching residencies for artists in museums throughout the United States. The host museums were encouraged to hold exhibitions of the artists' works. This subseries contains both the general files of the program, as well as individual files on the participating artists. During the late 1950s and early 1960s, the AFA and the Ford Foundation also sponsored additional programs for artists, including Grants in Aid, Purchase Awards, and the Retrospective Exhibitions Program. The files documenting these three programs are also arranged in Series 3, under the subseries Ford Foundation Program for Visual Artists. In the late 1950s, the AFA implemented the Museum Donor Program with benefactors and philanthropists Audrey Bruce Currier and Stephen Richard Currier. Through the administration of the AFA, the Curriers donated funds to selected institutions specifically for the purchase of contemporary American art. The Curriers preferred to remain anonymous throughout the program. Files documenting this program include correspondence, applications from the accepted institutions, rejections, a summary report, and clippings about the untimely deaths of Mr. and Mrs. Currier in 1967.
Also found in Series 3 are the files documenting AFAs working relationship with the first state arts council, the New York State Council on the Arts (NYSCA). In 1961, AFA and NYSCA implemented a traveling exhibition program in New York State. Found here are files for possible itineraries, proposals, publicity, loans, budgets, and the actual exhibition files. Additional AFA special programs documented in Series 3 include the Picture of the Month program of the mid-1950s and the Jean Tennyson Foundation Color Slide Lecture Program.
AFA Annual Convention files constitute Series 4. Beginning with the Third Annual Convention in 1912 and continuing through the 1963 Annual Convention, the files contain official proceedings, speeches, programs, clippings, correspondence, and press releases. Files are missing for 1913, 1915, 1918, 1922, 1923, 1925, 1926, 1931, 1936-1949, 1952, 1956, 1958, 1960, and 1962. There are also audio recordings in the form of reel-to-reel tapes for the 1951 Annual Convention.
Series 5: Exhibition Files forms the bulk of the collection at circa 62 linear feet and is arranged into twenty subseries. The first subseries, Exhibitions, General, houses primarily the records of the Board of Trustees Exhibition Committee and documents the AFA's earliest involvement with traveling exhibitions. These files contain reports, budgets, correspondence, memoranda, scattered exhibition catalogs, and photographs. They are primarily the files of the chair of the Exhibition Committee and include the files of Juliana R. Force, Eloise Spaeth, and Mrs. John Pope. Also found in this series is a subseries of Mrs. John Pope's records documenting circulating exhibitions from 1934 to 1955, arranged by state.
The remaining nineteen subseries of the Exhibition Files reflect either specific exhibition programs, many of which have unique numbers assigned by AFA to individual exhibitions, or other exhibition-related files, such rejected, canceled, and suggested exhibitions and miscellaneous installation photographs. The Annual Exhibitions files constitute the largest of the subseries and are numbered according to the system assigned by AFA, following a typical chronological order. Although the documentation for each exhibition varies widely by both type and amount, most of the files contain contracts and legal agreements, correspondence, memoranda, itinerary information, condition reports, publicity materials, catalogs, announcements, price lists, and other such information arranged into one or more files. The files were labeled "documentation files," "dispersal files," "report form files," "loan agreement files," and "publicity files" according to the filing system devised by AFA. Many of the files also house a significant amount of correspondence with museum officials, lenders, and artists.
Additional subseries document AFA's exhibition venues and partnerships with the Metropolitan Museum of Art, the Virginia Museum of Fine Arts, the New York State Council on the [UNK] Life magazine, and Addison Gallery. A complete list of all of the subseries, including specific exhibition programs, follows in the Series Outline.
The final three series of the collection are small: Printed Material, Miscellaneous Files, and Oversized Material. The printed material was donated much later to the Archives and dates from 1990 to 1993. Found here are scattered press releases, annual reports, and an exhibition program. Miscellaneous Files contain scattered records, 1926-1962, of the Architectural League of New York relating to national award programs. It is not clear why this small group of Architectural League records was found mixed with the AFA records but perhaps the collaboration between the two organizations on several special projects provides an explanation. Also found in Miscellaneous Files is a group of black and white lantern slides from a lecture series, "New Horizons in America." Oversized Material includes a portfolio, a work of art, and posters.
See Appendix for a list of artists exhibiting with the American Federation of Arts
Arrangement:
The collection is arranged into eight primary series based primarily on administrative units or program areas. Several of the series are further subdivided into subseries. While processing, it became clear that the two filing systems were redundant and overlapped in both subject area and type of material. Most of these files were subsequently merged into the now broader Alphabetical Files or into separate series. Oversized material may be found at the end of the collection arranged in a separate series.
In most cases, files related to one another by subseries or subject areas (in the case of the Alphabetical Files) or by individual name (in the case of officers and staff files) are arranged in chronological order. The entire subseries of Alphabetical Files in Series 2 is arranged by subject heading, as assigned by the AFA, or individual name. The Alphabetical Files originally formed two broad filing systems as established by the AFA: one for general correspondence arranged by subject; and one for director's and other staff correspondence, also arranged by subject.
Series 1: Board of Trustees, circa 1895-1968 (Boxes 1-3)
Series 2: Administrative Records, 1910-1966 (Boxes 4-8)
Series 3: Special Programs, 1950-1967 (Boxes 9-13)
Series 4: Annual Conventions, 1912-1963 (Boxes 14-16)
Series 5: Exhibition Files, 1934-1969 (Boxes 17-78)
Series 6: Printed Material, 1990-1993 (Box 78)
Series 7: Miscellaneous Files, 1926-1962, undated (Box 79)
Series 8: Oversized Materials, 1890, undated (Boxes 80-85)
Historical Note:
Founded in 1909 by Elihu Root, the American Federation of Arts (AFA) exists today as a national nonprofit museum service organization striving to unite American art institutions, collectors, artists, and museums. Elihu Root, then secretary of state in the administration of Theodore Roosevelt, spoke of his idea at the first meeting of the AFA held in New York at the National Academy of Arts. He envisioned an organization that would promote American art most often seen only by the elite in the major cities of the East and upper Midwest by sending "exhibitions of original works of art on tour through the hinterlands across the United States."
The American Academy in Rome, Corcoran Gallery of Art, Art Institute of Chicago, and Metropolitan Museum of Art were influential organizing member institutions. Individual members included such notables as William Merritt Chase, Charles L. Freer, Daniel C. French, Charles L. Hutchinson, Henry Cabot Lodge, J.P. Morgan, and Henry Walters. The founding of the AFA provided the American art world with a forum for communication and participation among artists, cultural institutions, patrons of the arts, and the public.
To accomplish its mission, the AFA established volunteer committees for membership, exhibitions, and publications. During its first year, the AFA began publishing Art and Progress (later changed to Magazine of Art) and the American Art Annual (now the American Art Directory). In 1909, the AFA also organized its first traveling exhibition, Paintings by Prominent American Artists, which was shown at museums in Fort Worth, New Orleans, Minneapolis, and New Ulm, Minnesota.
By the end of the first year, the headquarters of the organization moved to Washington, D.C., to facilitate lobbying the federal government for favorable art legislation. In 1913, the AFA lobbied successfully for the removal of the tariff on foreign art entering the United States. In 1916, the Federation met with the Interstate Commerce Commission to protest prohibitively high interstate taxes on traveling art exhibitions.
Throughout the next fifteen years, the AFA continued to grow in membership and influence. By 1919, membership included 438 institutions and 2,900 individuals. The AFA's annual conventions were held in major national art centers and were attended by members, chapter delegates, and the public. At the conventions, scholars, patrons, and curators lectured on and discussed subjects of national interest, thereby fostering an exchange of ideas. The AFA also sponsored periodic regional conferences to promote institutional cooperation and to discuss mutual problems and needs. To facilitate exhibition venues west of the Mississippi River, in 1921 the AFA opened regional offices at the University of Nebraska and at Stanford University. The AFA produced and circulated slide programs and lecture series to museums and educational institutions that fostered art education. By 1929, the Federation had developed forty-six slide-lecture programs that covered American mural painting, European and American contemporary art, and textiles.
During the 1930s, the Federation expanded its services by providing schools with teaching guides, student workbooks, slides, and films about art. In 1935, the AFA began publishing Who's Who in American Art, later publishing The Official Directory of Illustrators and Advertising Artists and Films on Art reference guides. To reach an even larger audience, the AFA began collaborating with the Metropolitan Museum of Art in New York to organize national circulating exhibitions to "bring the museum to the people."
One of AFA's priorities was to make American art more visible abroad. The Federation focused on encouraging the representation of American artists in foreign exhibitions, and in 1924 it lobbied successfully for additional American participation in the Venice Biennale. The AFA's focus on exhibiting American art abroad continued to expand, particularly following World War II. In 1950, recognizing that the AFA could assist in promoting American culture, the State Department awarded the AFA a grant for a German "re-orientation program" consisting of educational exhibitions shown in German museums. Additional government funding further enabled the AFA to organize American participation in exhibitions in India, Japan, Paris, Switzerland, and Rotterdam between 1950 and 1970. Later, the AFA collaborated with the United States Information Agency (USIA) to create the Overseas Museum Donor Program which permitted donations of American art to foreign institutions on a restriction-free, tax-deductible basis. During the 1950s, the AFA was a very active member of the Committee on Government and Art, a national committee with members from across the art and museum world concerned with government sponsorship of and legislation affecting art sales, commissions, and trade.
In 1952, the headquarters of the AFA returned to New York, sparking a period of innovation and expanded of programs. Throughout the 1950s, the AFA distributed films about art and co-sponsored the Films on Art Festival in Woodstock, New York. The AFA also introduced its Picture of the Month Program in 1954, renting original works of art to small American art and educational institutions. In 1956, the AFA organized the Art Collectors Club of America to provide fellowship for art collectors through meetings and activities. The club disbanded in the 1970s.
The Federation's exhibition programs continued to flourish during the 1950s and 1960s. Private and public financial support allowed the AFA to achieve many of its goals. In 1958, the Ford Foundation awarded an important grant to organize a series of traveling one-person shows and a series of monographs devoted to contemporary American artists. Milton Avery, Andrew Dasburg, José DeCreeft, Lee Gatch, Walter Quirt, Abraham Rattner, and others were among the artists who participated. Private foundation support for the AFA's Museum Donor Program provided an annual allowance that was distributed to regional museums for the pourchase of contemporary American art. Cooperative programs and joint venues also became popular during this period. For example, public support from the New York State Council on the Arts allowed the AFA to circulate exhibitions to small New York State communities, and the Virginia Museum of Fine Arts provided the AFA with five exhibitions for national tours.
Throughout its history, the American Federation of Arts has concentrated on its founding principle of broadening the audience for contemporary American art. Through its numerous exhibition and film programs, the AFA has succeeded in "breaking down barriers of distance and language to broaden the knowledge and appreciation of art." Annual exhibitions such as New Talent in the USA and Art Schools USA, organized by the AFA, brought before the public the most contemporary American artists and craftspeople, genres, and artistic forms of experimentation, exposing viewers to new ways of thinking and expression. In 1965, AFA produced The Curriculum in Visual Education, a series of films created to heighten the aesthetic awareness of children.
A vital part of American art history, the AFA was one of the first organizations to develop successfully the concept of traveling art exhibitions on a national and international level. The AFA was instrumental in assisting museums with circulating important juried exhibitions of contemporary art, such as the Whitney Annual and Corcoran Biennial. The AFA also recognized the importance of the exchange of cultural ideas, and it brought exhibitions of the European masters to the American public as well as exhibitions focusing on foreign contempoorary art, photography, and architecture. Many organizations and museums have followed the AFA's precedent, and traveling national and international venues are now commonplace.
Since 1909, women have served as officers and members of the Board of Trustees. Leila Mechlin was a founding participant and served as secretary from 1909 to 1933. Juliana R. Force and Eloise Spaeth both chaired the Exhibition Committee in the late 1940s. Women and artists of diverse backgrounds and nationalities were widely represented in the AFA's exhibition programs, most notably during the 1960s. In 1960, the AFA organized, with financial support from the Ford Foundation, a major Jacob Lawrence retrospective. Additional culturally diverse exhibitions included Contemporary Jewish Ceremonial Art (1961), The Heart of India (1962), 1,000 Years of American Indian Art (1963), and Ten Negro Artists from the United States (1966).
The AFA also had an impact on patronage in the arts. AFA exhibitions of contemporary art provided collectors with knowledge of new artists and avant-garde art forms, creating a broader demand and market for this type of work. Museums and collectors began purchasing work by new or obscure American artists whom they learned about through AFA exhibitions and programs.
The historical records of the American Federation of Arts offer the researcher a unique opportunity to study the development of American art and artists in the twentieth century as well as providing insight into trends in American culture.
Missing Title
1909 -- Founded in New York City. Began publishing Art and Progress (later retitled Magazine of Art) and the American Art Annual.
1910 -- Moved headquarters to Washington, D.C.
1913 -- Lobbied successfully for the removal of the tariff on art entering the United States.
1915-1916 -- Lobbied successfully against the Cummins Amendment and the Interstate Commerce Commission's prohibitively high interstate tax on traveling art.
1920 -- Organized a lobbying campaign for the development of a national gallery of art at its national convention.
1921 -- Opened two new offices at the University of Nebraska and at Stanford University.
1924 -- Arranged American participation in the Venice Biennale exhibition.
1927 -- Closed office at Stanford University.
1929 -- Organized American participation in exhibitions in France and Germany.
1933 -- Closed office at the University of Nebraska.
1935 -- Began publishing Who's Who in American Art.
1948 -- Published The Official Directory of Illustrators and Advertising Artists.
1949 -- Collaborated with the Metropolitan Museum of Art to circulate exhibitions from its collections.
1950 -- Participated in the U.S. government's German re-orientation program.
1951 -- Joined forces with the United States Information Agency (USIA) to create the Overseas Museum Donor Program. Published the reference guide Films on Art. Co-sponsored the Films on Art Festival in Woodstock, New York, through 1957.
1952 -- Moved headquarters to New York City.
1953 -- Magazine of Art liquidated.
1954 -- Introduced the Picture of the Month Program.
1956 -- Founded the Art Collectors Club of America.
1958 -- Received a Ford Foundation grant to finance a series of one-person shows of contemporary American artists.
1960 -- Created the Museum Donor Program.
1961 -- Received a grant from the New York State Council on the Arts to circulate exhibitions to small New York state communities.
1963 -- Received a grant from the Ford Foundation for the Artists in Residence program.
1964 -- Introduced the List Art Poster Program.
1965 -- Produced The Curriculum in Visual Education, a series of films that attempted to heighten the aesthetic awareness of children.
Appendix: List of Artists Exhibiting with American Federation of Arts:
The following is an alphabetical list of artists who exhibited with the American Federation of Arts; many are obscure. The alpha-numeric codes and numbers appearing with the artist's name represent specific AFA exhibition programs and, most often, AFA's exhibition numbering system. In cases where the AFA did not assign an exhibition number, Archives' staff have done so.
The primary reference source for the names and name variants is the American Federation of Arts Records. The names are documented in handwritten notes and lists, typed lists, and exhibition catalogs and announcements. The Archives of American Art name authority file was also consulted in questionable cases. The majority of names, however, were not found in either the AAA name authority file or standard bibliographic resources, and only in the AFA records.
Examples:
55-1: AFA annual exhibitions program
AD-1: Addison Gallery exhibitions
L-1: Life Magazine Exhibitions
ME-1: Misceallaneous exhibitions (numbers assigned by AAA staff)
NMA-1: Metropolitan Museum of Art exhibitions
NE-96: Contemporary Color Lithography
NY-1: New York State Council on the Arts exhibitions
VA-1: Virginia Museum of Fine Arts exhibitions
Missing Title
A. Quincy Jones, Frederick E. Emmons & Assoc: 62-34
The records of the American Federation of Arts (AFA) were donated to the Archives of American Art (AAA) over a thirteen-year period, with the bulk of the material arriving between 1964 and 1966. In 1979, Preston Bolton donated his letters and those from John de Menil, Ann Drevet, Lee Malone, and others regarding planning for the 1957 AFA annual convention held in Houston, Texas; convention committee minutes from 1956; and AFA newsletters. This material, as well as a 1979 gift from Louise Ferrari of transcripts from a panel discussion from the 1957 AFA convention in Houston, was microfilmed on AAA Reel 1780. All material previously microfilmed on Reel 1780 has been fully integrated into the collection and arranged within proper series and subseries. The provenance of the 1990-1993 printed material is unknown.
Restrictions:
Use requires an appointment.
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.
51 Linear feet (115 document boxes, 2 card file boxes, 1 5x6x2.5" box, and 1 record storage box)
Type:
Collection descriptions
Archival materials
Date:
1893-1994
bulk 1930-1993
Scope and Contents:
While these papers primarily consist of Waldo's archeological work in the field and his many publications, the collection also contains Mildred's correspondence and manuscripts, most of which concern her ethnohistorical and archeological work, conferences in which she participated, and her publications, particularly those on La Harpe. Most of the material dates between 1930 and 1990.
A useful way to consider these materials is to conceptualize them as a continuum from project proposals to funding, into fieldwork materials, and ultimately toward manuscripts and publications. These texts generate reputations in academic and museum circles, in this case, drawing Waldo into various organizations and conferences throughout his career. As he rose through the ranks of the Department of Anthropology at the Smithsonian, his responsibilities and visibility within the museum also increased. This gradual transformation is reflected in the correspondence, organizational and administrative, and research and field work series. Because these and other facets of Waldo's career both constantly and consistently interfaced, the boundaries between the various series and types of materials contained in this collection are highly permeable. This should be kept in mind when reviewing them.
Among Waldo's correspondence are letters from A.T. Hill, F.M. Setzler, and W.D. Strong. The Organizational and Administrative Material contains material from the Department of Anthropology, the National Academy of Sciences, the National Science Foundation, the River Basin Survey, and Tulumniu research. Also included is material from the 5th through the 44th Plains conferences, as well as material from Society for American Archaeology meetings and seminars. Writings include both published and unpublished works. The published works are mainly those by Waldo, however, there are several publications from Mildred. Many of the publications are articles from journals, such as the American Anthropologist and American Antiquity. Drafts and writing notes of both Waldo and Mildred make up the bulk of the writings series. The Research and Fieldwork Materials contains papers relating to Waldo's fieldwork on the River Basin Surveys, as well as his work in Kansas, Missouri and Michigan. In addition, there is material relating to his expert testimony in claims cases brought by the Missouri and Oto, Pawnee, and Kansa Indians (which also involved Mildred) during the 1940s and 1950s. The series of Photographs consists of lantern slides, prints, and negatives. There are extensive photographs of Kansas, Missouri and Nebraska, including field sites, artifacts, bones and landscape. The Personal series contains a miscellany of Waldo's materials, such as his business card and materials from his days as a study at UC Berkeley. Finally, there are several drawers of site maps, topographic maps, aeronautical maps and county maps of Kansas, Wyoming, South Dakota, and Missouri.
Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.
Arrangement:
The papers of Waldo Wedel and Mildred Wedel are organized into the following series: Correspondence; Organizational and Administrative Material; Writings; Research and Fieldwork Materials; Personal; Photographs; Printing Blocks; and Maps.
Biographical Note:
Waldo R. Wedel was born in Newton, Kansas in 1908. He grew up in and around Newton with Emil Haury. He graduated from Bethel Academy in 1928 and earned his B.A. at the University of Arizona in 1930. It was at Arizona that Waldo began his development as a field archeologist, working under Dean Cummings and Haury. He continued his education at University of Nebraska, where he was a student of William Duncan Strong, who trained him in Plains archeology and introduced him to the direct historical approach. Through an apprenticeship under Strong, Waldo conducted fieldwork in Signal Butte, Loup River Valley, and in eastern Nebraska during 1930-1933. After earning his M.A. in 1931, he enrolled in the doctoral program at University of California, Berkeley (Ph.D., 1936). During his education at Berkeley, although his chief mentor was Alfred Kroeber, he was strongly influenced by the ecological ideas of geographer Carl Sauer. In the late 1930's, Wedel began to concentrate on a survey of his native Kansas, a region little known archeologically. The Kansas survey began during the field seasons of 1937 and 1938. 1n 1938, he also excavated at a Hopewell site in Platte County, Missouri. In the summer of 1946, Wedel was detailed to establish and direct the Missouri Basin Project (MBP) of the Bureau of American Ethnology's River Basin Surveys (RBS). He continued as the MBP director until 1950 and was detailed each summer to the MBP headquarters in Lincoln, Nebraska. He also worked at sites in South Dakota, Colorado, and the Texas Panhandle from the 1950s to the 1970s.
Except for early work for the Nebraska Historical Society and Gila Pueblo Foundation, Waldo's institutional affiliation was with the Smithsonian Institution. In 1936, he was appointed assistant curator under Neil M. Judd in the Division of Archeology, Department of Anthropology of the United States National Museum (USNM). He was made associate curator in 1942. During World War II, he was detailed for a brief period to the Military Planning Division of the Quartermaster Corps, charged with analysis of captured foreign material. In 1950, he was named curator of archeology at the USNM. In 1962, he became head curator of the Department of Anthropology, and in 1964-1965, he was acting head of the newly organized Smithsonian Office of Anthropology. He became Senior Archeologist in 1965. In 1977, he retired from what had become the Department of Anthropology in the National Museum of Natural History and became curator emeritus. He continued activity with the department until 1990 when he moved to Boulder, Colorado. He died in 1996.
Mildred Mott was born in Marengo, Iowa on September 7, 1912. She was trained in history at the University of Iowa (A.B. 1934) and in anthropology with an emphasis on archeology at the University of Chicago (M.A., 1938). She also attended University of New Mexico Jemez Field School in the summer of 1933. She conducted fieldwork under Ellison Orr at Hill Mound Group (13AM105) and Brazell's Island Bear Effigy Mound (13AM81) in Allamakee County in 1936. In the following year, she worked at the Kincaid site in Illinois. She also assisted Florence Hawley in the University of Chicago Dendrochronology Laboratory (1937-38). In 1938, she served as field director for Charles Keyes' archaeological excavation near Webster City, Iowa.
In 1939, Mildred married Waldo Wedel and afterwards accompanied him on many trips to the field. In addition, she pursued an interest in ethnohistory that she developed in school. In particular, she worked on the ethnohistory of regions where her husband was working, often taking advantage of field seasons to retrace routes of early European explorers. Thus, she carried out intensive work on French explorations in the Plains areas (particularly Jean-Baptiste Bénard, Sieur de la Harpe; Pierre-Charles Le Sueur; Claude-Charles Dutisne; and Jean-Baptiste Teuteau). She also published on Plains Caddoan origins and on the Iowa and the Wichita. In 1978-1979, under contract with the Corps of Engineers, she studied the ethnohistory of a Wichita village and French post at the Deer Creek site, Kay County, Oklahoma.
In 1974, Mildred was appointed a Smithsonian Institution research associate in anthropology. In 1985, she was one of several women honored by the American Anthropological Association for their long-time involvement in anthropology. She died in 1995.
Waldo R. Wedel (see also Appendix A: Fieldwork of Waldo R. Wedel)
1908 -- Born in Newton, Kansas
1930 -- B.A. from University of Arizona
1930-1933 -- Apprenticeship under William Duncan Strong at Signal Butte, Loup River Valley, Nebraska
1931 -- M. A. from University of Nebraska
1936 -- Assistant Curator under Neil M. Judd, Division of Archeology, Department of Anthropology, United States National Museum (USNM) Ph.D. from University of California at Berkeley
1937-1938 -- Field work in Kansas
1938 -- Excavation at a Hopewell site in Platte County, Missouri
1939 -- Married Mildred Mott Wedel
1942 -- Associate Curator, Division of Archeology, Department of Anthropology, United States National Museum (USNM)
1946 -- Established Missouri Basin Project (MBP) of the Bureau of American Ethnology's River Basin Surveys (RBS), serves as Director
1946-1950 -- Served with Military Planning Division of the Quartermaster Corps
1950 -- Curator of Archeology, United States National Museum (USNM)
1962 -- Head Curator of the Department of Anthropology
1964-1965 -- Acting Head of newly organized Smithsonian Office of Anthropology
1965 -- Senior Archeologist, Smithsonian Office of Anthropology
1977 -- Curator Emeritus, retired from Department of Anthropology in the National Museum of Natural History
1977-1990 -- Continued involvement with Department of Anthropology
1990 -- Moved to Boulder, Colorado
1996 -- Died
Mildred Mott Wedel
1912 -- Born in Marengo, Iowa
1933 -- Attended University of New Mexico Jemez Field School during the summer
1934 -- A.B. from University of Iowa
1936 -- Fieldwork under Ellison Orr at Hill Mound Group (13AM105) and Brazell's Island Bear Effigy Mound (13AM81) in Allamakee County
1937 -- Fieldwork at Kincaid Site in Illinois Assisted Florence Hawley in the University of Chicago Dendrochronology Laboratory
1938 -- M.A. from University of Chicago Field director for Charles Keyes' archaeological excavation near Webster City, Iowa
1939 -- Married Waldo R. Wedel
1974 -- Research associate, Department of Anthropology in the National Museum of Natural History
1978-1979 -- Studied the ethnohistory of a Wichita village and French post at the Deer Creek site, Kay County, Oklahoma
1990 -- Moved to Boulder, Colorado
1995 -- Died
Appendix A: Fieldwork of Waldo R. Wedel:
This timeline was created by Waldo R. Wedel in the 1990s.
1929 -- Place: Arizona (Turkey Hill Pueblo, near Flagstaff)Organizational Affiliation: University of Arizona field party (BC)
1930 -- Place: Nebraska, eastern and southern (Rock Bluffs, Gates, Dooley, Hill sites)Organizational Affiliation: University of Nebraska field party (WDS)Reported in: Strong, W. D. 1935. An Introduction to Nebraska Archeology. SMC 93:10.
1931 -- Place: Nebraska, Loup valley (Burkett, Gray‑Wolfe, Sweetwater sites)Organizational Affiliation: University of Nebraska field party leaderReported in: Dunlevy, M. L. 1936. A Comparison of the Cultural Manifestations of the Burkett (Nance County) and Gray‑Wolfe (Colfax County) sites.Reported in: Chapters in Nebraska Archeology, pp. 147‑247.Reported in: Champe, J. L. 1936. The Sweetwater Culture Complex. Chapters in Nebraska Archeology, pp. 249‑299.
1932 -- Place: Nebraska (Signal Butte) and South Dakota (Leavenworth)Organizational Affiliation: Bureau of American Ethnology (WDS)Reported in: Strong, W. D. 1935. An Introduction to Nebraska Archeology. SMC 93:10.Reported in: Strong, W. D. 1933. Studying the Arikara and their Neighbors on the Upper Missouri. Explor. and Field Work of the Smithsonian Institution in 1932.
1933 -- Place: Nebraska (Medicine Creek)Organizational Affiliation: Nebraska State Historical Society (ATH)Reported in: Wedel, W. R. 1934. Preliminary Notes on the Archeology of Medicine Valley in Southwestern Nebraska. Nebraska History Magazine, 14:3:144-166. Place: Oklahoma (Comanche ethnography near Layton)Organizational Affiliation: Laboratory of Anthropology Fellow (R Linton)
1933-1934 -- Place: California (Buena Vista Lake)Organizational Affiliation: CWA relief expedition (WDS)Reported in: Wedel, W. R. 1941. Archeological Investigations at Buena Vista Lake, BAE Bulletin 130.
1934 -- Place: Nebraska and Kansas (Republican Valley; Minneapolis, Paint Creek)Organizational Affiliation: Nebraska State Historical Society (ATH)Reported in: Wedel, W. R. 1935. Reports on Field Work by the Archeological Survey of the Nebraska State Historical Society, May 1 to July 23, 1934. Nebraska History Magazine, 15:3:130-256.
1935 -- Place: California (Sacramento Valley: Howells Point, Redding; San Francisco Bay shellmounds)Organizational Affiliation: University of California field party leader
1936 -- Place: Nebraska (survey in Loup River drainage)Organizational Affiliation: Nebraska Historical Society and Gila Pueblo
1937 -- Place: Missouri and Kansas (Renner, Doniphan, Manhattan)Organizational Affiliation: U. S. National Museum field party leaderReported in: Wedel, W. R. 1943. Archeological Investigations in Platte and Clay Counties, Missouri. U.S.N.M., Bulletin 183.Reported in: Wedel, W. R. 1959. An IntroductionReported in: To Kansas Archeology. Bur. Amer. Ethnology, Bulletin 174.
1938 -- Place: Missouri, Colorado (Steed-Kisker, vault mounds; Purgatoire survey)Organizational Affiliation: U. S. National Museum field party leaderReported in: Wedel, W. R. 1943. Archeological Investigations in Platte and Clay Counties, Missouri. U.S.N.M., Bulletin 183.
1939 -- Place: Kansas (Scott and Lane Counties)Organizational Affiliation: U. S. National Museum field party leaderReported in: Wedel, W. R. 1959. An Introduction To Kansas Archeology. Bur. Amer. Ethnology, Bulletin 174.
1940 -- Place: Kansas (Rice and Cowley Counties)Organizational Affiliation: U. S. National Museum field party leaderReported in: Wedel, W. R. 1959. An Introduction To Kansas Archeology. Bur. Amer. Ethnology, Bulletin 174.
1943 -- Place: Mexico (La Venta)Organizational Affiliation: Smithsonian‑National Geographic Society expedition under MWSReported in: Wedel, W. R. 1952. Structural Investigations in 1943. In: La Venta, Tabasco, a Study of Olmec Ceramics and Art, by P. Drucker, BAE ‑ Bull. 153, pp. 34-79.
1946-1949 -- Place: Missouri River BasinOrganizational Affiliation: Field director Missouri Basin Project, River Basin Surveys, Smithsonian InstitutionReported in: Wedel, W. R., 1947. Prehistory and the Missouri Valley Development Program: Summary Report on the Missouri River Basin Archeological Survey in 1946. SMC. 107:6:1‑17.Reported in: Wedel, W. R. 1948. SMC 111:2.Reported in: Wedel, W. R. 1953. River Basin Surveys Papers, No. 1; BAE ‑ Bull. 154, pp. 1‑59.Reported in: Wedel, W. R. 1953. River Basin Surveys Papers, No. 2; BAE ‑ Bull. 154, pp. 61‑101.
1951 -- Place: South Dakota (39ST1)Organizational Affiliation: River Basin Surveys party chief
1952 -- Place: Wyoming (Horner site)Organizational Affiliation: Archeologist on Smithsonian-Princeton expedition.Reported in: Frison, Geo. C. and L. C. Todd, eds. I987 The Horner Site: Type Site of the Cody Cultural Complex. Ch. 2 History of the Princeton and Smithsonian Investigations. Academic Press, Orlando, Fla.
1955 -- Place: South Dakota (39ST1)Organizational Affiliation: River Basin Surveys party chief
1956 -- Place: South Dakota (39ST1)Organizational Affiliation: River Basin Surveys party chief
1957 -- Place: South Dakota (39ST203)Organizational Affiliation: River Basin Surveys party chief
1964 -- Place: Archeological investigations in Southwestern KansasOrganizational Affiliation: NSF grant GS-556
1965 -- Place: Archeological investigations in Central Kansas (Rice Co)Organizational Affiliation: NSF grant GS-556
1966-1967 -- Place: Archeological investigations in Central Kansas (Rice Co)Organizational Affiliation: NSF grant 05-556; Smithsonian Res. Award. 3301
1971 -- Place: Archeological investigations in Central Kansas (Rice Co.)
1972-1973 -- Place: Archeological investigations at Chalk Hollow, Palo Duro Canyon, TexasOrganizational Affiliation: Smithsonian Research AwardReported in: Wedel, W. R. 1975. Chalk Hollow: Culture sequence and chronology in the Texas panhandle. Proceedings, XLI International Congress of Americanists, Mexico, Sept. 2-7, 1974, pp270-278.
Related Materials:
Additional correspondence from Waldo Wedel can be found in various collections at the National Anthropological Archives, including the William Duncan Strong papers, Albert Clanton Spaulding papers, Donald Lehmer papers, Frederick Johnson papers, Manuscript 4846, Manuscript 4192, Department of Anthropology records, River Basin Surveys records, Society for American Archaeology records, Central States Anthropological Society records, and Anthropological Society of Washington records. Photographs of Waldo can be found in Photo lot 33, Photo 83-13, Photo 58, Photo Lot 85-12, Manuscript 4261(1), Negative MHT 65124, Negative 728413, and the Source Print Collection. Manuscript 7450 is a recording of Waldo and others giving a talk on the history of anthropology at the Smithsonian. See Manuscript 2011-29 for an oral history interview with Waldo, conducted by Larry Banks.
Correspondence from Mildred can be found in the Robert King Harris papers and the William Duncan Strong papers. Manuscript 7293 is a recording of the Ewers-Wedel symposium, at which Mildred was a speaker.
At the Smithsonian Institution Archives, photos of Waldo can be found in the Kjell Bloch Sandved Photographic Files and the Smithsonian Institution Office of Public Information, Productions records.
Separated Materials:
The following films were separated from the collection and transferred to the Human Studies Film Archives:
6 reels of 16MM kodachrome film-original reversal 5 reels of Medicine Creek...1947-48 (includes Boysen Camp (1947) and Brule Flat site) 1 reel of Bison Kill (Powder River) Ghost Cave near Billings, MT., 1947
The following artifacts were separated from the collection and transferred to the ethnology and archaeology collections of the Department of Anthropology:
Sherds from Peppiatt-Lyons Metal ice shoe cleats Glass beads
Provenance:
These papers were donated to the National Anthropological Archives by Waldo R. Wedel and Mildred Mott Wedel in 1990. Additional materials were donated by their son, Waldo M. Wedel in 2011.
Restrictions:
The Waldo R. Wedel and Mildred Mott Wedel papers are open for research. Personnel files and grant proposals sent to Waldo Wedel to review are restricted. Waldo and Mildred Wedel's monographs are stored at an off-site facility.
Access to the Waldo R. Wedel and Mildred Mott Wedel papers requires an appointment.
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Collection Rights:
Permission to publish materials from the collection must be requested from National Museum of the American Indian Archive Center. Please submit a written request to nmaiphotos@si.edu. For personal or classroom use, users are invited users to download, print, photocopy, and distribute the images that are available online without prior written permission, provided that the files are not changed, the Smithsonian Institution copyright notice (where applicable) is included, and the source of the image is identified as the National Museum of the American Indian.
Collection Citation:
Identification of specific item; Date (if known); Grace F. Thorpe Collection, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Washington (D.C.) -- Small business -- 20th century
Shaw (Washington, D.C.)
Washington (D.C.) -- African Americans
Date:
1888-1996
Summary:
The collection includes approximately 250,000 photonegatives, photoprints, color transparencies from the photographic business founded by Addison Scurlock in Washington, DC. Collection also includes business records and ephemera.
Scope and Contents:
Photographs includes portraits of famous African-American luminaries such as Booker T. Washington, W.E.B. DuBois, and many other artists, intellectuals, educators, entertainers, etc., as well as documentation of Washington, DC, including both the African-American community and national political life, and important photographs of Howard University; also commercial photography, including color materials.
Color separation materials include sets of black-and-white color-separation negatives, sets of matrices for the Kodak Dye Transfer process (full-color Dye Transfer prints are storied in a different series).
Business records: The photography studio records and Custom Craft records are in separate series, reflecting the fact that they were operated as separate businesses.
The collection includes all forms of photographs produced by the studio, such as prints in black-and-white and color, black-and-white and color negatives, color transparencies, black-and-white dye-transfer matrices, slides, etc.; as well as business documents, studio session ledgers, appointment books, business and personal correspondence, tax documents, and books, catalogs, and other publications. This material documents not only the photographic output of the business, both commercial and artistic, as well as the personal and business side of the enterprise.
Some photographs in the collection were not created by the Scurlocks. Some black-and-white and color prints seem to derive from assignments in the Capitol School of Photography, and are therefore student work. Also Custom Craft, the professional color processing service provided by the studio, made prints for other photographers, and samples for printing reference, as well as studio decor, have been retained in the collection. Custom Craft worked for such diverse photographers as artist Robert Epstein and well-known Washington photographer Fred Maroon, for example.
The collection numbers several hundred thousand photographic negatives, prints, and transparencies made by the Scurlocks and other staff photographers of the studio in its various Washington locations. The negatives are estimated at approximately 160,000-200,000 in number, and the prints of all sizes and types at nearly 57,000. The vast majority of the photographs are portraits of individuals, family groups, and organizations, as the primary business of the studio was portrait photography. They date primarily from the 1940s to 1990s. There are also a number of images, made for commercial clients, of building interiors and exteriors, and food. A small group of photojournalistic documentation also exists. The subjects also include architectural and industrial views, scenes in and around Washington, including children and street laborers, political events, social events, and 35mm slides of President Kennedy's funeral, 1964. There are also more personal artistic images, including still lifes with plants and flowers, and a few nudes; Robert's wartime service is also documented by his photographs, including European landscape photographs.
In addition to images taken by the Scurlock studio photographers, there are some prints, especially color, of images by other photographers who were clients, such as Fred Maroon, a prominent Washington photojournalist, and Robert Epstein, a teacher at the Corcoran School of Art. A print of one of Maroon's pictures had been displayed in the studio reception room at the time the studio was closed.
A large group of manuscript items, business documents, ephemera, and office and studio supplies constitutes a separate series from the photographs. An important adjunct to the photographs, a set of ledgers recording and identifying portrait sittings, highlights this group.
Nearly all of the photographs and documents stored in the studio and auxiliary storage locations were accepted for acquisition in order to form a complete history of this family business's production and operations over the better part of a century, whereas a selection of photographic apparatus and studio equipment was acquired by the Photographic History Collection: these items have been inventoried and catalogued separately.
Studio Portraits
The majority of the surviving photographic negatives and proof prints were made in connection with the studio's portrait work for a wide variety of clients. These portraits include images of famous people, such as political figures, entertainers, and noteworthy persons in a variety of fields, including scientists, writers, intellectuals, and academics. The majority of the figures depicted among both the famous and the not so famous are black. The greatest number of studio portraits, most of which are identified and dated, depict a general clientele who visited the studio for portrait sittings. Although the individual images in this vast quantity have limited research value in the usual sense, the aggregate represents a chronology spanning almost ninety years, which may be useful for demographic and genealogical information and as visual evidence of changing styles in clothing, hair, and accessories. It constitutes a panorama of a significant percentage of Washingtonians of the period, especially the black community.
Portraits of famous personages include George Washington Carver, Dr. Martin Luther King, Jr., Duke Ellington, Marian Anderson, Archbishop Desmond Tutu, Sammy Davis, Jr., Sugar Ray Leonard, Muhammad Ali, Mayor Walter Washington, and Presidents Kennedy, Johnson, Nixon, Ford, Reagan, Bush, and Clinton, Mayor Marion Barry, DC Council members, statesmen such as Ralph Bunche, and many other noteworthy figures. Of particular interest is a signed group portrait of the US. Supreme Court with Chief Justice Berger presiding. There are also large- format portraits of Justice Thurgood Marshall and J. Edgar Hoover.
Group portraits include both formal sittings and the informal documentation of banquets, convocations, and similar events. This material includes groups at Howard University; Dunbar High School; the Post Office Clerks' Banquet; the Bishops' Meeting of the AME Church; a YMCA camp, cira 1947 1949; the 23rd annual conference of the NAACP, 1932, etc.
Howard University
Several thousand black and white negatives and prints, 1930s-1960s, depict the people, facilities, and events of Howard University, with which the Scurlocks had a long business relationship. There are various portraits, including Howard University Medical School, represented by 850 negatives and 100 prints. A group of law school and medical school images numbers some 800 negatives and 200 prints. In addition, there are class portraits, as well as images of famous guests speaking at Howard convocations, such as President Herbert Hoover.
Wedding Photography
An important aspect of any portrait studio's output is wedding photography, and the Scurlock studio was no exception. Bridal portraits, group pictures of wedding parties, and the complete documentation of weddings, in both black and white and color, constitute a significant part of the collection. African-American weddings predominate and provide important insights into this aspect of the society.
Exhibitions
The studio's work was shown in special public exhibitions over the years, and several of these are included in toto. The most important was an extensive retrospective display of 121 prints of Addison's work, both vintage and posthumous, prepared by Robert for the Corcoran Gallery of Art in 1976. Others include: (1) a set of 32 black and white images made by Robert at the Ramitelli Air Base, Italy, while he was a major in the US Air Force during World War II; (2) a group of portraits from a Black History Month exhibit at Woodward and Lothrop; and (3) a set of sixteen vintage and modern prints which Robert displayed in an interview on the "Today" television show in the 1980s.
Commercial Work
This category includes architectural and industrial photography for commercial clients, food and still life photographs, etc. Much of this material is comparatively recent and was made in large format color, and includes transparencies and enlargements. It is possible that some of the prints represent Custom Craft work for other photographers rather than the camera work of Robert and George Scurlock. Thus far, prints by artist Robert Epstein have been identified as extra prints of his work from orders which he placed with the firm. At least one image by Fred Maroon has been identified.
A group of color prints constitutes copies of artworks, primarily in the National Portrait Gallery, for which the Scurlocks worked. Prints in 8" x 10", 11" x 14", 16" x 20" and 20" x 24" sizes are included, and undoubtedly negatives and transparencies corresponding to these subjects will be found.
Photojournalism
In addition to the formal studio portraits and pictures documenting formal events, the Scurlocks took candid photographs of the everyday life of their city, as well as extraordinary events of local and national significance, ranging from occasions such as John F. Kennedy's funeral and the 1968 riots to political rallies and demonstrations.
Capitol School of Photography
The collection includes a variety of materials, such as books and ephemera, which document the activities of the Capitol School of Photography, a sideline of the Scurlock business. Some of the photographs apparently represent student work. The most famous student of the school was Jacqueline Bouvier (later Jacqueline Kennedy Onassis), although no documentation of her association with the school has been located thus far. There are 45 photographs, circa 1950s, showing the photography lab, men retouching prints, students with cameras, etc.
Personal Photographs
A few photographs of the Scurlock family are included in the collection in various forms and formats, including enlarged portraits of Addison and Robert. A self portrait of Addison and Mamie Scurlock is included in the Corcoran Gallery of Art exhibition series. Other photographs which represent personal artistic expression, such as a few nude studies and floral and plant still lifes, are included.
Series 6 consists of photographic materials including color transparencies, slides, film, and proofs but occasionally includes notes, forms, and envelopes associated with the orders.
Series 1: Black and White Photographs:
Dates -- 1888-1993
Extent -- 105 boxes
Contents -- Series 1: Black and White Photographs: The materials are almost entirely black and white photographs, but in the subseries of clients, there may also be job envelopes, order materials, and other photographic material types that were included in the overall order. The series is arranged into two subseries, clients and subjects, and both are arranged alphabetically. The subseries clients documents the orders made by clients of the Scurlock Studio and individuals who were or could be identified but may or may not have actually placed an order at the Studio. The majority of the photographs in the clients subseries are formal portrait sittings but there are photographs of events, organizations, and businesses. The subseries subjects are photographs that were grouped into categories because no known client or individual in the image could be identified. The subjects cover a broad array of subjects but the majority of the subjects include unidentified people in formal portrait sittings and groups. In addition, not all photographs in this series were taken by the Scurlock Studio; there are photos by Abdon Daoud Ackad and other studios or photographers that were sent in to make copies. 1.1: Clients Black and white photographs1.2: Subjects Black and white photographs
Series 2: Color Photographs:
Dates -- 1930-1995
Extent -- 113 boxes
Contents -- Series 2: Color Photographs: The series color photographs consists of color photographs and hand-colored photographs, but there are also order envelopes and materials, and other photographic material types that were part of the order. The subseries are arranged as clients, subjects, weddings, and hand-colored photographs. Clients are arranged alphabetically by last name or the first word of an organization's name. Not all individuals, organizations, or businesses necessarily represent a client of the Scurlock Studio; if an individual or organization could be identified, the photograph was placed under the identified person or organization even if ther were not a known client of the Studio. The majority of the photographs are individual portrait sittings but also included are family portraits, businesses, organizations, and informal images. The subjects are arranged alphabetically, and document images of non-humans and humans that could not be connected to a known client. Weddings and hand-colored are arranged in alphabetical order with clients preceeding subjects. The were a large subject of the overall collection and the majority of weddings are color photographs but also included in the subseries are black and white and hand-colored photographs of weddings. The hand-colored photographs largely reflect the same subject matter of the subseries clients and subjects. In addition, not all photographs in this subseries were taken by the Scurlock Studio; there are photos by Abdon Daoud Ackad and other studios or photographers that were sent in to make copies. 2.1: Clients Color photographs2.2: Subjects Color photographs2.3: Weddings2.4: Hand-colored photographs
Series 3: Framed Prints:
Dates -- circa 1979
Extent -- 3 boxes
Contents -- Series 3: Framed Prints: The series framed prints includes three framed color photographs. The framed prints are arranged by the size, from smallest to largest, of the frame. The photographs are of two important political figures: Washington, D. C., Mayor Marion Barry and Senator Edward Brooke.
Series 4: Black-and-White Silver Gelatin Negatives:
Dates -- 1900-1994
Extent -- 320 boxes
Contents -- Series 4: Black-and-White Silver Gelatin Negatives: The material type of the series is black and white silver gelatin negatives. The negatives are arranged into twelve subseries. The materials document the clients and individuals whose photographs were taken by the Scurlock Studio and a wide variety of subject matters. The subjects represented are individual portrait sittings, organizations, events, businesses, commercial ventures of the Studio, and Washington, D. C. 4.1: Black and white negatives 4.2: Black and white negatives in freezers arranged by job number 4.3: Black and white negatives in freezer storage arranged by client 4.4: Black and white negatives in freezer storage arranged by subject 4.5: Black and white negatives in cold storage arranged by job number 4.6: Black and white negatives in cold storage arranged by client 4.7: Negatives in cold storage arranged by client with index cards 4.8: Negatives in cold storage arranged by subject 4.9: Black and white negatives for publication 4.10: Glass Plate Negatives 4.11: Customcraft Negatives 4.12: Banquet Negatives
Series 5: Color Negatives:
Dates -- 1964-1994
Extent -- 72 boxes
Contents -- Series 5: Color Negatives: The series color negatives primarily of color negatives but it also includes order envelopes and materials. The series is arranged into two subseries: clients and subjects. The subseries clients is arranged by job number, and the materials document the orders placed by clients of the Scurlock Studio and identified persons and organizations. The negatives depict individual portrait sittings, groups, and informal poses. The subseries subjects is arranged in alphabetical order, and the materials document negatives that could not be connected to a client of the studio. The negatives represent subjects such as art, buildings, commercial ventures of the Scurlock Studio, and unidentified people. 5.1: Color negatives arranged by client5.2: Color negatives arranged by subject
Series 6: Color Transparencies, Slides, and Other Formats:
Dates -- 1922-1994
Extent -- 40 boxes
Contents -- Series 6: Color Transparencies, Slides, and Other Formats: The series color transparencies, slides, and other formats consists of black and white and color transparencies, color slides, film, proofs, and order materials. The materials are arranged into four subseries: transparencies, slides, film, and proofs. The subseries are arranged by clients, in alphabetical order by last name, and then subjects, in alphabetical order. The materials document the orders placed at the Scurlock Studio by clients and identified individuals and organizations, and materials that could not be identified and are categorized by subjects. The subjects represented in the materials are primarily individual, family, and group portraits, and events and places. Cut but unmounted slides were typically placed in the subseries transparencies but a small number of cut but unmounted slides are included in the slides. The subseries proofs only contains a form of proof used by the Scurlock Studio that has a fugitive image, and other types of proofs printed on low quality paper or are water-marked and have a lasting image were included in the series Black and White Photographs and Color Photographs if the proof was either black and white or color. 6.1: Transparencies6.2: Slides6.3: Film6.4: Proofs
Series 7: Black-and-White Color Separation Negatives and Matrices:
Dates -- 1955-1957
Extent -- 7 boxes
Contents -- Series 7: Black-and-White Color Separation Negatives and Matrices: The materials in the series are black-and-white color separation negatives and a booklet about how to process black-and-white color separation negatives. The materials are arranged into three subseries: clients, subjects, and the booklet. The materials document orders placed at the Scurlock Studio by clients and individuals and organizations that could be identified but not connected to a specific order. The materials also document negatives categorized by subjects because there was no known client or identifiable individual or organization. The subjects represented are individual portrait sittings and groups, and unidentified people. 7.1: Clients Black-and-White Color Separation Negatives 7.2: Subjects Black-and-White Color Separation Negatives Booklet
Series 8: Scurlock Studio Business Records:
Dates -- 1907-1996
Extent -- 66 boxes
Contents -- Series 8: Scurlock Studio Business Records: The series Scurlock Studio Business Records contains paperwork pertaining to the administration of the business, the financial documentation of the business, the reocrds of sales, the advertising signs and promotions of hte business, the files kept on employees, and other materials kept at the Scurlock Studio. The series is arranged into six subseries: administrative file, financial, sales, advertising and marketing, employee and personnel, and office files. Each subseries is arranged differently according to the types of materials predominantly found in the subseries or in chronological order. The subjects represented in the series are mostly related to the financial records of the Scurlock Studio kept and the invoices of sales records. A wide variety of other subjects relating to the the business records of the Scurlock Studio can also be found including: session registers, construction plans, advertisements for specific holidays, and product information sent to the Studio. Some materials found in this series may be marked Scurlock Studio and Custom Craft, the color division of the Scurlock Studio, and were placed with this series because the Scurlock Studio was the primary business. Other materials with an unclear origin of either the Scurlock Studio or Custom Craft were placed in this series. 8.1: Administrative Files8.2: Financial8.3: Sales8.4: Advertising and Marketing8.5: Employee and Personnel8.6: Office Files
Series 9: Custom Craft Business Records:
Dates -- 1951-1994
Extent -- 57 boxes
Contents -- Series 9: Custom Craft Business Records: The series Custom Craft Business Records consists of paper documents relating to the administrative, financial, sales records, employee and personnel, and other files about the affairs of the Custom Craft business's day-to-day operations. The materials are arranged into five subseries: administrative, financial, sales, employee and personnel, and office files. The materials within a subseries are ordered by types of documents that consisted of a large number of materials listed first and materials with few documents following the grouped materials in chronological order. The materials document the day-to-day business of Custom Craft. The subjects represented are documents relating to the administration of the business, journals kept to document finances, the order invoices, the files kept about employees, product information, and materials accumulated in the office. Some documents may list both the Scurlock Studio and Custom Craft and were kept with the business records of Custom Craft if the materials appeared to fit the activities, color photography, of that business. Other documents relating to the business affairs of Custom Craft may be in the series Scurlock Studio Business Records because these documents did not clearly indicate which business the documents belonged to; in these cases, the materials were put in the series Scurlock Studio Business Records because the business was the primary business of the Scurlocks. There business records seem to indicate that there was not always a clear differentiation between the two businesses. 9.1: Administrative9.2: Financial9.3: Sales9.4: Employee and Personnel9.5: Office files
Series 10: Capitol School of Photography:
Dates -- 1948-1954
Extent -- 4 boxes
Contents -- Series 10: Capitol School of Photography: The series Capitol School of Photography consists of paper documents, photographs, and transparencies. The materials are arranged in chronological order and document the administration of the Capitol School of Photography and the students. The subjects represented are administrative documents, student files, photographs by students, photographs of students and the space used for the School, and transparencies of the same subjects.
Series 11: Washington Stock:
Dates -- 1981-1994
Extent -- 2 boxes
Contents -- Series 11: Washington Stock: The series Washington Stock consists of order materials, orders, and published materials. The materials are arranged chronologically and document the orders placed for Washington Stock and how the materials were used and published. The subjects represented are orders, standard forms used by Washington Stock, and published materials.
Series 12: Background Materials and Publications:
Dates -- 1902-1995
Extent -- 18 boxes
Contents -- Series 12: Background Materials and Publications: The series Background Materials and Publications is composed of paper documents, published materials, and materials from exhibitions. The materials are arranged into four subseries: historical and background information, Scurlock images, reference materials, and exhibition materials. The materials document the Scurlocks, published Scurlock images, published materials lacking Scurlock images, exhibitions of Scurlock images, and other exhibitions of related material. The subjects represented are largely materials related to the Scurlocks' photography and personal interests. Images were placed in the subseries Scurlock images if the photograph was credited to the Scurlocks or was a photograph known to have been taken by the Scurlocks; it is possible that uncredited and less well known images taken by the Scurlocks are present in the subseries reference materials. 12.1: Historical and Background Information12.2: Scurlock Images12.3: Reference Materials12.4: Exhibition Materials
Arrangement:
The collection is divided into 12 series.
This collection was processed with numerous changes in arrangement and numbering of boxes. Original box numbers have been retained in this finding aid for cross-reference purposes and to assist anyone with a record of photographs according to the original box numbers.
Biographical / Historical:
The Scurlock photographic studio was a fixture in the Shaw area of Washington, D.C. from 1911 to 1994, and encompassed two generations of photographers, Addison N. Scurlock (1883-1964) and his sons George H. (1920- 2005) and Robert S. (1916-1994).
The turn of the twentieth century saw a mass exodus of African Americans from the South to northern cities in search of better employment opportunities and fairer racial treatment. Although many considered Washington to be the northern-most southern city, it still offered opportunities for African Americans leaving seasonal agricultural work and racial oppression in the South. In Washington, African Americans found stable employment with the U.S. government. In addition, Howard University offered African Americans teaching opportunities, college education, and professional training as doctors, dentists, nurses, lawyers, and ministers. By 1900 a substantial African-American middle class existed in Washington. Despite the fact that Washington was a historically and legally segregated city (and would remain so into the 1960s), this middle class population continued to grow and prosper.
After graduation from high school, Addison Scurlock moved from Fayetteville, North Carolina, to Washington, D.C., with his family in 1900. With a keen interest in photography, he sought out an apprenticeship at the white-owned Moses Rice Studio on Pennsylvania Avenue. The Rice brothers (Amos and Moses) had been in Washington working as photographers since the 1860s and had one of the more prominent and better studios in the city. There Addison learned portrait and general photography. In 1904, he left Rice and began his photographic career at his parents' home. By 1911, when he opened the Scurlock Studio, he had already captured the likeness of Booker T. Washington (1910; see Appendix B), most likely his most well-known portrait. Scurlock quickly identified his market: a self-sufficient African-American community which included students, graduates, and educators affiliated with Howard University; poets; writers; intellectuals; musicians and entertainers; politicians; socialites; fraternal and religious organizations and their leaders. The Scurlock Studio, located at 900 U Street, N.W., became a fixture in the midst of the thriving African-American business community. As with his white counterparts on Pennsylvania Avenue and F Street, N.W., Addison Scurlock inspired passers-by with window displays of his photographs of national leaders and local personalities.
During the 1930s, Addison Scurlock's two sons Robert and George apprenticed in the studio. In addition to portrait and general photography, the sons learned the techniques of retouching negatives and photographic prints, hand-coloring, hand-tinting, and mat decoration. George concentrated on the commercial side of the business while Robert concentrated on the portrait side. The Scurlocks' work changed with the times. From the early 1900s until Addison's death in 1964, the Scurlock Studio was the official photographer of Howard University. In the 1930s the studio began a press service and prepared newsreels on African American current events for the Lichtman Theater chain, which offered some of the few non-segregated venues in the city. Their press service supplied the African-American press with newsworthy photographs of current events, personalities, and social, political, and religious life. Clients included the Norfolk Journal and Guide, Amsterdam News, Pittsburgh Courier, Cleveland Call and Post and the Washington Tribune and Afro-American. George and Robert ran the Capitol School of Photography from 1948 to 1952. Included among their students were African-American veterans under the G.I. Bill, Ellsworth Davis, who later worked as a Washington Post photographer and Bernie Boston of the Los Angeles Times. Perhaps their best-known student was the young Jacqueline Bouvier.
In 1952 Robert opened Washington's first custom color lab. Capitalizing on his knowledge of color processing, Robert was asked to take color portraits of both noted and ordinary individuals. In addition, the studio offered color views of important Washington landmarks and monuments. By the 1960s, Robert added magazine photography to his list of talents, publishing images in Life, Look, and Ebony. Robert continued photographing Washingtonians at his studio until his death in 1994.
According to George Scurlock, the Scurlock studio never had substantial competition in the African American community. Some Washington residents remember it differently, however. Dr. Theodore Hudson, a retired Howard University professor, recalled two other black photographers: Sam Courtney and a man named Sorrell. He said Courtney photographed events in the African American community...?
The collection represents the most comprehensive record of any long-lived, let alone African-American, photography studio, in a public institution. Other twentieth century studio collections exist, such as Robinson Studio, Grand Rapids; Hughes Company, Baltimore, Md. Among African American studio collections in public institutions are James Van Der Zee (New York City, 1912-80s), P.H. Polk (Tuskegee), and the Hooks Brothers (Memphis, Tenn., 1910-1975). The Scurlock Collection covers a greater time period and provides greater depth of coverage of African-American events and personages.
A number of articles have been written about the Scurlock family. Jane Freundel Levey, editor of Washington History magazine, believes that the family went beyond the artful use of light, shadow, and composition. She wrote, "Perhaps the most distinctive hallmark of the Scurlock photograph is the dignity, the uplifting quality of the demeanor of every person captured by photographs who clearly saw each subject as above the ordinary."
Constance McLaughlin Green, one of the leading historians of Washington, D.C., talks about African-American Washington as "the Secret City," a separate world with institutions of its own that remained virtually unknown to the white majority. Addison Scurlock and his sons captured that world on film and in doing so, documented that world in the course of running his business and perfecting his art. Steven C. Newsome, director of the Maryland Commission on Afro-American History and Culture stated that The Scurlocks' photograph "Gave us connections. They tell stories. They let us remember."
The collection includes photographs of the nationally famous Booker T. Washington, W.E.B. DuBois, Paul Laurence Dunbar, Mary McLeod Bethune, Mary Church Terrell, Marian Anderson; the locally or regionally important: P.B.S. Pinchback, Judge Miflin Gibbs, Col. Jim Lewis, Ernest Just, Anna J. Cooper; and actors, artists, vaudevillians, and musicians such as Fredi Washington, Madame Lilian Evanti, Oakley & Oakley, and Duke Ellington.
Sources
George Scurlock. Interview conducted by David Haberstich and intern Lora Koehler at Mr. Scurlock's apartment, Aug. 2003.
Theodore Hudson, conversation with David Haberstich in the Archives Center, 2 February 2004.
Jane Freundel Levey, "The Scurlock Studio," Washington History, 1989, p. 44.
Robert S. Scurlock, "An Appreciation of Addison N. Scurlock's Photographic Achievements," The Historic Photographs of Addison N. Scurlock. Washington, D.C.: The Charles Sumner School Museum and Archives, 1986 (exhibition catalog).
Materials at Other Organizations:
The Historical Society of Washington, DC holds Scurlock-related materials.
The Charles Sumner School Museumn and Archives holds Scurlock-related materials.
Materials in the National Museum of American History:
Cameras and other photographic apparatus, studio furniture, and miscellaneous ephemera from the Scurlock studio are in the History of Photography Collection (now Division of Work and Industry). An adding machine from the studio is in the Museum's mathematics collection. See accessions 1997.0293 and 2010.0157.
Provenance:
The Museum purchased the Scurlock Studio Records from the Estate of Robert S. Scurlock, through Judge Marjorie Lawson in 1997. During the period of negotiation between the museum and Robert Scurlock's heirs, his widow Vivian and brother George, the collection was on loan to the Museum and was housed primarily in a closed exhibition area on the second floor. Staff of the Archives Center took physical possession of the collection long before the transfer to the Museum was final. The studio records and photographs were housed principally in the 18th Street studio and in two rental storage facilities. The primary move of the collection to the Museum occurred in September 1995. An additional pickup occurred on February 12, 1996 (on tags). There was probably one additional pickup from the studio by David Haberstich and Caleb Fey on an unrecorded date.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Series 8: Business Records, Subseries 8.1: Studio Session Registers are restricted. Digital copies available for research. See repository for details.
Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view negatives due to cold storage. Using negatives requires a three hour waiting period. Contact the Archives Center at 202-633-3270.
Rights:
When the Museum purchased the collection from the Estate of Robert S. Scurlock, it obtained all rights, including copyright. The earliest photographs in the collection are in the public domain because their term of copyright has expired. The Archives Center will control copyright and the use of the collection for reproduction purposes, which will be handled in accordance with its standard reproduction policy guidelines. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Scurlock Studio Records, Archives Center, National Museum of American History. Smithsonian Institution
Sponsor:
The collection was acquired with assistance from the Eugene Meyer Foundation. Elihu and Susan Rose and the Save America's Treasures program, provided funds to stabilize, organize, store, and create digital surrogates of some of the negatives. Processing and encoding funded by a grant from the Council on Library and Information Resources.
Identifier:
NMAH.AC.0618
Archival Repository:
Archives Center, National Museum of American History
Recording of conference presentation on women in film
Extent:
1 Sound cassette (label on original containers read: "Athens Film fest 81 Women's from Third World")
Container:
Box 4, Cassette 14
Type:
Archival materials
Audio
Sound cassettes
Date:
1981
Scope and Contents:
Part of the recording includes Pearl Bowser privately studying French.
General:
2012.79.3.120.1a
Collection Restrictions:
Collection is open for research. Access to collection materials requires an appointment.
Collection Rights:
The NMAAHC Media Preservation team can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes.
Collection Citation:
Pearl Bowser Collection, National Museum of African American History and Culture
This collection is primarily the work of one individual, Donald Harvey Sultner, known professionally as Donald Sultner-Welles (1914-1981). The collection forms a written and visual record of Sultner's family, life, and career from 1913-1980. Its major strength is Sultner's photographic documentation of the world during his travels, ca. 1950-1980. Work by other photographers and artists, correspondence, greeting cards, and contemporary memorabilia and ephemera are included, along with fewer than fifty examples of earlier materials, ca. 1790-1900, collected by Sultner.
The entire collection reflects Sultner's lifework and interests. Housed in boxes the collection is organized into eleven series: Personal Papers; Professional Papers; Lecture Materials; Biographical Materials; Transparencies; Photoprints; Photonegatives; Prints, Drawings, Mixed Media; Audio Tapes; Miscellaneous; and Steve Eyster Addenda. The arrangement within each series is based as closely as possi-ble on Sultner's own organization of the materials. However, in several instances similar materials were found separated and have been placed together. In addition, obvious filing mistakes and spelling errors have been corrected. The spelling of geographic place names is based on Official Standard Names prepared by the U.S. Board on Geographic Names, Office of Geography, U.S. Department of the Interior. Not all names given by Sultner were found in the gazetteers, so there may be errors.
The bulk of the collection consists of 2-1/4-inch by 2-1/4-inch color transparencies (Series 5). However, the manuscript materials (Series 1-4) provide a detailed complement to the transparencies. For example, from the mid-1950s until the late 1970s, Sultner kept a travel diary (Se-ries 1). Written on the backs of postcards, this stream-of-consciousness journal reflects not only his daily trips, but his impressions of the countries and thoughts on his photography. A juxtaposition of cards with images is especially useful in understanding what Sultner photographed as well as why and how he photographed it. Sultner's professional corre-spondence (Series 2) documents the various types of groups before which he performed and equipment manufacturers dealt with for cameras, projectors, and so on. Notes, drafts, and final lectures (Series 3) present the performance side of Sultner. This material, when viewed with tapes of concerts and slides, begins to recreate the photo-concert as Sultner presented it. Scrapbooks (Series 4), kept by Sultner from the 1940s to the 1980s, present Sultner's life and career in chronological fashion.
The transparency portion of the collection (Series 5), containing over 87,000 images, is especially rich because of its documentation of the countries of the world. People are seen at their daily tasks, such as washing clothes, marketing, shopping, and eating. Cities are documented as they changed over the years. Two areas in particular will be of spe-cial interest to European and Asian researchers. The first is Sultner's USIS Asian tour in 1959. He visited Japan, Java, India, Korea, the Phil-ippines, Laos, Cambodia and Vietnam. The serene, prewar cities and coun-tryside of Laos, Cambodia, and Vietnam evince nothing of the devastation to come in the 1960a and 70s.
The second area of interest is Sultner's passion for documenting archi-tecture. As a guest of the German government in 1954, Sultner documented the devastation of World War II and photographed both the reconstruction of bombed buildings and the construction of buildings reflecting "new" postwar architectural styles. In addition to photographing post-WW II styles, throughout his career Sultner documented Palladian, baroque and Rococo architecture. This interest manifested itself in several of his lectures.
A third subject area of interest to Sultner was gardens. Among his first lectures following his USIS tour was "Gardens of the World." Sultner de-veloped this theme into an ongoing commitment to ecology, culminating in a filmstrip, "The Time is Now" (Series 10), prepared for the Hudson River Conservation Society in the 1960s. Carl Carmer, a noted author, wrote the text for the filmstrip. Sultner's taped interviews, lectures, and program music (Series 9) complement the transparencies. During his USIS-sponsored Asian tour in 1959, Sultner recorded impressions of his trip on tape. Interviews with people living in the countries he visited, radio interviews, and his own personal reflections are included. Of particular interest are his "No Harm Asking" interviews in Manila (tape #2), his interview of two French hotel managers in Saigon discussing post-French control conditions (tape #9), and--perhaps the most unusual--his discussion with Erna Hanfstaengl about her personal relationship with Adolf Hitler (tape #107). Scripts for lectures (Series 3) round out the documentation of Sultner's profes-sional work.
Because of the arrangement of the transparencies, it is necessary to check several areas for the same subject. For example, Vietnam images are in the "World" section alphabetically under Vietnam (box 81). Sult-ner also lectured on Vietnam, so there are Vietnamese images in the "framed subjects" (Boxes 137-138). Another example, perhaps more compli-cated, but more common to Sultner, was his distinguishing between images of unidentified "People" and identified "Portraits." Transparency stud ies of human beings will be found under the subseries "People." "Subjects --Portraits," various countries in the subseries "World," and "Lectures." There are also individuals in the black-and-white photoprints (Series 6), and photonegatives (Series 8). The painter and print-maker Charles Shee-ler appears in a number of locations, as does tenor Roland Hayes. Another area of complexity with regard to people concerns the transparencies and negatives. Sultner interfiled his transparencies and negatives of iden-tified individuals. For appropriate storage, these two different formats have been arranged in separate series. Therefore, instead of container lists for the two series, there is a combined alphabetical index to both (pp. 166-206).
Of tangential interest are the photoprints (Series 6), etchings, wood-cuts, and other prints (Series 8) collected by Sultner. One particular subseries of interest contains photographs presented to Sultner by Asian photographers during his 1959 tour. Over 45 images were given to Sultner and represent the standards of camera-club photography in the 1950s. Thesecond subseries consists of over 25 prints by the Italian-American art-ist Luigi Lucioni (1900- ). For further information on this artist,see The Etchings of Luigi Lucioni, -A Catalogue Raisonne', by Stuart P.Embury (Washington, 1984). Lucioni also painted Sultner's portrait in1952 and the "People" section of the transparencies contains a number of images of Lucioni at work. Another significant category is the Japanese prints, including two by a major nineteenth-century artist, Ando Hiro-shige (1797-1858).
Arrangement:
The collection is arranged into eleven series.
Series 1: Personal Papers, 1923-1981
Series 2: Professional Papers, 1954-1980
Series 3: Lecture Materials, 1952-1980
Series 4: Biographical Materials, 1954-1980
Series 5: Transparencies, 1947-1980
Series 6: Photoprints, 1913-ca. 1980
Series 7: Photonegatives, 1929-1981
Series 8: Prints, Drawings, Mixed Media, ca. 1790-1979
Series 9: Audio Tapes, 1947-1980
Series 10: Miscellaneous, 1947-1980
Series 11: Steve Eyster Addenda, 1937-1980
Biographical / Historical:
Donald Harvey Sultner was bom in York, Pennsylvania, on April 13, 1914, the son of Lillian May Arnold Sultner and Harvey A. Sultner. In 1923 Sultner attended the Lewis Institute in Detroit, Michigan, to overcome a speech impediment. He entered the Wharton School of the University of Pennsylvania in 1932 and graduated in 1936. Sultner studied merchandising and sang in the glee club, then under the direction of composer Harl MacDonald. Sultner, a baritone, continued his interest in music and studied voice with Reinald Werrenrath and with Florence Benedict and Bruce Benjamin in New York City. In the late 1940s and early 1950s he appeared in concert with accompanists at schools, clubs, and resort hotels along the East Coast.
It appears that photography was always an important part of Sultner's life. Using a small format (120) camera, he recorded his vacation travels around the United States and Canada, parties, and his family. While living in New York, Sultner continued photographing friends and family and began photographing the famous people he encountered on his concert tours. In the early 1950s he began taking 2-1/4-inch by 2-1/4-inch color transparencies (slides) of landscapes and architecture as he traveled giving concerts.
Sultner, who had taken the stage name of "Sultner-Welles," began what was to be his lifework as a professional "photo-lecturer" in 1952. He illustrated his talks on nature, art, architecture, and the environment with his color slides. In 1954 Sultner toured West Germany as a guest of the Bonn government, and in 1959 he lectured in Asia under the auspices of the U.S. State Department. He was dubbed the "camera ambassador." Constantly adding new material to his collection of slides, Sultner traveled extensively throughout the United States, speaking before garden clubs, cultural organi-zations, and schools. He also appeared aboard various ships of the Holland-America line during a number of cruises abroad.
Sultner had established his performance style by the early 1960s. He expanded his lectures to include a combination of art, words, and music. The expanded presentation resulted in the "photo-concert," a unique synthesis of light and sound that Sultner frequently per-formed with a symphony orchestra. The Baltimore Symphony Orchestra commissioned "Concertino for Camera and Orchestra" by Eric Knight with Sultner in mind. The world premiere was in Baltimore in March 1979. While he spoke on many art, garden, and architectural topics, Sultner specialized in subjects relating to the baroque and rococo periods and Palladian architecture.
Sultner died of cancer in York, Pennsylvania, on March 25, 1981, at the age of 67.
1914 -- April 13, born York, Pennsylvania.
1929 -- In Detroit at Lewis Institute to overcome a speech impediment.
1932 -- To University of Pennsylvania.
1935 -- Summer trip to Roanoke (VA), Picketts, Hershey (PA); fall trip to New England for fraternity (AXP) convention.
1936 -- Spring glee club trip; graduated from the Wharton School of the University of Pennsylvania; summer trips to Newport News (VA), northern trip to Canada, Picketts (PA).
1937 -- Fall trip to Williamsburg (VA), Duke University (NC); Sultner family begins building "Glen Hill" (Dover, PA).
1938 -- Summer at home, and Picketts (PA), Camp Pratt.
1939 -- Spring trip to Washington, D.C.; September trip to The Homestead (WV), Hot Springs (WV), Virginia; Lake Mohonk (NY).
1940 -- Summer trip to New Orleans, Blowing Rock (NC); winter trip to Skytop Club (NY); fall trip to Atlantic City (NJ), Philadelphia (PA), Annapolis (MD).
1941 -- Winter 1941-42 appearance in "Hit the Deck." Lake Mohonk (NY) with Ted Walstrum (Sept. 22-23); Skytop Club (NY) (February); summer trip to Canada, Lake Chazy (NY) (Aug. 17-23).
1942 -- Spring in Atlantic City (NJ); summer to Buck Hill Falls, Lakes Chazy and Mohonk.
1943 -- Summer trip to Mohonk (NY).
1944 -- Summer: To Toronto (Ontario), Muskoka Lake, Bigwin Island, Montreal (Quebec), Mohonk (NY).
1946 -- To Mohonk (NY), Ogunquit (ME), Old Saybrook (CT), Nantucket (RI).
1947 -- Singing tour of Canada and New England; winter-spring tour to Georgia and Florida.
1948 -- To Florida and Nassau, Feb.-Mar., Vermont, July-Aug.; Nassau-Havana-Miami-Bermuda, October.
1949 -- Singing tour of North and South Carolina.
1950 -- Summer trip to South.
1951 -- To District of Columbia, Massachusetts, New Hampshire, [New Jersey?], New York, Vermont.
1952 -- January 9: first public photo-concert, Pennsylvania Academy of the Arts, Philadelphia; trips to Connecticut, Florida, Massachusetts, New Hampshire, New Jersey, New York, Rhode Island, South Carolina, Vermont.
1953 -- To Connecticut, Florida, Georgia, Massachusetts, New Hampshire, New Jersey, New York, Pennsylvania, South Carolina, Vermont.
1954 -- Guest of German government for a study tour in the fall. To District of Columbia, Florida, Georgia, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Pennsylvania, South Carolina, Virginia.
1955 -- To Holland; Connecticut, District of Columbia, Florida, Massachusetts, New Hampshire, New York, North Carolina, Pennsylvania, South Carolina, Vermont, Virginia.
1956 -- To California, District of Columbia, Florida, Georgia, Illinois, Indiana, Massachusetts, New Jersey, New York, North Carolina, Ohio, Pennsylvania, South Carolina, Tennessee, Virginia.
1957 -- Holland-America Cruise to Germany, Austria, Italy. To Connecticut, Illinois, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Ohio, Pennsylvania, Vermont, Virginia.
1958 -- Holland-America Cruises to Germany, Austria, Holland, Italy, Switzerland. To Connecticut, Florida, Georgia, Illinois, Massachusetts, Minnesota., Missouri, New Hampshire, New York, Pennsylvania, Rhode Island, South Carolina, Tennessee, Vermont, Wisconsin.
1959 -- United States Information Service (USIS)-sponsored tour of Asia: Burma, Cambodia, Hong Kong, India, Indonesia, Japan, Korea, Laos, Malaya, Philippines, Singapore, Taiwan, Thailand, Turkey, Vietnam. Also visited Austria, Czechoslovakia, Germany, Greece, Iran, Italy, Spain; Alaska, California, Massachusetts, New York, Pennsylvania.
1960 -- Holland-America Cruise to Austria, Belgium, Caribbean, France, Germany, Holland, Italy, Morocco. To Arizona, California, Florida, Indiana, Massachusetts, Minnesota, Nevada, New Hampshire, New Mexico, New York, Texas, Utah, Virginia, Washington, Wisconsin.
1961 -- To Canada, France, Germany, Switzerland; Alabama, California, Colorado, Connecticut, Florida, Georgia, Idaho, Illinois, Louisiana, Mississippi, Missouri, Montana, New Hampshire, New Jersey, New York, North Carolina, Ohio, Oregon, Pennsylvania, Rhode.Island, South Dakota, Tennessee, Utah, Vermont, Virginia, Washington, Wisconsin.
1962 -- Portfolio, "Autumn in Vermont," with introduction by Carl Carmer, published in Autumn issue of Vermont Life. Holland-America Cruise to Denmark, England, France, Germany, Holland, Italy, Sweden. To Connecticut, District of Columbia, Florida, Illinois, Iowa, Massachusetts, Michigan, New York, North Carolina, Pennsylvania, South Carolina, Vermont, Virginia.
1963 -- Holland-America Cruise to Caribbean, Canada, Sweden, Thailand. To Alabama, California, District of Columbia, Florida, Georgia, Illinois, Louisiana, Massachusetts, Minnesota Mississippi, Missouri, New Hampshire, New Jersey, N;w York, Ohio, Pennsylvania, Texas, Vermont, Virginia, Washington.
1964 -- Holland-America Cruise to Germany, Canada, England, Holland, Wales. To Delaware, District of Columbia, Indiana, Kentucky, Massachusetts, New Hampshire, New York, Ohio, Pennsylvania, Texas, Virginia.
1965 -- Holland-America Cruise to Austria, Czechoslovakia, France, Germany, Holland, Portugal, Wales. To Arkansas, Connecticut, District of Columbia, Indiana, Kentucky, New Hampshire, New York, Pennsylvania, Vermont, Virginia.
1966 -- Holland-America Cruise to Caribbean, Germany, France, Holland, Italy, Portugal, Switzerland. To New Jersey, North Carolina, Pennsylvania, South Carolina, Tennessee, Virginia.
1967 -- Holland-America Cruise to Caribbean, Austria, Denmark, England, Germany, Holland, Italy, Portugal, Sweden, Wales. To Massachusetts, New Jersey, New York, Rhode Island, Vermont, Virginia.
1968 -- To Germany; Massachusetts, New Hampshire, New Jersey, New York, Ohio, Pennsylvania, Vermont, Virginia.
1969 -- To England, France, Germany, Holland, Switzerland; Ohio, Pennsylvania, Virginia.
1970 -- Holland-America Cruise to Caribbean, Denmark, Iceland, Sweden. To Alabama, District of Columbia, Florida, Georgia, Massachusetts, New Hampshire, New York, Pennsylvania, South Carolina, Vermont, Virginia.
1971 -- Holland-America Cruise to Caribbean, Canada, Denmark, Italy, Portugal, Sweden. To Alabama, Georgia, Massachusetts, Nebraska, New Hampshire, New York, North Carolina, Pennsylvania.
1972 -- Holland-America Cruise to Asia, Pacific, Caribbean, Africa, Austria, Italy, Japan, Thailand, Turkey. To California, New Jersey, New York, Pennsylvania, Rhode Island, Virginia.
1973 -- Holland-America Cruise to Austria, Denmark, Germany, Holland, Iceland, Sweden. To California, Connecticut, District of Columbia, Massachusetts, New York, Ohio, Pennsylvania, Vermont.
1974 -- To Germany, Switzerland; California, Illinois, Massachusetts, New Jersey, New York, Ohio, Pennsylvania, Virginia.
1975 -- To Austria; California, Connecticut, District of Columbia, Massachusetts, New Jersey, New York, North Carolina, Pennsylvania, Virginia.
1976 -- To Canada; Connecticut, District of Columbia, Illinois, Iowa, Massachusetts, Missouri, Nebraska, New Mexico, New York, Ohio, Pennsylvania, Utah.
1977 -- To Canada, Germany; New York, Pennsylvania, Vermont, Virginia.
1978 -- To Scotland; Connecticut, Florida, Georgia, Kentucky, Massachusetts, New York, Pennsylvania, Rhode Island, South Carolina.
1979 -- To England; Florida.
1980 -- To Florida.
1981 -- March 25: Sultner dies of cancer, York, Pennsylania.
Introduction:
The Donald H. Sultner-Welles Collection, ca. 1790-1981, came to the National Museum of American History in 1982 from the estate of Mr. Sultner. The collection was created by Sultner over his adult life and represents one of the most extensive collections of color transparencies created by one individual and held in a public repository. Sultner's emphasis was on world culture. He took the majority of his photographs in the eastern United States, western Europe, and Asia. Gardens, architecture, and people are the three major subject areas represented in the collection. Of additional interest are Sultner's taped impressions of his 1959 United States Information Service (USIS)-sponsored Asian tour. The collection occupies 309 boxes and covers more than 83 cubic feet.
The Donald H. Sultner-Welles Collection is open to researchers in the Archives Center, third floor east, of the National Museum of American History, between 12th and 14th Streets, on Constitution Avenue, N.W., Washington, D.C. 20560. The Archives Center is open Monday through Friday from 10:00 a.m. to 5:00 p.m. Written and telephone (202/357-3270) inquiries are welcome and researchers are encouraged to contact the Archives Center before their arrival. The FAX number is 202/786-2453.
This is the eleventh in a series of occasional guides to collections in the Archives Center. Finding aids to other collections are available. The Guide to Manuscript Collections in the National Museum of History and Technology (1978) and an updated compilation contain brief descriptions of all archival holdings in the Museum. All current Archives Center holdings are available for search on the Smithsonian Institution Bibliographic Information System (SIBIS), an online database.
Restrictions:
Collection is open for research but a portion of the collection is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
A small number of letters and photographs are restricted until the year 2031. Identification list in box.
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.
An extensive collection of oral histories conducted by Lu Ann Jones throughout the southern United States between 1985-1991. A few oral histories were conducted by Pete Daniel in the early 1980s. Subjects include all facets of agriculture in the south.
Scope and Contents note:
The collection is divided into four series. Series 1: Oral History Transcripts, 1982-1991 are transcribed versions of the oral interviews. Correspondence and/or notes pertaining to the interviewed individual collected or written by the interviewer are filed in this series following the transcription. The majority of the oral histories were done by Lu Ann Jones between1985-1991. There are a few interviews done by Pete Daniel in the early 1980s and some reference copies of oral histories done elsewhere.
This series is divided into eight sub-series: Sub-series 1.1: Arkansas, Sub-series 1.2: Georgia, Sub-series 1.3: Louisiana, Sub-series 1.4: Mississippi, Sub-series 1.5: North Carolina (including transcripts of the Mexican Workers Project in English and Spanish), Sub-series 1.6: South Carolina, Sub-series 1.7: Tennessee, and Sub-series 1.8: Virginia. Files are arranged alphabetically by state and there under by name; within the file materials are arranged chronologically. Interview files may contain transcribed copies of the oral history interviews and subsequent draft copies with corrections by the interviewer or subject. The file also may contain distillations or edited versions of the interview done by the researcher for possible publication. Correspondence and notes files may include Life History Forms, correspondence, newspaper articles, interviewer's notes, business cards, and paper copies of photographs. Signed releases are on file in the registrar's office, NMAH, with copies in the control file of the Archives Center.
Series 2: Project Files and Reference Materials, 1928-2004 contain notes and correspondence kept by Jones in support of the oral history project. This series is divided into four sub-series: Sub-series 2.1: State Files, Sub-series 2.2: Project and Reference Files, 1985-1991, Sub-series 2.3: Reference Publications, Pamphlets and Articles, 1928-2004 and Sub-series 2d: Computer Floppy Disks, 1985 and undated. This series include bills, receipts, photo orders, travel brochures, reference materials, articles, correspondence, fundraising proposals and materials, USDA Extension Service bulletins, product cookbooks, and ephemera. These materials are valuable in documenting the methodology of the oral history project. They are also valuable in detailing the funding and maintenance of the project over its five-year lifespan. There is also a great deal of information on black farmers. This series is arranged alphabetically by state and county or by article/publication title and within the file chronologically.
Series 3: Photographic Prints and Slides, 1987-1991 documenting the individuals interviewed, their homes and businesses, and geographic locations that were studied as part of the oral history project. The series is arranged numerically then chronologically by year. This series is followed by detailed photographic descriptions arranged alphabetically by state then subject. Photograph files contain photographs taken by a Smithsonian photographer or Jones and any copies of photographs supplied by the subject. Most of the photographs are black and white.
Series 4: Original Interview Tapes and Reference Compact Discs (CD), 1986-1991 are the original tapes of the individual interviews conducted by Jones. This series is divided into eight sub-series. Reference numbers for CDs matching the original tapes are noted after the tapes. CDs 495-497 are for the Smithsonian Photographer's Show: Sub-series 4.1: Arkansas, Sub-series 4.2: Georgia, Sub-series 4.3: Louisiana, Sub-series 4.4: Mississippi, Sub-series 4.5: North Carolina (within this sub-series are the transcripts of the Mexican Workers Project there may be an English language transcription as well as one in Spanish), Sub-series 4.6: South Carolina, Sub-series 4.7: Tennessee and Sub-series 4.8: Virginia and Sub-series 4.9: Miscellaneous and Duplicates, within the sub-series tapes are arranged alphabetically by subject.
Arrangement:
The collection is divided into four series:
Series 1, Oral History Transcript
Series 2, Project Files
Series 3, Photographic Prints and Slides
Series 4, Original Oral History Interview Tapes and Reference Compact Discs (CDs) are the original interview tapes and the accompanying reference copy cds.
History:
The history of the American South is intricately entwined with the history of agriculture in North America. Until very recently, post 1950, the South was predominately rural and agricultural in both its production and culture. By the 1980s American agriculture, and particularly agriculture in the south, was under attack on various fronts especially cultural, financial, and technological. This assault threatened the very existence of the small and family farm. Many small farming operations went bankrupt and the face of American agriculture was becoming more corporate. It was amidst these troubling times that the Agricultural Division of the Smithsonian's National Museum of American History undertook a massive project to document southern agriculture through oral history.
Through the efforts of NMAH staff, Pete Daniel, curator and project director, LuAnn Jones, researcher, and with countless support from staff photographers and personnel, Jones conducted approximately 159 interviews of individual persons, couples and sometimes small groups, in eight southern states over a five year period, 1986-1991. The project was funded by a series of grants from various sources. Not only were oral histories taken but also substantial documentary photographs and slides of the many interviewees. The interviews ranged from individual farmers to individuals at companies and corporations involved with agriculture. The range of crops discussed included tobacco, cotton and rice. The project interviewed a wide range of subjects: male, female, black, white, and Mexican. The project has contributed to at least two books, Mama Learned Us to Work: Farm Women in the New South by LuAnn Jones and Like a Family: The Making of a Southern Cotton Mill World by Jacquelyn Dowd Hall and others of which Jones was a contributing author.
Related Collections:
Materials in the Archives Center
Warshaw Collection of Business Americana (NMAH.AC.0060)
Kulp Collection of Account Books, 1755-1904 (NMAH.AC.0149)
Robinson and Via Family Papers (NMAH.AC.0475)
William C. Kost Farm Records (NMAH.AC.0481)
Timothy B. Bladen, Southern Maryland Photoprints (NMAH.AC.0767)
Provenance:
A transfer from the Division of History of Technology (Agriculture), NMAH, July 2001
Restrictions:
Collection is open for research. Unprotected photographs must be handled with gloves.
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.
Use of the materials requires an appointment. Please contact the archivist at ACMarchives@si.edu
Collection Rights:
Collection items available for reproduction, but the Archives makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives cost-recovery and use fees may apply when requesting reproductions.
5.3 Linear feet (Boxes 1-6, OV 47; Reels 5708-5717)
Type:
Archival materials
Date:
1923-1986
Scope and Contents note:
Correspondents in this series include a wide range of international architects, designers, and artists who interacted with Breuer. The letters discuss his training and the execution of his hundreds of architectural projects and designs for furnishings. Researchers will find the letters between Breuer and his Bauhaus colleagues, including Josef Albers, Herbert Bayer, Walter Gropius, and László Moholy-Nagy, of particular interest.
Appendix A: List of Notable Correspondents from Series 2: Correspondence
Arrangement note:
The files are arranged chronologically, with the undated letters arranged alphabetically according to the correspondents' surnames.
Appendix A: List of Notable Correspondents from Series 2: Correspondence:
Missing Title
Aalto, Alvar, 1964 (1 invitation): to reception honoring Aalto
Abercrombie, Stan (architect), 1964-1977 (8 letters)
Abramovitz, Max (Harrison & Abramovitz, Architects), 1947 (3 letters) and 1963 invitation from Brandeis University in honor of Abramovitz
Harry N. Abrams, Inc., 1975 (2 letters): from Breuer's office Académie d'Architecture, 1976-1979 (4 letters)
Acme Laboratory Equipment Company, 1950 (1 letter): from Breuer's office ács, Gábor and Anikó, 1956 (1 letter)
Agel, Jerome B. (Agel & Friend), 1959 (1 letter): includes press release
Agostini, Edward (Becker and Becker Associates), 1969 (1 letter): from Breuer's office
Airflow Refrigeration, 1954: (1 letter): from Breuer's office
Alabama Polytechnic Institute, 1947 (1 letter)
Albers, Josef ("Juppy") and Anni (Black Mountain College), 1933-1958 (11 letters): a 1956 letter includes miscellaneous typescripts by Albers and clippings; a 1965 letter to the Phoenix Art Museum from William A. Leonard of the Contemporary Arts Center concerns an Albers exhibition and includes a list of works; a 1967 letter from Breuer to National Institute of Arts and Letters includes a typescript concerning Albers
Alexander, H. J. W. (Architectural Association), 1957-1958 (4 letters)
Alpern, Robert, 1964 (letter from Breuer)
B. Altman & Company, 1951 (1 letter)
Aluminum Company of America (ALCOA), 1946-1964 (2 letters)
Aluminum Import Corporation, 1946 (2 letters)
Alvarez, Raúl J., 1968 (1 letter)
American Academy in Rome, 1947-1961 (4 letters): request recommendations for Frederic S. Coolidge, Arthur Myhrum, and Thomas B. Simmons
American Academy of Arts and Letters, 1965-1978 (10 letters): a letter 1967 is a nomination by Walter Gropius for Sigfried Giedion's honorary membership in American Academy of Arts and Letters and National Institute of Arts and Letters; see National Institute of Arts and Letters
American Academy of Arts and Sciences, 1977 (1 letter)
American Academy of Political and Social Science, 1946 (1 letter)
American Arbitration Association, 1960-1968 (52 letters)
American Church in Paris, 1966 (1 letter): from Robert F. Gatje
American Council for Emigres in the Professions, Inc., undated: letter introduces Viola Kondor
American Craftsmen's Council (Mrs. Vanderbilt Webb), 1967 (1 letter)
American Designer's Institute, 1947 (convention schedule)
American Export and Isbrandtsen Lines, 1963 (1 letter)
American Federation of Arts, 1958-1967 (8 letters)
American Field Service, 1956 (1 ): letter from Breuer on behalf of Danielle Eyquem
American Fork & Hoe Company, 1944 (1 letter)
American Hungarian Studies Foundation (August J. Molnár), 1964-1968 (10 letters): a 1967 invitation is to George Washington Awards Dinner in honor of Breuer, Watson Kirkconnel, and Hans Selye
American Institute of Architects, 1946-1976 (45 letters): membership applications for Edward Larrabee Barnes, Landis Gores, John MacL. Johansen, George Sherman Lewis, A. McVoy McIntyre, Robert Hays Rosenberg, Bernard Rudofsky); a 1963 letter from Breuer's office concerns a Skyscraper Architecture survey team from Japan; a 1968 letter concerns the Comité Organizador de Los Juegos de la XIX Olimpiada
American Institute of Architects, College of Fellows, 1976 (1 letter): from Breuer's office
American Institute of Architects, Jury of Fellows, 1960 (3 letters): from Breuer
American Institute of Architects, Library Buildings Award Program, 1967 (1 letter): from Breuer's office
American Institute of Architects, New York Chapter, 1945-1963 (16 letters)
American Institute of Decorators (Richard F. Bach), 1956 (1 letter)
American Institute of Interior Design in Switzerland (Charles D. Gandy and Susan Zimmermann), 1977-1978 (2 letters)
American-Jewish Congress: see Commission on Community Interrelations (CCI)
American Library Association, 1951-1968 (2 letters)
American Planning and Civic Association, undated: membership notice
American Press Institute, 1974-1975 (5 letters): from Breuer
American Radiator and Standard Sanitary Corporation, 1947 (1 letter): from Breuer
American Shakespeare Festival, 1954 (1 letter): from Breuer's office
American Society for Church Architecture, 1965-1966 (4 letters)
American Society for Friendship with Switzerland, 1969 (1 letter)
American Society of Interior Decorators, 1976 (1 letter): from Breuer's office
American Society of Planners and Architects (ASPA), 1945-1947 (12 letters)
Anderson, Lawrence B., 1945-1965 (2 letters): see American Society of Planners and Architects (ASPA)
András, Ivánka, 1957 (1 letter)
Andrews, Robert, 1956 (1 letter)
Aoyagi, Nobuo, 1964 (1 letter)
Aoyagi, Tetsu, 1965 (1 letter)
Arbelaez, Carlos, 1952 (1 letter): from Breuer)
Architects & Engineers Institute, 1959 (1 letter)
Architects' Collaborative, 1946-1959 (3 letters): see McMillan, Louis and Peggy
Architectural Association, London, 1965-1969 (7 letters): see project file for UNESCO for correspondence with Edward J. Carter Architectural Design, 1960 (1 letter): from Ernesto Fuenmayor and Manuel Sayago of Centro Profesional del Este)
Architectural Forum, 1960 (1 letter): from Leonard J. Currie
Architectural Group, (W. D. Wilson), 1947 (1 letter)
Architectural League of New York, 1947-1975: (26 letters and minutes from 6 meetings): see Ketchum, Morris
Architectural Record, 1946-1959 (9 letters)
Architectural Students Association, 1958 (1 letter)
Architecture Formes Fonctions, 1971 (3 letters): includes a typescript "Design Research in Concrete" for July 1971 magazine
Architektur + Wohnwelt, 1975 (3 letters)
Argan, Giulio Carlo, 1955-1957 (6 letters)
Arizona, University of, 1974 (1 letter): from Breuer's office
Bergen County Cut Stone Company, 1967 (1 letter): from Breuer's office
Bergen, Emiel, 1956 (1 letter)
Berger, Donald (North Dakota Agricultural College), 1953 (1 letter)
Berger, George, 1950 (1 letter)
Berger, Otti, undated and 1934-1937 (7 letters)
Berger, Sanford and Helen (architects), 1945 (1 letter): from
Breuer to László Moholy-Nagy and Ludwig Mies Van der Rohe introducing the Bergers
Berger, Stephen E., 1959 (1 letter)
Berizzi, Sergio, 1959 (4 letters): letters of introduction
Berko, Franz, 1946-1947 (5 letters): including one from László Moholy-Nagy
Berlin Interbau, (International Building Exhibition), 1957 (1 letter): from mayor of Berlin
Berndt, Marianne, 1933 (1 letter)
Berti, Vincent, 1974 (1 letter): from Breuer's office
Better-Philadelphia Exhibition (Richard A. Protheroe, Harry
B. Nason, Hugh B. Sutherland), 1947 (1 letter)
Bevington, Alistair M., 1959 (1 letter): includes résumé
Bevington, Mariette (stained-glass designer), 1967 (1 letter): to Herbert Beckhart
Bharadwaj, Ajaya, 1955 (2 letters)
Biasini, E. J. (French prime minister), 1972 (1 letter)
Biddle, Mrs. Francis, 1962-1968 (3 letters): includes a funeral announcement for her husband)
Biddle, George, 1965 (4 letters): 3 from Breuer
Bier, Justus (University of Louisville), 1938 (3 letters)
Bigeleisen, Jacob (University of Rochester), 1970 (1 letter) Ronald S. Biggins and Associates, 1958 (1 letter)
Bijenkorfbeheer N.V., Amsterdam, 1967-1974 (2 letters): from Breuer
Bill, Alexander H., Jr., undated (1 calling card)
Blake, Peter (architect), undated and 1950-1976 (41 letters): a 1958 letter from Breuer is illustrated with a hand-drawn map by
Blake of Easthampton property
Blanton, John A., 1951 (1 letter)
Blaustein, Morton K., 1963-1965 (2 letters)
Bliss, Douglas P. (Glasgow School of Art), 1947 (1 letter): from Breuer
Bloeme, Sidney, 1963 (1 memorandum): from James S. Plaut
Blum, Kurt (photographer), 1974 (1 letter): from Breuer's office
Bode, Paul (architect), 1956 (1 letter)
Bodri, Ferenc, 1967-1975 (3 letters): 2 1975 letters from Breuer
Boehringer Ingelheim, Ltd., 1975 (1 letter): from Breuer
Bogner, Walter, 1938-1960 (4 letters): see Project File for UNESCO
Boissonnas, Eric and Sylvie, undated and 1960-1978 (20 letters)
Bollingen Foundation, 1964 (1 invitation): to reception in honor of Sigfried Giedion
Bonaparte, Mrs. Robert L., 1955 (1 letter)
Bonomi, Maria, undated and 1958 (2 letters)
Bookman, Mrs. John, 1964 (1 letter)
Borbíró, Virgil (Hungarian architect), 1945-1956 (2 letters): includes Borbíró's obituary
Borglum, Paul, 1950 (1 letter): see Project File for UNESCO
Born, Karl, 1968 (1 letter): from Breuer
Borsódy, István ("Stephen"; historian; Hungarian Legation) and Zsóka, 1946-1965 (5 letters): 1951 letter includes a biographical sketch of Borsódy by Aladár Szegedy-Maszák
Bortfeldt, Hermann (Büro Willy Brandt), 1963 (1 letter)
Bosch, Robert, 1934 (2 letters)
Bosserman, Joseph Norwood, 1963-1967 (2 letters)
Bosshard, J., 1956 (1 letter)
Boston Architectural Center, 1968 (1 letter)
Boston Redevelopment Authority, 1970 (1 letter)
Boston Society of Architects, 1946 (1 letter): from Breuer to John R. Abbott
Botond, Stephen G. ("Pista"; architect), 1958-1960 (2 letters): includes wedding announcement for Botond and Patricia Potter Luce
Bouchet, Maxime, 1953 (5 letters)
Bourget, Inc., 1955 (2 letters): from Breuer's office
Bower, John, 1954 (1 letter)
Bozzola, Vittorio, 1964 (2 letters)
Bradford, Carol (Mrs. Amory H. Bradford), 1951 (1 letter): from Breuer
Brandon-Jones, John, 1958 (1 letter)
Brandstätter, Elsbeth, 1936-1937 (2 letters)
Brassaï, Gyula Halász (Romanian photographer), undated (1 calling card): no signature
Peter Bratti Associates, 1974-1975 (2 letters): from Breuer
Bratti, Peter (A. Tozzini Tile Works, Inc.), 1958 (1 letter)
Braun, Wolfgang, 1968 (1 letter): from Breuer
Braziller, George, 1966 (1 letter)
Bremer, Paul and Nina, 1975 (2 letters)
Breuer, Constance (née Leighton), 1947-1982 (22 letters): from Breuer and Breuer's office; a 1967 letter, 1967, from French filmmaker Gerard Calisti is routed from Robert Osborn; an invitation from M. Knoedler and Company concerns reception for Lina Kandinsky
Breuer, Francesca, undated and 1966-1973 (3 letters): includes a letter of recommendation from Tician Papachristou
Breuer, Hermina, 1950 (1 telegram): from Breuer
Brewer-Cantelmo Company, Inc., 1966 (3 letters): from Breuer's office
Brewer, Joseph, 1965 (1 letter)
Brewster, George W. W., Jr., undated and 1946 (2 letters)
Brey, David M. (architect), 1950 (1 letter)
Breydert, Katherine, 1946 (1 letter)
Brickel/Eppinger, Inc., 1963 (3 letters)
Brigham, Richard C., 1954 (1 letter)
Brion, Maud (secretary to Eric Cercler), 1966-1972 (10 letters)
Brissenden, Norine (Mrs. P. R. Brissenden), 1947 (1 letter)
British Chair Company, 1954 (1 letter): from Breuer's office
General Electric Appliances, Inc., 1947 (1 letter)
General Electric Company, 1943-1950 (6 letters)
General Fireproofing Company, 1943-1946 (4 letters)
Georges, Alexandre (photographer), 1974-1976 (2 letters): from Breuer's office
Geraghty, Margaret, 1960 (1 letter): from Breuer's office
Gerbman, Joyce, 1968 (1 letter): from Breuer
Giedion-Welcker, Sigfried and Carola, undated and 1932-1976 (62 letters): see Congrès Internationaux d'Architecture Moderne (CIAM; Chapter for Relief and Post-War Planning)
Grimball, Henry G. (Harvard University), 1950 (1 letter)
Gropius, Walter ("Pius") and Ise ("Pia"), undated and 1933-1969 (120 letters): see Harvard University, Graduate School of Design; Project File for UNESCO
Grosse Pointe Public Library, 1960 (1 letter)
Grossi, Olindo (Architectural League of New York), 1957 (4 letters): see Pratt Institute; see Project File for UNESCO
Grosswirth, M. (New York University, College of Engineering), 1958 (1 letter)
Gröte, Dr. Andreas and Laura, 1961-1967 (3 letters)
Gröte, Ludwig and Gertrud Maud, 1956-1967 (5 letters)
Groupe Espace, 1952-1954 (5 letters)
Gruber, Gerd, 1965-1967 (2 letters)
Gruber, Richard D. (Independent Oil Company of Connecticut, Inc.), 1970 (1 letter)
Gruzen, Barney Sumner, 1956 (1 letter): from Breuer
Gstrein, Kassian, 1936 (1 letter)
Guenther, Carl Frederic, 1958 (1 letter)
Guerrero, Pedro E. (photographer), 1955 (1 letter): from Breuer
Solomon R. Guggenheim Museum, 1964 (1 letter): concerns the loan from Breuer of an Alexander Calder work
Guilford Leather Company, 1950 (1 letter): from Breuer
Gumbel, Robert W., 1950 (1 letter)
Gutheim, Polly (Mrs. Frederick A. Gutheim), 1946 (1 letter)
Haas, Robert (Ram Press), 1954-1957 (8 letters): from Breuer's office
Hächler, W. (architect), 1956 (1 letter): from Breuer
Hack, Lynda, 1968 (1 letter): from Breuer
Hackett, Gabriel D. (photographer), 1963 (1 letter)
Hackley Art Museum, 1977 (3 letters)
Hagenbach, Marguerite: see Arp, Hans Jean
Hagerty, Francis (Hagerty Company), 1945 (2 letters)
Hagerty, John, 1958 (1 letter)
Haggerty, Brian (Sacred Heart Seminary), 1964 (1 letter)
Hagmann, John S. (and Robert A. M. Stern), undated (1 letter)
Hagood, M. Lindsey (Virginia Polytechnic Institute, Architectural Speakers Committee), 1952 (3 letters)
Hahn, Alexander, 1957-1958 (2 letters)
Halász, Dezso (International Union of Local Authorities), 1957-1959 (3 letters)
Halász, Ferenc, 1959 (2 letters)
Halborg, Rev. John E. (Evangelical Lutheran Church of the Advent), 1968 (1 letter)
Hall, John Hughes (Nardin & Radoczy), 1956-1957 (2 letters)
Halprin, Lawrence, 1966-1970 (2 letters)
Halverson, Marvin (National Council of the Churches of Christ in the USA), 1955-1956 (4 letters)
Halvorson, Roy E., 1956-1971 (4 letters)
Hambuechen, Dr. Eva-Dorothee, 1937 (1 letter)
Hamer, R. D. (Aluminium Laboratories Ltd.), 1946 (1 letter)
Hammett, Ralph W., 1975 (1 letter): from Breuer's office
Hancy, L., 1975 (1 letter): from Breuer's office
Hansen, Thomas L. (University of Colorado, Boulder), 1956 (1 letter)
Hanson, B. (Mrs. John Hanson), 1955-1967 (3 letters)
Haraszty, Eszter, undated and 1956 (2 letters)
Harbert, Guido, 1950 (1 letter)
Hardoy, Jorge Ferrari (architect), 1965 (1 letter)
Hendry, Charles E. ("Chick"; University of Tornoto), 1950 (2 letters): see Commission on Community Interrelations (CCI) of the American Jewish Congress
Henin, Mme. S., 1956 (2 letters)
Henze, Wilfried, 1964 (1 letter)
Herbe, Paul (architect), 1963 (1 letter)
Herford, Julius G., 1945 (1 letter)
Herman, Harold M., undated (1 letter)
Hermanson, Ray T. (Trynor & Hermanson, Architects), 1957 (1 letter)
Herrera, Alberto Rodriguez (El Recreo, Centro Profesional del Este), 1960 (1 letter): from Breuer's office
Herrey, Hermann (architect), 1946-1947 (3 letters)
Herter, Susan and Chris, undated (1 letter)
Hertner, W. (architect), 1939 (1 letter)
Hertzell, Tage (Meningsblad for Unge Arkitekter), 1956 (1 letter)
Hervé, Lucien, 1960 (4 letters): see Project File for UNESCO
Herz, Alexandra, 1965-1967 (2 letters)
Hess, Orvan W., 1976 (1 letter)
Hester, James M. (New York University, Washington Square), 1963-1970 (2 letters)
Hetényi, George, 1954 (1 letter)
Heyer, Paul O., 1965-1970 (11 letters)
Heyman, Marla, undated (1 letter)
Heywood-Wakefield Company (Mr. Greenwood, Mr. Paul Posser), 1944 (6 letters)
Higgins, Ambrose S. (architect), 1947 (1 letter)
Hill, Albert Henry, 1950-1951 (2 letters)
Hill and Knowlton, Inc., 1974 (1 letter): from Breuer's office
Hill, Henry and Heather, 1950-1964 (7 letters): see Project File for UNESCO
Hirschfeld, Ludwig, undated and 1935-1963 (18 letters)
Hirshhorn Museum and Sculpture Garden, 1975 (2 letters): from Breuer
Hudnut, Joseph ("Vi"; Harvard University) and Claire, undated and 1946-1947 (3 letters): see American Society of Planners and Architects (ASPA); Congrès Internationaux d'Architecture Moderne (CIAM), Chapter for Relief and Post-War Planning; Harvard University, Graduate School of Design
Hug, Hattula Moholy-Nagy (daughter of László Moholy-Nagy), 1976 (1 letter)
Hungarian Alumni Association, undated (1 letter): includes a hand-drawn map, 8 photographs of Hungarian cityscapes, 4 photographs of city views, and a drawing of the facade of a building
Hunter, Louise, 1947 (1 letter)
Hurley, Jane C., 1947 (1 letter): from Breuer
Hurwitz, Joe, 1968 (1 letter): from Breuer
Hutchhausen, Walther, 1937 (1 letter)
Hutchins, John Jay (Law Offices of S. G. Archibald), 1963-1969 (14 letters): see Project File for UNESCO
Hutton: E. F. Hutton Company, 1946-1951 (7 letters)
Huygens, W., 1957 (1 letter)
Ichban [?], Hans ("Zero"), undated and 1939 (2 letters)
Ikuta, Tsutomu, 1951 (1 letter)
Illinois, University of, Chapter of AIA, 1959 (2 letters)
Illinois, University of, Urbana, 1957-1964 (4 letters)
Ilmanen, J. William, 1955-1956 (2 letters)
Immanuel, M., 1946 (2 letters)
India, ambassador from, 1965 (1 invitation): to Nehru
N.V. Induventa, 1935 (1 letter)
Ingrand, Max, undated (2 letters)
Institute der Schwestern, Baldegg, Switzerland, 1970-1975 (5 letters): 4 from Breuer
Institute for Advanced Study, Princeton University, 1970 (1 letter)
Institute of Contemporary Art, 1954-1956 (3 letters): see Project File for UNESCO
Institute of Contemporary Art, Department of Design in Industry, 1951 (3 notices of meetings)
Institute of Design, Illinois Institute of Technology, 1953-1959 (6 letters)
Institute of International Education, 1960-1961 (4 letters)
Instituto Internazionale di Arte Liturgica, 1970 (1 letter)
Interiors Incorporated, 1975 (1 letter): from Breuer
Interiors International, 1963 (4 letters)
Interiors magazine, 1950 (1 letter)
International Bank for Reconstruction and Development, 1975 (1 letter): from Breuer
International Business Machines Corporation (IBM), 1963-1974 (4 letters): 2 from Breuer
International Business Machines (IBM) Deutschland, 1970 (1 letter)
International Congress for Engineering Education, 1947 (2 letters)
International Congress for Modern Architecture: see Congrès Internationaux d'Architecture Moderne (CIAM)
International Contract Furnishings, Inc., 1975 (1 letter): from Breuer
International Design Conference, Aspen, Colorado, 1953-1955 (4 letters)
International Lighting Review, 1961 (1 letter)
International Rescue Committee, Inc., undated (1 letter)
Iowa State College, 1960 (1 letter): see Myers, John S.
Iran, empress of, 1975 (1 letter): from Breuer
Irving & Casson/A. H. Davenport Company, 1945 (1 letter): see Commission on Community Interrelations (CCI)
Irving, Michael H. (Irving and Jacob), undated and 1968-1971 (4 letters)
Kennedy, John Fitzgerald, 1961-1963 (3 letters): from the White House
Kennedy, Robert Woods (first architect in Gropius-Breuer office, Cambridge, Massachusetts), undated and 1950 (3 letters): see American Society of Planners and Architects (ASPA)
Kennerly, Albert (Kennerly Construction Company, Inc.), 1947 (1 letter)
Keogh, Eugene J. (Halpin, Keogh & St. John), 1970 (1 letter)
Kepes, György (architect) and Juliet, undated and 1924-1978 (29 letters)
Maas, Carl ("Happy"/"Hap"; editor, House Beautiful), 1937-1946 (6 letters)
Maas, Walter, 1947 (1 letter): from Breuer
Macomber, George A. (Cambridge Trust Company), 1947 (2 letters)
Madison, Bob, 1951 (1 letter)
I. Magnin, San Francisco, 1961 (1 letter): from Breuer's office
Magyar Album, 1956 (1 letter)
Magyar épitomuvészek Szövetsége magazine, 1956-1977 (4 letters)
Maki, Fumihiko (Harvard University), 1963 (1 letter) George E. Mallison Importing Company, 1950-1955 (2 letters)
Manders, Dave, 1968 (1 letter): from Breuer
Mandl, Zoltán, 1939 (1 letter)
Manfred, Ernest F., 1966 (1 letter)
Mang, Karl (architect), 1967 (1 letter)
Manitoba, University of, Students' Architectural Society, 1953 (1 letter)
Mantel, H. J., 1951 (1 letter)
Manton, Mr. and Mrs. John, 1967 (1 letter): from Breuer's office
Marbleloid, Inc., 1946 (1 letter)
Marine-Air-Research Corporation, 1946 (1 letter): from Breuer
Maroy, Jean-Paul, 1981 (1 letter): from Robert F. Gatje William L. Marshall, Ltd., 1944-1947 (8 letters)
Marson, Bernard A. (architect), 1968 (1 letter)
Marston, Natalie (Institute of Contemporary Art), 1951 (1 letter)
Martens, Michel (Hedendaagse Kerkelijke Kunst), 1956-1957 (2 letters)
Martignetti, Antonio, 1956 (1 letter)
Martin, J. L. (architect), 1938 (1 letter)
Martin, Leslie and Sadie, undated and 1954 (3 letters)
Mary College and the Annunciation Priory, 1963-1976 (6 letters)
Massachusetts Institute of Technology, Art Committee, 1968 (1 letter)
Massachusetts Institute of Technology, Office of the President, 1961-1965 (2 letters)
Massachusetts Institute of Technology Press, 1975 (1 letter): from Breuer's office
Massachusetts Institute of Technology, School of Architecture and Planning, 1958-1960 (4 letters)
Massachusetts, University of, Amherst, 1968 (1 letter)
Massenot, J. P. (éditions Techniques), 1974 (1 letter): from Breuer's office Master, Dipak C. (Master Sathe and Kothari, Architects), 1968 (1 letter): from Breuer
Mathews, Joseph F., 1956 (1 letter)
Maucher, Helmut, 1976 (1 letter): from Breuer's office
Maurer, Laurie, undated (3 letters)
Mauser Kommandit-Gesellschaft, 1966 (1 letter)
Mayekawa, Kunio, 1963 (1 letter)
McClean-Smith, Betty, 1940 (1 letter)
McComb, Peter K. and Karen, 1954-1956 (4 letters)
McGarry, Ann M., 1947 (1 letter)
McGill University, Montreal, 1967 (1 letter)
McGlynn Associates, Inc., 1956 (1 letter)
McGrath, Raymond (Office of Public Works, Dublin, Ireland), 1937-1969 (9 letters)
McGraw-Hill Publications, 1967 (1 letter)
McGuinness, William J. (Pratt Institute), 1951 (1 letter)
McIntyre, A. McVoy, 1950-1951 (2 letters)
McLaughlin, Peter, 1959 (1 letter)
McMillan, Louis and Peggy (Architects' Collaborative), 1945-1946 (2 letters)
McVitty, John D., 1946 (1 letter)
John O. Meadows Associates, Ltd., 1984-1985 (2 letters)
Medical Economics, 1960 (1 letter)
Meier, Richard Alan, undated and 1957-1967 (5 letters)
Meldrum, Andrew, 1956 (1 letter): from Breuer
Meller, Herbert, 1969-1970 (4 letters)
Mellon, Mary, 1938 (1 letter)
Meng, John J. (Hunter College), 1963 (1 letter)
Menken, Julian (Julian Menken and Associates), 1964 (1 letter)
Merit Studios, Inc., 1965 (1 letter): from Breuer's office
Merle, André (André Merle Associates, Architectural Engineers), 1946 (1 letter)
Merrill and Holmbren, Architects, 1954 (1 letter): concerns Campbell Building Company
Merrill, Ruth P., 1950-1964 (2 letters)
Metropolitan Milwaukee War Memorial, Inc., 1945 (4 letters): 1 to Walter Gropius
Metropolitan Museum of Art, 1944-1975 (8 letters)
Metropolitan Structures, Inc., 1974 (2 letters): from Breuer's office
Metropolitan Washington Board of Trade, 1969 (2 letters)
Meunier, John, 1957 (1 letter)
México, Consulado Honorario de, 1938 (2 letters)
Meyer-Bohe, Walter, 1975 (1 letter): from Breuer's office
Michaëlis, Lorenz S. (Swiss doctor), undated (1 letter)
Michel, John (General American Transportation Corporation), 1947-1948 (2 letters)
Michelson, Val (architect), 1970 (1 letter)
Michigan, University of, Ann Arbor, 1957-1963 (19 letters)
Middelhauve, Dr. F. G., 1963 (1 letter)
Mies Van der Rohe, Ludwig, 1945 (1 letter): from Breuer introducing Sanford L. and Helen Berger, architects
Mihályfy, Károlyné, 1966 (1 letter)
Millar, L. R., 1935 (1 letter)
Millard, Charles W., 1957 (1 letter)
Miller Company, 1945-1947 (2 letters)
Miller, Flora W. (Mrs. G. MacCulloch Miller), undated (1 letter)
Miller, H. Wisner, 1968-1969 (2 letters)
Herman Miller Furniture Company, 1951-1954 (4 letters): from Breuer
Miller, Rev. John (St. Charles Seminary), 1975 (1 letter): from Breuer
Miller, Richard J., 1955 (1 letter)
Miller, Steve, 1968 (1 letter): from Breuer
Milliken, W. H. (Binney & Smith Company), 1951 (1 letter)
Mills, Mrs. Edward E., 1954 (1 letter): from William W. Landsberg
Mills, Willis N. (Sherwood, Mills and Smith, Architects), 1960-1969 (2 letters)
Ministre d'état Chargé des Affaires Culturelles, 1963 (1 letter): from Breuer
Minnesota Society of Architects, 1958 (1 letter)
Minnesota, State of, Board of Registration, 1954 (2 letters)
Minnesota, University of, 1953 (1 letter)
Miró, Joan, 1959-1963 (2 letters): 1 from Breuer
Mitchell and Ritchey, 1947 (2 letters)
Mitchell, Mary, 1954 (1 letter): from Breuer's office
Miya & Company, 1956 (1 letter): from Breuer's office
Modern Industry, 1947 (1 letter)
Modern Master Tapestries, Inc., 1974-1975 (4 letters): from Breuer's office
Moffett, Toby, 1974 (1 letter)
Moholy, Lucia, 1957-1958 (5 letters)
Moholy-Nagy, László ("Lakci") and Sibyl, 1934-1955 (40 letters): includes a 1946 exhibition catalog for a Walter Gropius exhibition at the School of Design, Chicago; see also Hug, Hattula Moholy-Nagy
Moldcast Products, Inc., 1950 (1 letter): from Breuer's office
Molitor, Joseph W. (photographer), 1955-1975 (5 letters): 4 from Breuer
Molnár, Farkas (Hungarian architect), undated and 1933-1940 (25 letters)
Mongan, Agnes, 1938 (1 letter)
Montague, Harvey, 1968 (1 letter): from Breuer
Montgomery, Elizabeth (Mrs. Wilmot), 1950 (1 letter)
Moore, Henry, 1946-1962 (13 letters): 6 from Breuer
Moore, Joe A., 1945 (2 letters)
Moore, Paul S. (architect), 1966-1967 (3 letters)
Morassutti, Mangiarotti, 1961 (1 letter)
Moretti, Bruno, 1936 (1 letter)
Morgan, Alice, 1939 (1 letter)
Morgan, Sherley W. (Princeton University), 1952 (3 letters)
Móricz, Miklós, 1947 (1 letter)
Morrell, Mrs. Ben, 1965 (1 letter): from Breuer's office
Sydney Morrell & Company, Inc., 1973-1976 (4 letters)
Morris, Walter (Fuller & Smith & Ross, Inc.), 1950 (1 letter)
Morrow, Margot, 1950 (1 letter): from Breuer's office
Mory, Bob, 1968 (1 letter): from Breuer
Moschette, Angela, 1950 (1 letter)
Motherwell, Robert, 1968 (1 letter)
Muguruza Otaño, José María (architect), 1935-1967 (3 letters)
Mulford, Edwin H., 1966 (1 letter): from Breuer's office
Murray, J. A. (University of Toronto School of Architecture), 1947-1956 (3 letters)
Murrow, Mrs. Edward R., 1961 (1 letter)
Musée des Arts Décoratifs, 1969 (2 letters)
Museu de Arte Moderna do Rio de Janeiro, 1954 (1 letter)
Museu de Arte Moderna do São Paulo, 1956 (1 letter concerning IV Bienal de S. Paulo)
Museum of Contemporary Crafts, 1967 (7 letters)
Museum of Modern Art, New York, 1941-1976 (49 letters)
Museum of Science and Industry, Chicago, 1967 (3 letters)
Museum of the City of New York, 1959 (2 letters)
Muskat, Irving E., 1968 (2 letters)
Mutsu, Masako, 1964-1965 (2 letters): from Breuer
Myers, John S. and Shirlee, 1955-1959 (4 letters)
Myers, Ralph E., 1958 (2 letters)
Myers, Robert L., 1950 (1 letter)
Nadeau, Eleanor Saxe, 1950 (1 letter)
Nader, Fouzieh, 1972 (2 letters)
Nagare, Masayuki, 1963-1965 (6 letters): 5 letters from Breuer
Nagel, Chester (architect), 1968 (1 letter)
Nagy Iván, Dr. Vitéz (Ministry Secretary), undated (1 letter)
Najibullah, Yousof, 1968 (1 letter): from Breuer
Napier, Frieda (Mrs. Ian Napier), undated and 1937 (7 letters)
Nathan, Carl H. (Suncraft), 1945 (1 letter)
National Academy of Sciences/National Research Council, undated (1 letter)
National Citizens for Johnson and Humphrey, 1964 (1 letter)
National Committee of Arts, Letters and Sciences for John F. Kennedy for President, 1960 (2 letters)
National Concrete Masonry Association, 1958-1959 (7 letters)
National Council of American Soviet Friendship, Inc., Architects' Committee, 1944-1945 (13 letters)
National Council of American Soviet Friendship, Inc., Building Industry Committee, 1946 (6 letters)
National Council of Architectural Registration Boards, 1946-1959 (5 letters): request recommendations for Jean Bodman Fletcher, I. M. Pei, and Richard G. Stein
National Council of Churches, 1955 (1 letter)
National Council on Schoolhouse Construction, 1951 (1 letter)
National Institute of Arts and Letters, 1965-1968 (47 letters): 1967 letter from Breuer includes typescripts concerning Josef Albers and Constantino Nivola; 1968 encloses a letter from Philip Johnson; see American Academy of Arts and Letters National Society of Interior Designers, Inc., 1958 (1 letter) National Terrazzo & Mosaic Association, 1955 (1 letter from Murray S. Emslie)
National Trust for Historic Preservation, 1975 (2 letters): from Breuer's office
Pack, Nancy (Mrs. Howard Meade Pack), undated and 1953 (2 letters)
Paine Furniture Company, 1946 (1 letter)
Pajor, Zoltán, 1938-1947 (7 letters)
Palestrant, Stephen, 1963 (1 letter)
Palmer Physical Laboratory, Princeton, New Jersey, 1945 (1 letter)
Papachristou, Tician and Judy, undated and 1967-1974 (6 letters)
Papadaki, Stamo, 1945-1951 (14 letters): see Commission on Community Interrelations (CCI) of the American-Jewish Congress; Congrès Internationaux d'Architecture Moderne (CIAM), Chapter for Relief and Post-War Planning
Praeger, Frederick A. (Frederick A. Praeger, Inc.), 1959-1969 (19 letters): includes a 1959 transcript of Praeger's conversation with Breuer concerning the publication of a book on Breuer's life work
Pratt Institute, 1953-1969 (11 letters)
Présentè, G. M., 1954 (1 letter): see Project File for UNESCO
Prestressed Concrete Institute, 1970 (1 letter)
Price, Thomas M., 1946 (1 letter)
Prichard, Theodore J. (University of Idaho), 1946-1950 (3 letters)
Schawinsky, Xanti and Irene, undated and 1934-1964 (14 letters)
Schecter, Jack H. (architect), 1950 (1 letter)
Schendell, Hal, 1947 (2 letters): to Eliot Noyes
Schickel, William J., 1964 (1 letter)
Schillinger, Emilio F., 1964 (1 letter)
Schleifer, Fritz, 1934 (1 letter)
Schlemmer, Tut (Mrs. Oscar Schlemmer), 1960-1965 (3 letters)
Schlesinger, Alajos, undated (1 letter)
Schmalenbach, Werner (Kunstsammlung Nordrhein-Westfalen), 1976 (2 letters)
Schmid, Elsa, 1950 (1 card): sent jointly with J. B. Neumann
Schmidt, Benno C. (J. H. Whitney & Company), 1970 (1 letter)
Schmidt-Gellerau, Karl, 1934 (3 letters)
Schmieg & Kotzian, 1945 (1 letter)
Architekturbüro Joachim Schmitz, 1974 (1 letter): from Breuer's office
Schnall, Ben (photographer), undated (2 letters) vSchneck, Adolf G. (architect), 1947-1950 (2 letters)
Schneider-Manzell, Toni (Biennale Christlicher Kunst der Gegenwart Salzburg), 1964 (2 letters)
Robert Schoelkopf Gallery, undated (1 invitation): to meet Walker Evans
Schoendorff, Ellen G., 1937 (1 letter)
Schömer, Ervin (architect), 1974-1975 (6 letters)
Schorer, Mark, 1960 (1 letter): from Breuer
Schultz, Lili, 1964 (1 letter)
F. Schumacher & Company, 1954-1964 (2 letters): from Breuer's office
Schuster, Mathias and Gerda (Schuster & Geiger), 1950-1964 (3 letters)
Schweighofer, Dr. Fritz, 1960 (1 letter)
Science Illustrated, 1955 (1 letter): from Breuer
Scitorszky, Hanna, 1966 (1 letter)
Scott, Stuart N. (Dewey, Gallantine, Bushby, Palmer & Wood), 1958 (1 letter)
Seagram-Distillers Corporation: see Kessler-Gallacher & Burton
Sears, Roebuck and Company (Arthur M. Wood), 1974 (1 letter): from Breuer concerning luncheon for Alexander Calder
Segal, Georgette, 1954 (1 letter): from Breuer's office
Seghers, Pierre, 1963 (1 letter)
Segner, Marvin H., and John C. R. O'Neill (consulting engineers), undated (1 letter)
Segre, Mr., 1959 (2 letters): from Breuer
Seidel, Bert (architect), 1955 (2 letters)
Seidler, Harry (architect, Black Mountain College), 1946-1978 (24 letters)
Sekey, Sue, 1968 (1 letter): from Breuer
Selinger, Hans, 1956 (1 letter)
Selwood, Christopher, 1958-1959 (2 letters): see also Gardner-Medwin, R. J.
Selye, Hans, 1967 (1 invitation): to George Washington Awards Dinner in honor of Breuer, Selye, and Watson Kirkconnell
Semrad, Peter H., 1957 (1 letter)
Senix Aerial (Don Preuss), 1947 (1 letter)
Sert, José Luis (architect) and Moncha, 1945-1970 (7 letters): see National Council of American Soviet Friendship, Inc., Architects' Committee; Project File for UNESCO
Setzer, H. O. (Spartan Tire & Recapping Company), 1947 (3 letters)
Sevely, Marvin, 1951 (1 letter): from Breuer's office
Seyton, Mrs., 1954 (1 letter)
Shackleton, Edwin, 1951 (1 letter)
Shand, James (Art and Technics, Ltd.), 1950 (1 letter)
Shankland, Graeme, 1939 (1 letter)
Shannon, Edgar Finley (University of Virginia), 1967 (1 invitation): to Founder's Day Exercises
Sharon Forest Service Company, Inc., 1950 (5 letters)
Shattuck, George, 1946 (1 letter): from Breuer
Shelton Roofing Company, Inc., 1956 (1 letter): from Breuer's office
Vitrum magazine (Centro Informazioni e Studi per le Applicazioni del Vetro nell'Edilizia e nell'Arredamento; C.I.S.A.V.), 1955 (1 letter)
Vogel, George S. (Temple Israel, Cortlandt), 1951 (1 letter)
Voigt, James D. (Voigt and Fourré, Architects), 1958 (4 letters)
Volante, Julio C., 1955-1963 (2 letters)
von Debschitz, Irene, 1935 (1 letter)
von Erffa, H., 1951-1968 (2 letters)
von Meyerburg, Henrietta [?], undated (1 letter)
von Moltke, Wilhelm Viggo, 1946-1958 (4 letters)
von Segesser, Beat and Francisca, 1968-1975 (1 letter, plus 4 from Breuer)
Wachsmann, Konrad (architect/designer, General Panel Corporation), 1945-1965 (8 letters): see National Council of American Soviet Friendship, Inc., Architects' Committee
Wadsworth, Suzanne G., 1975 (1 letter): from Breuer's office
Wagner, Martin (Harvard University), 1946 (2 letters)
Senator Wagner Memorial Dinner, 1965 (1 invitation): from mayor of New York
Walker and Company, 1966-1967 (2 letters): includes a typescript about Breuer; see also Heyer, Paul O.
Walker Art Center, Center Arts Council, 1959-1962 (12 letters)
Walker, H. E. L. (Universal Moulded Products Company, Ltd.), 1943 (1 letter)
Walker, Ralph (AIA), 1951 (1 letter): from Walter Gropius
Walker, Vicki, 1968 (1 letter): from Breuer
Ward, Ernest and Priscilla (Sprague Electric Company), 1946 (2 letters)
Washington University, St. Louis, Missouri, 1975 (1 letter): from Breuer
Watson, Arthur K. (U.S. Embassy, Paris), 1970-1972 (2 letters)
Watson, Thomas, 1970 (1 letter)
Wattjes, Professor J. G., 1935 (1 letter)
Webb & Knapp (Canada), Ltd., 1963 (3 letters)
Weidler, Charlotte (Bauhaus Ausstellung), 1968 (1 letter)
Weidlinger, Paul, 1946: see Project File for UNESCO
Weidlinger Associates, 1983-1984 (2 letters)
Weiner, Paul L., 1950-1966 (2 letters)
Weinstein, Jerry, 1945 (1 letter)
William H. Weintraub & Company, Inc., 1943-1947 (3 letters)
Weiz [?], Tiberio, 1939 (1 letter)
Weizenblatt, Sprinza, 1946-1963 (20 letters)
Wenzler, William P. (architect), 1965-1968 (4 letters)
Weren, Edward C., 1946 (1 letter)
Werner, Ingrid, 1963 (3 letters)
Wertz, Mr. (Der Finanzminister des Landes Nordrhein-Westfalen), 1974 (1 letter): from Breuer
West China Development Corporation, 1947 (1 letter)
West Coast Stained Shingle Company, 1950 (1 letter): from Breuer
Westcott and Mapes, Inc. (architects and engineers), 1970 (1 letter)
Western Arts Association, 1959 (4 letters)
Western Reserve University, 1958 (5 letters)
Westport Public Library, 1975 (1 letter): from Breuer
Zahedi, H. E. Ardeshir (ambassador of Iran), 1974-1975 (4 letters): from Breuer
Zanuso, Marco (architect; Olivetti), 1957 (1 letter): from Breuer
Zechlin, Hans Josef, 1950 (1 letter)
Ziegler, Barbara, 1947 (1 letter)
Ziegler, Frank, 1974 (1 letter): from Breuer
Ziegler, Richard, undated (1 letter)
Zwick, Virgil J., 1959 (1 letter)
Collection Restrictions:
The microfilm for this collection has been digitized and is available online via the Archives of American Art website.
Collection 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.
Collection Citation:
Marcel Breuer papers, 1920-1986. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the microfilming of this collection was provided by the Gerta Charitable Trust. Funding for the digitization of the microfilm was provided by the Terra Foundation for American Art.
This collection is composed of Krafft Ehricke's files including Ehricke's published and unpublished papers as well as papers and works by others that Ehricke gathered, presumably as reference material.
Scope and Contents:
This collection consists of Krafft Ehricke's writings and interviews spanning 1949-1984 and items gathered by Ehricke as reference material for his various writing projects. The files on his writings include handwritten manuscripts, typed drafts, publication proofs, and/or final published versions and reprints, and in some cases include correspondences or other documents relating to publication. The collection also includes original paste-up versions of graphics created by or for Ehricke to illustrate his writings. The reference material includes technical reports, scientific papers, and newspaper and magazine articles gathered by Ehricke during his career.
Arrangement:
The collection remained in the possession Ehricke's family for nearly two decades after his death and apparently was largely unorganized prior to processing. The material has been arranged in five series, with oversized materials filed at the end of the collection in series order by size.
Series I. Writings (Boxes 1-80) – copies of papers, articles, and lectures by Ehricke, including a mix of manuscript (MS), typescript (TS), paste-up, and published copies. Reports written by Ehricke as part of a study conducted as part of his professional duties are filed in Series IV as part of the "Studies and Projects" section of each subject group (see below). The materials are organized chronologically with different versions of the same work filed together by date of publication (if published) or completion. Ehricke rarely labeled MS or TS pages by title, generally wrote on the similar topics, and often cut finished text blocks or figures from one paper to use in another, a process he referred to cannibalization. As a result, although efforts have been made to organize loose MS and TS pages by their final works these assignments must be considered tentative and some pages have been left unassigned due to lack of sufficient information.
Series II. Graphics (Boxes 81-94) – copies of original and paste-up graphics (charts, graphs, illustrations) designed or created by Ehricke. Because these materials were mainly found in their original folders, they have been filed consistent with their original labeling. As a result they fall into groups roughly corresponding to Ehricke's tenures at General Dynamics, North American Rockwell, and Space Global.
Series III. Company Files (Boxes 94-104) – files and materials relating to business activities at the various companies for which Ehricke worked, organized by company in chronological order of Ehricke's tenure. Within each company, materials are organized by named files (filed alphabetically) and proposals and related material (filed chronologically). The proposals filed in this series represent studies or programs for which no other documentation exists in the collection.
Series IV. Reference Files (Boxes 104-253) – files and documents arranged by broad subject areas, based upon the subject organization for Ehricke's existing lecture transparencies. Within each subject area files are organized into three groups: named files (arranged alphabetically); studies (arranged chronologically by the start of the study); and other reports (arranged chronologically). Named files usually contain a variety of papers, reports, and articles and sometimes include items written by Ehricke. Studies often include correspondence, papers, or reports by Ehricke in addition to documents by other members of the study team; items by Ehricke have been filed in this series, rather than in Series I to preserve the context in which they were created and used. Other reports are generally filed chronologically by date of publication unless it could be clearly established that Ehricke acquired the material significantly later than its publication date (for instance: in cases where order forms attached to document bundles show that Ehricke had requested copies of the documents a decade after they were published). The subject areas are:
Subseries
2. General (Boxes 104-108)
3. Vehicle Technology (Boxes 108-154)
4. Planets and Planetary Missions (Box 154-203)
5. Transportation Systems (Boxes 204-208)
6. Space Habitation and Human Factors (Boxes 208-219)
7. Space and Lunar Industry (Boxes 219-229)
8. Earth / Resources / Open World Synthesis (Boxes 229-234)
9. Energy (Boxes 234-249)
10. Space Light (Boxes 249-250)
11. Information Services (Boxes 250-253)
Unfortunately, there is significant overlap between these subject areas, especially between subseries 2, 3, 4, and 5; subseries 5, 6, and 9; and subseries 7, 8, and 9. Researchers are cautioned to examine several subject areas.
Series V. Miscellaneous Personal and Posthumous Materials (Boxes 253-254) – files and documents not otherwise related to Ehricke's research and writing or which post-date his death.
Biographical/Historical note:
Krafft Arnold Ehricke (1917-1984) was an engineer and scientist who made vital contributions to the American space program. Ehricke was considered "one of the few philosophers of astronautics" by the early 1960s (note 1) and until his death remained a visionary and public champion of the cause of space exploration and colonization.
Ehricke was born in Berlin, Germany on 24 March 1917. He was inspired by Fritz Lang's 1929 science fiction film Frau im Mond (Woman in the Moon) and attempted to join the German rocket society, Verein für Raumschiffarht (VfR), but, denied membership due to his youth, he instead conducted his own experiments. He spent two years (1936-1938) fulfilling military service requirements in Germany's new Panzer Corps, then earned an Aeronautical Engineering degree (MS equivalent) from the Technical University of Berlin (1938-1940). With World War II underway, Ehricke was recalled to service and was wounded during the Blitzkrieg on the Western Front in 1940. While recuperating from his wound he took graduate courses in Celestial Mechanics and Nuclear Physics from the University of Berlin (1940-1941). He returned to duty in 1941 as an officer to participate in the German attack on Russia. In 1942 he was again wounded, but his earlier engineering work had come to the attention of Wernher von Braun and he was recruited into von Braun's rocket development team, a move he later credited with saving his life. Ehricke spent the next two years (1942-1944) as a propulsion engineer at Peenemünde, then became an ordnance lecturer in Köslin, Germany (now Koszalin, Poland) until the end of the war. In January 1945 Ehricke married Ingeborg Maria Mattull. As the Third Reich collapsed in May he returned to her in Berlin and went into hiding to escape being "recruited" by the Soviet Union. He was finally located by an American officer in 1946 and was reunited with von Braun and the other Operation Paperclip (note 2) scientists under United States Army auspices.
In January 1947 Ehricke began work as a Research Engineer for the Research and Development Service of the United States Army Ordnance Corps at Ft. Bliss, TX, moving to Huntsville, AL, in 1950 when the Army transferred missile development from Ft. Bliss to Redstone Arsenal, AL. In 1952 Ehricke was recruited by Walter Dornberger (note 3), left government service for private industry, and moved to Buffalo, NY, to work as a Design Specialist at Bell Aircraft. For the next two years he worked on Bell's Orbital Glider project, a precursor to Project Dyna-Soar, the Air Force reusable boost-glide weapon system that itself prefigured NASA's Space Shuttle.
In November 1954 Ehricke moved to San Diego, CA, to begin a decade-long career with what was then the Convair Division of General Dynamics. For several years he was a key figure in the development of the Convair's SM-65 Atlas ICBM and Atlas launch vehicle. NASA used the man-rated Atlas LV-3 for the orbital flights of the Mercury Program and as of this writing the Atlas V family of Evolved Expendable Launch Vehicles remains a mainstay of the United States launch vehicle inventory. Between 1959 and 1962 Ehricke directed the development of the Centaur booster, the first high-energy upper stage powered by liquid hydrogen. Although Centaur was not successfully launched until 1965, it eventually served as the upper stage for Atlas, Titan, and Delta launch vehicles and was the last stage for the Viking (Mars) and Voyager (Outer Planets) missions. During this time he also authored Space Flight, a two-volume textbook on celestial mechanics and launch vehicle design (note 4). In 1962 Ehricke became the director of the Advanced Projects Department of General Dynamics Astronautics, where he directed and contributed to studies of next-generation (Post-Saturn) launch vehicles and propulsion systems, planetary exploration programs, and post-Apollo space activities.
At the end of October 1965 Ehricke left General Dynamics to become the assistant director of Astrionics at the Autonetics Division of North American Aviation (note 5), later rising to become Chief Scientist in the Advanced Systems Department of North American Rockwell's Space Division (1968-1973) and Chief Scientific Advisor for Rockwell International's North American Space Operations (1973-1977). While at North American Ehricke was involved in some aspects of the Space Shuttle program but primarily worked advanced project studies, including studies relating to NASA's space station and deep space exploration programs, and culminating in a multi-year study of space industrialization which began in 1976. During this time he also acted as scientific advisor to the abortive Satellite Power Corp (1974-1976), which proposed using satellites to generate and transmit electrical power to the Earth.
Ehricke retired from Rockwell in July 1977 and established Space Global Company with himself as president. Space Global was, in essence, a vehicle to promote space exploration and to promulgate his vision of a future space civilization, a concept he originally called the "Extraterrestrial Imperative" but later referred to as the "Open World Synthesis." The basic concept was relatively straightforward: because Earth's resources, although great, are limited, they place a limit on mankind's development. The only way to escape that limit is to move beyond the Earth and exploit the resources available in space. It was an argument for space exploration and colonization that Ehricke developed during the 1950s and 1960s, and finally crystallized in a manuscript he co-authored with Elizabeth Miller. Doubleday planned to publish the book in 1971, but then cancelled the project. Ehricke managed to get facets of the idea published in a number of technical journals, most notably in a four-part article in the Journal of the British Interplanetary Society (1979-1981), and gave numerous lectures on the topic, but The Extraterrestrial Imperative never appeared in the general media. Described as a "warm, witty man" and "a popular lecturer," he kept up an active speaking career until his health began to fail in 1984. He died of complications from leukemia on 11 December 1984.
During his life Ehricke wrote over 200 scientific and technical papers, contributed to a number of dictionaries and encyclopedias, and authored or co-authored several books. His final book The Seventh Continent: Industrialization and Settlement of the Moon (published in German as Der Siebente Kontinent – Die Industri Alisierung und Besiedlung des Mondes (Müchen: Thiemig Verlag, 1984)) was being edited for English publication at the time of his death. He was awarded an Honorary Doctorate of Humane Letters by the National College of Education (note 6) (1961) and received numerous awards including the International Astronautical Federation's Guenther Loeser Medal (1956), the American Rocket Society's Astronautics Award (1957) and Edward J. Pendray Award (1963), the New York Academy of Sciences' I. B. Laskowitz Award (1972), the American Institute of Aeronautics and Astronautics' Goddard Astronautics Award (1984), and was inducted into the Aerospace Hall of Fame (1966).
Notes
2. Dandridge M. Cole to Krafft Ehricke, 12 February 1964.
3. Operation Paperclip was a program by the United States Office of Strategic Services (OSS) to bring German scientists to the United States in the immediate aftermath of World War II. More than 1500 scientists and engineers and nearly 4000 members of their families had entered the US by the end of 1947.
4. Walter Robert Dornberger (1895-1980) was a German artillery officer and engineer. In 1942 he was placed in charge of coordinating V-1 and V-2 development at Peenemünde. Captured by the British in 1945, he participated in Britain's -- Operation Backfire -- before being brought to the United States as part of -- Operation Paperclip -- , working on guided missile development for the United States Air Force. Between 1950 and 1965 he worked for Bell, eventually becoming a Vice President of the company. According to some stories he was responsible for poaching several -- Paperclip -- scientists away from the Army's Huntsville team for USAF projects.
5. Krafft A. Ehricke, -- Space Flight -- , Vol. I – -- Environment and Celestial Mechanics -- (Princeton (NJ): D. Van Norstrand, 1960) and Kraftt A. Ehricke, -- Space Flight -- , Vol. II – -- Dynamics -- (Princeton (NJ): D. Van Norstrand, 1962)
6. In September 1967 North American Aviation merged with Rockwell Standard and was renamed North American Rockwell. In 1973 North American Rockwell merged with Rockwell Manufacturing to form Rockwell International.
7. In 1990 National College of Education (NCE, est. 1886) expanded and reorganized into the National Louis University (NLU), headquartered in Chicago, IL, with NCE becoming one of the NLU's three colleges.
Chronology
1917 Mar 24 -- born (Berlin, Germany)
1923-1926 -- Grammar School (Berlin, Germany)
1927-1936 -- Gynasium (Berlin, Germany)
1936-1938 -- German Army (military service, Panzer Corps)
1938-1941 -- Berlin Technical University (Aeronautical Engineering Diploma, 1941)
1940 -- German Army (Sergeant, Panzer Corps) – Western Front
1941-1942 -- University of Berlin (Nuclear Physics and Celestial Mechanics; predoctoral studies)
1942 -- German Army (Lieutenant, Panzer Corps) – Eastern Front, wounded
1942-1944 -- Peenemünde Research and Development Center (Development Engineer and Assistant to Director, Propulsion Development)
1944-1945 -- Köslin, Germany (Lecterer, Army Ordnance)
1945 Jan 19 -- married Ingeborg Maria Mattull (Berlin, Germany)
1947-1950 -- Ft Bliss, TX (Research Engineer)
1950-1952 -- Redstone Arsenal, Huntsville, AL (Thermodynamics Research Engineer, Chief of Gas Dynamics Dept)
1952-1954 -- Bell Aircraft Corp, Buffalo, NY (Preliminary Design Specialist)
1954-1955 -- General Dynamics/Convair, San Diego, CA (Design Specialist)
1956-1958 -- General Dynamics/Convair, San Diego, CA (Chief of Preliminary Design and Systems Analysis)
1956 -- received Gunther Loesler Medal (International Astronautics Federation)
1957 -- received Astronautics Award (American Rocket Society)
1958-1959 -- General Dynamics/Convair, San Diego, CA (Assistant to Chief Engineer)
1959-1962 -- General Dynamics/Convair, San Diego, CA (Director, Centaur Development)
1959-1961 -- NASA Research Advisory Committee on Electric Energy Systems (Chairman)
1961 -- awarded Honorary Doctorate of Humane Letters (National College of Education, Evanston, IL)
1962-1965 -- General Dynamics/Convair, San Diego, CA (Director, Advanced Studies Dept/Astronautics Division)
1963 -- received Edward Pendray Award (American Rocket Society)
1965-1968 -- North American Aviation, Anaheim, CA (Assistant Director, Astrionics Division)
1966 -- inducted into Aerospace Hall of Fame (San Diego, CA)
1968-1973 -- North American Aviation / Rockwell International, Anaheim, CA (Chief Scientist, Advanced Systems Department, Space Division)
1972 -- received I. B. Laskowitz Award (New York Academy of Sciences)
1973-1977 -- Rockwell International, Anaheim, CA (Chief Scientific Advisor, North American Space Operations)
1977-1984 -- Space Global Co (President)
1981 -- received Space Systems Award (IAA)
1984 -- received Goddard Astronautics Award (American Institute of Aeronautics and Astronautics)
1984 Dec 11 -- died of complications from leukemia (La Jolla, CA)
Partial Bibliography of Papers, Reports, Lectures, and Interviews by Krafft Ehricke
"1990 A.D. and Man's Flight to the Planets" (extract from Ehricke & Betty A. Miller, -- Exploring the Planets -- (Morristown (NJ): Slver Burdett, 1969))
"Absolute Comparisons of Management Systems" (no date)
Accuracy Improvement of Martian Probe by Post-Escape Correction and Improved Determination of the Astronomical Constant -- (Convair report AZM-049; 1 Aug 1958)
"Acquisition of Geospace" (Nov 1968)
"Acquisition of the Solar System" (presented to "Contemporary Americans in an Intricate Society – 1969", The Hackley School Program for a Special Senior Conference, 19-29 May 1969)
"Advanced Nuclear Reactor Propulsion Concepts" (AIAA Lecture Series – Advanced Propulsion Systems for Space Applications, 6 Apr 1965)
"Aero-Thermodynamics of Descending Orbital Vehicles" ( -- Astronautica Acta -- 2, fasc.1 (1956))
"Aerojet-General Nucleonics Non-Chemical Propulsion Program" (presented to USAF, 11 Feb 1966)
"Aerospace and National Economic Development" (Feb 1976)
"Aerospace Contribution to Solving the Energy and Pollution Crisis" (delivered to luncheon meeting of Capital Section of AIAA, 27 Jun 1973)
"Aerospace Transportation" (Jun 1966)
"Aerospace Transportation – Concepts and Advanced Systems" (Jun 1966)
"Air Traffic in the Coming Space Age" (published as "Toward Aviation's New Infinities", -- Jet Tales -- 1/81)
An der Schwelle des Industriellen Raumzeitalters -- (report E75-9-1, Sep 1975)
"Analysis of a New Orbital Supply System and Optimization of Satellite Orbits for Interplanetary Flight" (presented to ARS 8th Annual Meeting, 2-4 Dec 1953; published as "A New Supply System for Satellite Orbits", -- Jet Propulsion -- 24, No.5 (Sep-Oct 1954) : 302-309 and No.6 (Nov-Dec 1954) : 369-373)
"Analysis of Orbital Systems" (1st edition, Feb 1954)
"Analysis of Orbital Systems" (2nd edition; presented to IAF 5th International Astronautical Congress, 5-7 Aug 1954)
"Analysis of Transportation Systems Flight Performance" (1970)
"Anthropology of Astronautics (The)" ( -- Astronautics -- 2 no.4 (Nov 1957) : 26-29, 65-68; reprinted in -- Astronautics and the Future -- )
Apollo 11 Flight [5th] Anniversary "Town Hall Talk" (circa 1974)
"Apollo and the Future" (delivered to Industrial Management Club of Reading and Berks County, Reading, PA, 25 Mar 1971)
Ascent and Descent of Rocket Vehicles -- (Convair report AZP-071; no date)
"Ascent of Orbital Vehicles" (published in -- Astronautica Acta -- 2 fasc.4 (1956))
"Aspects Concerning the Impact of Manned Heliocentric Mission on Space Station and Space Shuttle" (NR report PD70-5; Jan 1970)
"Aspects of Deep Space Probes Requiring Cryogenic Engineering Solutions" (University of California, Engineering X428GHI, Lecture 14, 14-17 May 1962)
"Astro-ecology and the Human Environment" (no date)
"Astrogenic Environments – The Effect of Stellar Spectral Classes in the Evolutionary Pace of Life" ( -- Space Flight -- 14 no.1 (Jan 1972); NR report SD71-716)
"Astronautical and Space-Medical Research with Automatic Satellites" (presented to the Franklin Institute; Jun 1956)
"Astronautical Vehicles" (no date)
"Astronautical Vehicles" ( -- Colliers Encyclopedia Year Book -- , 1960)
"Astronautics" (San Diego State College course, Physics 131, Fall Semester 1960)
"Astropolis and Androcell / Thermonuclear Power Generation Satellite / Lunar Productivity Center" (extracts from papers and testimony, 1972-1975; SG reprint SG578-1R, May 1978)
"Astropolis and Androcell – The Pyschology and Technology of Space Utilization and Extraterrestrialization" (presented to Session 2, International Space Hall of Fame Dedication Conference, 3-9 Oct 1976)
"Astropolis: The First Space Resort" ( -- Playboy -- , Nov 1968 : 96-98, 222)
"Atlas Family of Spacecraft & Preliminary Data on 990000 and 2x106 lb 3-Stage System with O -- 2 -- /H -- 2 -- Second and Third Stage" (30 Sep 1958)
"Aufstieg und Abstieg von Raketengeraten" (published as Chapter 8 of -- Handbuch der Astronautik -- (Karl Schütte and Hans K. Kaiser, eds; Akademische Verlaggesellschaft Athenaion, 1958), pp.235-254; also Convair report AZP-071, circa 1958)
"Ausbeutung des Roten Planeten" (with unidentified "German author", circa Oct 1975)
"Ballistic Ascent to Satellite Orbits" (no date)
Beyond Earth: The Story of Astronautics -- (with Betty A. Miller, 1970 [not published])
"Beyond the First Space Stations" (Jan 1971; presented to Alabama AIAA Meeting, 20 Jan 1971)
"Blaue Planet hat doch eine Zukunft (Der)" ( -- Die Welt -- , 29 Jun 1974)
"Brief Outline of Steps for Commercial Development of Solar Power Systems on Earth and Power Transmission Through Space" (no date)
"Brief Study of the Application of Three Nerva Engine Models to Comparatively Modern Manned Interplanetary Missions Such as Capture in an Elliptic Orbit around Venus in 1975 and Return to Earth" (with B. Brown, B. Oman, and W. Strobl; GDA report GDA 63-1223, 20 Nov 1963)
Будущее Космической Индустрии (Москва: Машиностроение, 1979) [ -- The Future of Space Industry -- (Moscow: Mashinostroenie, 1979)]
"Busy World of Outer Space (The)" ( -- Discovery -- ; ABC TV, aired 28 Jan 1968; includes Ehricke interview)
"Calculations on a Manned Nuclear Propelled Space Vehicle" (ARS paper 532-57; presented at ARS 12th Annual Meeting, 2-5 Dec 1957)
"Case for Space (A)" (presented to the Citizen's Campaign for Space, Sponsored by The Center of American Living Inc, New York City, NY, 17-18 Feb 1970; NR report SD70-65; Feb 1970)
"Case for Space" [II] (presented to unidentified meeting, 27 Jun 1970; also to California State Polytechnical College, Aerospace Education Workshop, 14 Jul 1970)
"Case for the Space Station (The)" (circa Feb 1970)
CBS News Interview (Krafft Ehricke/Walter Cronkite, Sep 1966)
"Changing Role of Technology (The) – Yesterday Today and Tomorrow" (presented to 8th Space Congress, 19-23 Apr 1971; NR SD71-536)
"Circular Satellite Orbits" (no date)
"Cislunar Operations" (ARS paper 467-57; presented at ARS Semi-Annual Meeting, 10-13 Jun 1957)
Cislunar Orbits -- (Convair report AZP-004, 30 Mar 1957)
"Comments on Space Station Paper by R Gilruth" (presented to 5th AIAA Annual Meeting, 21-25 Oct 1968; response to Robert R. Gilruth, "Manned Space Stations - Gateway to Our Future in Space," presented at the Orbital Laboratory Symposium of the International Academy of Astronautics, 18 Oct 1968)
"Comments on the Question of the Usefulness of the Scramjet to Boost and Reentry Vehicle Program" (no date)
"Communications and the New Life Style" (address to Public Broadcasting System Annual Meeting, 1972)
Comparison of Advanced Propulsion Systems: Solar-Heating, Arc Thermo-dynamics and Arc Magneto Hydrodynamics -- (Convair report AZK-002, 1 Dec 1957)
"Comparison of One-Way Transfers and the Effect of Specific Impulse I -- sp -- and Mass Fraction x on Gross Payload Fraction" (no date)
"Comparison of Propellants and Working Fluids for Rocket Propulsion (A)" (Sep 1952; published in -- Journal of ARS -- 23, no.5 (Sep/Oct 1953))
"Comparison of Rocket Propulsion at Constant Thrust and Constant Acceleration (A)" (Jun 1951; published in -- Rocket Science -- 5, no.3 (Sep 1951))
"Computation of Number of Binary Bits of Information for Venus Radar Mapping" (no date)
"Concept of Shuttle Stations and Their Functions in Geolunar Space Utilization (The)" (NR report PD70-4, 15 Jan 1970, revised Jan 1970)
"Contributions of Space Reflection Technology to Food Production, Local Weather Manipulation and Energy Supply, 1985-2020" (presented to 17th European Space Symposium, 4-6 Jun 1980; published in -- JBIS Space Technology -- 34 no.12, Dec 1981))
"Cost Reductions in Energy Supply through Space Operations" (IAF paper IAF-A-76-25; presented to the Sixth International Cost Reduction in Space Operations Symposium II, session 34 of the IAF 27th International Astronautical Congress, 10-16 Oct 1976)
"Cost Reductions in Transportation to Geosynchronous and Lunar Orbit" (presented to IAF 23rd International Astronautical Congress, 8-15 Oct 1972, 5th Lunar International Laboratory Symposium; NR report SD72 SA-0174, Sep 1972; published as "Cost Reduction in Transportation to Geosynchronous and Lunar Orbit in a Swing Station"" ( -- Raumfahrtforschung -- 17 no.3 (May/June 1973) : 126-135)
"Cost Reductions in Transportation to Geosynchronous and Lunar Orbit in a Swing Station" (Raumfahrtforschung 17 no.3 (May/June 1973) : 126-135; NR report SD72-SA-0174, Sep 1972; presented to IAF 23rd International Astronautical Congress, 8-15 Oct 1972, 5th Lunar International Laboratory Symposium as "Cost Reduction in Transportation to Geosynchronous and Lunar Orbit")
Delta -- (California Museum of Science and Industry, TV Pilot, Jun 1974; Ehricke included in on-screen interview)
"Destination Mankind – Proposal for a Saturn V-Apollo Mission into Geosynchronous Orbit" (19 May 1972)
Development of a Basic Planetary Transportation System Model, Interim Report -- (GDA report, circa 1964)
"Development of Large Earth Orbital Space Station" (presented to IAF 21st Interntional Astronautical Congress, 4-10 Oct 1970; NR report SD 70-641, Nov 1970)
"Earth Environment and Resources Management from Space" (presented to IAF 22nd International Astronautical Congress, 20-24 Sep 1971; NR report SD 71-734, Sep 1971)
Earth's Seventh Continent – Industrialization and Settling of the Moon -- (in preparation for publication, 1984)
"Earth-Moon Transportation" (presented to AAS 16th Annual Meeting, 8-10 Jun 1970; NR report SD70-338)
"Earth-Space Meta-Environment and the Future of Man 1970-2070" (presented to ISF 1971 Conference on International Science Policy with the International Meta-University, Sep 1971)
"Economy of Large Launch Vehicles including Labor Costs" ( -- Journal of Spacecraft and Rockets -- 1, no.6 (Nov 1964) : 611-619; originally presented as part of "Nexus – Concept of a Large Reusable Launch Vehicle"; AIAA Summer Meeting, paper 63-277, 17-20 Jun 1963; originally titled "Economy of Saturn V and Post-Saturn Vehicles with Consideration of Orbital Labor Cost")
"Economy of Saturn V and Post-Saturn Vehicles with Consideration of Orbital Labor Cost" (originally presented as part of "Nexus – Concept of a Large Reusable Launch Vehicle"; AIAA Summer Meeting, paper 63-277, 17-20 Jun 1963; published as "Economy of Large Launch Vehicles including Labor Costs", -- Journal of Spacecraft and Rockets -- 1, no.6 (Nov 1964) : 611-619)
Effective Initial Contributions of a Manned Space Station -- (report KAE-11, 6 Nov 1970)
"Electric Propulsion Systems Model" (no date)
"Electromagnetic Propulsion" ( -- McGraw-Hill Encyclopedia of Science and Technolog -- y, vol. 4 (NY: McGraw-Hill, 3rd Ed., 1971))
Elements of Rocket Science -- (unpublished textbook, no date)
"ELV Comparison and Evaluation Methodology" (Summer 1963)
EMPIRE Follow-On Final Report -- , Vol. I – -- Condensed Summary Report -- (GDA report AOK 64-006, 1 Jan 1964)
EMPIRE Follow-On Final -- [Third] -- Presentation -- (GDA report AOK 64-002, 28 Jan 1964)
"Energy and the Shuttle Compatible Space Energy Test (SET) Facility Briefing, September 25, 1974"
"Engineering and Space Operations" (presented to Space Station Utilization Conference, NASA/Ames Research Center; 9-10 Sep 1970)
"Engineering Problems of Manned Space Flight" (presented to USC Symposium on the 75th anniversary of the University and 59th Anniversary of the Engineering Dept, Apr 1955)
"Engineering the Reality of Lunar Industrialization" (presented to CSU Northridge School of Engineering and Computer Science Colloqium, 24 Feb 1983)
"Erde und Raum als Integrale Aktionsumwelt des Menschen" (no date)
Error Analysis of Keplerian Flights Involving a Single Central Force Field and Transfer Between Two Central Force Fields Spacecraft Orbits -- (Convair report AZM-7-551; 17 Jan 1958)
"Error Analysis of Single and Two-Force Field Spacecraft Orbits" (Ehricke; presented to Franklin Institute Lecture Series on Space Flight, Mar 1958; Convair report AZM-054, 22 Sep 1958)
"Evolution of Interstellar Operations" (presented to AAS Joint National Meeting, Denver, Colorado, 17-20 Jun 1969; NR report SD69-420, Jun 1969)
"Evolution of Space Flight" (no date)
Evolution of the Space Ship -- (not published)
"Ex Mens[is] – 1: On the Integrated Plan" (15 Feb 1970)
"Ex Mens[is] – 2: Perspective" (no date)
Excerpts of Chapter 7 "Low Thrust Space Flight" of -- Space Flight, Vol. II "Dynamics" -- (Convair report KE62/1, no date)
Exoindustrial Productivity – The Extraterrestrial Imperative of Our Time -- (report E75-5-1, May 1975)
"Exoindustrialization as a System" (no date)
Exoindustry: A Macro-System Analysis -- (report E76-1-1, Jan 1976)
Exploration of the Solar System -- (with Betty A. Miller; published as -- Exploring the Planets -- (Learning Corp, 1969))
"Exploration of the Solar System and Interstellar Space" (presented to 2nd International Conference on Planetology and Space Mission Planning, NY Academy of Science, 26-27 Oct 1967; NR report X7-3215/060)
Exploration of the Solar System and Interstellar Space -- (with Elizabeth A. Miller, 1971 [not published])
Exploring the Planets -- (with Betty A. Miller; (Learning Corp, 1969); originally titled -- Exploration of the Solar System -- )
"Extraterrestrial Contamination, Pollution and Waste Disposal" (published as "Space Dumping – Extra-terrestrial Contamination, Pollution and Waste Disposal" in -- The Environment This Month -- 1 no.1 (Jul 1972) : 36-45)
"Extraterrestrial Imperative" (published as "The Extraterrestrial Imperative – Grow and Live", NY -- Times -- , 23 May 1972)
Extraterrestrial Imperative (The) -- (with Elizabeth A. Miller, 1971 (first version), not published)
Extraterrestrial Imperative (The) -- (with Elizabeth Miller, 1974 (second version), not published)
Extraterrestrial Imperative (The), Part I – Evolutionary Logic -- (SG report SG1078-1, Oct 1978)
"Extraterrestrial Imperative (The), Part II – Productive Earth Orbits – New Partnership Through Pressures and Promise" ( -- JBIS -- 32 no.11 (November 1979) : 410-418)
"Extraterrestrial Imperative (The), Part III – New Earth-Space Energy Metabolism, I – Energy Demand Model, Near-Term Space Assist, Space Disposal of Nuclear Waste" ( -- JBIS -- 33 no.11 (November 1983) : 379-390; SG report SG779-1, Jul 1979)
Extraterrestrial Imperative (The), Part IV – Evolution II -- (SG report SG-OW-9ET-4-182, Jan 1982)
"Extraterrestrial Imperative (The)" ( -- Air University Review -- 29 no.2 (Jan-Feb 1978) : 2-20)
"Extraterrestrial Imperative (The)" ( -- Futures -- 13 no.2 (Apr 1981) : 107-114; originally titled "The Extraterrestrial Imperative – Evolutionary Perspective and a Cosmopolitan Strategy")
"Extraterrestrial Imperative (The)" ( -- Bulletin of the Atomic Scientists -- 27 no.9 (Nov 1971) : 18-26; reprinted in -- New Worlds -- 2 no.2 (Feb 1972) : 12-23)
"Extraterrestrial Imperative (The) – Evolutionary Logic and Realistic Promise" (SG report SG678-1; submitted to -- Smithsonian -- , circa 1978)
"Extraterrestrial Imperative (The) – Evolutionary Perspective and a Cosmopolitan Strategy" (published as "The Extraterrestrial Imperative", -- Futures -- 13 no.2 (Apr 1981) : 107-114)
"Extraterrestrial Imperative (The) – Grow and Live" (NY -- Times -- , 23 Mar 1972)
"Extraterrestrial Imperative – Road Into the Future" (presented to SYNCON '72, 17-21 May 1972; NR report SD72 SA-0120, Jun 1972)
"Extraterrestrial Imperative (The) – The Logic of Social and Realistic Promise" (CSU Northridge extension course SOC X496G/X896G, 30 Jan-14 May 1980)
"Extraterrestrial Imperative and Lunar Development" (originally presented to NASA Symposium, Lunar Bases and Space Activities of the 21st Century, 29-31 Oct 1984 as "Lunar Industrialization and Settlement – Birth of Polyglobal Civilization")
"Extraterrestrial Imperatives" (presented to Future Oriented Activities in the United Nations, 30 Nov 1972)
"Extraterrestrial Industry – A Challenge to Growth Limitation" (Jun 1972)
"Extraterrestrial Industry – A Challenge to Growth Limitation" (presented to The Conference Board, The Essential Resources Conference, 16 Apr 1973; NR report SD 73-SH-0134, Apr 1973)
"Extraterrestrial Nuclear Mining" (no date)
"Fast Flight Profiles for Manned Helionautical Missions" (presented to 4th International Symposium on Bioastronautics and the Exploration of Space, 24-27 Jun 1968, San Antonio, TX))
"Flight Profiles and Navigation of Interorbital Transports in Geolunar Space" (presented to ION National Space Meeting, 23-25 Feb 1971; NR report SD71-475, Mar 1971)
"For a Synergistic Space Program – Excerpts from Material Presented to the Advanced Aerospace Projects Office, NASA Langley Research Center, on July 16, 1970" (16 Jul 1970)
Forward to -- Into the Unknown -- (Don Dwiggins; San Carlos (CA): Golden Gate Junior Books, 1971)
Foundations of Interplanetary Flight -- (unpublished textbook, no date)
"Four Objectives – The Fundamental Principles of Our Commitment to Space" (5 Jul 1970; published as "Our Commitment to Space", -- Spaceflight -- 13 no.3 (Mar 1971) : 82)
"From Closed to Open World" (presented to NASA Study Group on "Outlook for Space", 23-24 Oct 1974)
From Dust to Stars: The Evolution of Space Flight -- (with Elizabeth Miller and J. Sentovic, 1967)
"Further Analyses of the Slide Lander and of Drop Delivery Systems for Improved Lunar Surface Access" (IAF paper IAA-82-216; presented IAF 33rd International Astronautical Congress, 12th International Symposium on Space Economics and Benefits: Socio-Economics Benefits of Space Operations, 27 Sep-3 Oct 1982)
"Further Comments on the Power Relay Satellite Concept" (Jan 1974)
"Future in Space" (presented to Air Command and Staff College, Maxwell AFB, AL, 18 May 1972)
Future of Space Industry (The) -- (Moscow: Mashinostroenie, 1979) [Будущее Космической Индустрии (Москва: Машиностроение, 1979)]
"Geolunar Industrial Transportation for Low Propellant Expenditure with New Energy Management Concepts for Lunar Access, Part I" (IAF paper 79-120, presented to IAF 30th International Astronautical Congress 16-22 Sep 1979; SG report SG779-1, Jul 1979)
Geospace Development – Presentation to C. W. Mathews, Deputy Associate Administrator, Office of Manned Space Flight, NASA Headquarters, Washington, DC -- (NR report PD70-24; Mar 1970)
"Good Heavens, Santa!" (television script with Leon Leonidoff and Elizabeth A. Miller, 20 Jul 1978)
"Government, Industry and Research Responses to Space Exploration" (presented to ARDC 7th Annual Science and Engineering Symposium, 29-30 Nov 1960)
Guidance and Navigation Approach to Lifting Reentry Vehicle Missions -- (NA report T6-2580/060, Oct 1966)
"Habeus Extraterrestrium – Kultur und Technik im gesetz Jenseits der Erde" (no date)
Hard and Soft Power Relay Satellite Systems – Technical, Financial and Development-Related Aspects of Beamed Power Transmission Over Great Distances -- (SG reprint SG879-2R, Aug 1979; reprint of -- Technical, Financial and Development-Related Aspects of Beamed Power Transmission Systems Using a Power Relay Satellite (PRS) -- ; report E74-12-1, Dec 1974)
"Harenodynamic Cooling: The Use of Lunar Sand as a Cooling Medium" (published in -- Acta Astronautica -- 11 no.6 (Jun 1984) : 319-325)
"Helionautics in the Year 2000" (no date)
Helionauts (The) -- (proposed TV series, circa 1966; also titled -- The Infinauts -- )
"Heritage of Apollo – Presentation to the Town Hall of California (The)" (report E74-7-1, 16 Jul 1974)
"How Do We Get There From Here?" (presented to Los Angeles Council of Engineers and Scientists [LACES], 3 Apr 1975)
"I Can Get Us There by 1966" ( -- Space World -- 1 no.2 (Jul 1960) : 16-19, 48-49)
"Identification of Manned Space Activities Beyond Apollo at Modest Orbital Work, Attractive to Scientific Community" (n.d)
"In-Depth Exploration of the Solar System and Its Utilization for the Benefit of Earth" (presented to 3rd Conference on Planetology and Space Mission Planning, New York Academy of Sciences, 28-29 Oct 1970; NR report SD 71-290, Jan 1971)
"Industrial Productivity as a New Overarching Goal of Space Development" (Oct 1975)
"Industrialisierung des Mondes (Die) – Der erste Schritt in eine Neue Offene Welt" ( -- Fusion -- (German language edition) 3 no.2 (Mar 1982) : 38-51 and -- Fusion -- (German language edition) 3 no.3 (May 1982) : 40-50)
"Industrialization of Space" (presented to the Wisconsin American Institute of Aeronautics and Astronautics, Milwaukee, WI, 28 Apr 1978)
"Industrializing the Moon – The First Step into a New Open World" ( -- Fusion -- (English language edition) 5 no.2 (Dec 1981) : 21-31 and -- Fusion -- (English language edition) 6 no.1 (May-Jun 1984) : 46-55)
"Industrielle Evolution und Revolution im Geolunaren Raum 1980-2010" (presented to 21 Raumfahrt-tagung der HOG, Garmisch-Partenkirchen, 28 Sep-1 Oct 1972; NR report SD72-0173, Sep 1972)
Infinauts (The) -- (proposed TV series, circa 1966; originally titled -- The Helionauts -- )
"Instrumented Comets – Astroanutics of Solar and Planetary Probes" (ARS paper 493-57; presented to IAF 8th International Astronautical Congress, 6-12 Oct 1957)
Integrated Geolunar Transportation and Occupation System Using Space Station Modules in Highly Eccentric Orbits -- (report KAE-4, 18 Nov 1969)
"Interplanetary Maneuvers in Manned Helionautical Missions" (AIAA paper 65-695; presented to the AIAA/ION Astrodynamics Specialist Conference, 16-17 Sep 1965; reprinted in -- Progress in Astronautics -- , Vol. 17, -- Methods in Astrodynamics and Celestial Mechanics -- (NY: Academic Press, 1966))
Interplanetary Mission Profiles – Pt. II -- (report KE60/2, 1 Dec 1960; published as part of -- Space Flight -- , Vol. II – -- Dynamics -- )
"Interplanetary Probes: Three Problems" ( -- Astronautics -- , Jan 1959 : 20-22, 42, 44, 46)
"Ion Propulsion" ( -- McGraw-Hill Encyclopedia of Science and Technology -- , vol. 7 (NY: McGraw-Hill, 3rd Ed., 1971))
Ion Propulsion System for Orbital Stabilization of Satellites, Especially of Several Satellites in Closely Similar Orbits (Pt. 1) -- (Convair report ASM-2, 13 Sep 1957)
Kraftsoletta – Eine Industrie-Sonne für Europa -- (SG report SG1177-1, Nov 1977)
"Künstliche Kometen – Eine Analyse der Enforschüng der Interplanetaren Raums mit hyperbolischen Sonden" (no date)
"Large Scale Processing of Lunar Material" (presented to LSI 7th Lunar Science Conference "Utilization of Lunar Materials and Expertise for Large Scale Operations in Space", 15-19 Mar 1976; report E76-3-1, Mar 1976)
Light and Shadow Distribution in a Circular Satellite Orbit with and without Precession -- (Convair report ZP-7-019; 3 Nov 1953)
"Long-Range Perspective and Some Fundamental Aspects of Interstellar Evolution (A)" (Apr 1975; published in -- JBIS -- 28, no.11 (Nov 1975); report E75-6-1, Jun 1975)
"Low Cost Commercial Space Traffic Operations and the Swing Station" (presented to IAF 24th International Astronautical Congress, 7-13 Oct 1973; report E73-10-2, Oct 1973; published in -- Raumfahrtforschung -- 18 no.4 (Jul/Aug 1974) : 173-182)
"Lunar Atmospheric Research by Lunar Satellite and the Landing of Lunar Probes Within Pressurized Structures" (circa 1960)
"Lunar Bases – Complexes for Exploration and Colonization of the Moon" (with Betty Ann Miller, pp.1380-1391 of unidentified publication)
"Lunar Industrialization and Settlement – Birth of Polyglobal Civilization" (presented to NASA Symposium, Lunar Bases and Space Activities of the 21st Century, 29-31 Oct 1984; later retitled "Extraterrestrial Imperative and Lunar Development")
"Lunar Industries and Their Value for the Human Environment on Earth" (presented to IAF 23rd International Astronautical Congress, 8-15 Oct 1972; NR report SD72-SA-0176, Sep 1972; published in -- Acta Astronautica -- 1 no. 5 (May 1974): 585-622)
"Lunar Settlements and Their Value for the Human Environment on Earth" ( -- Acta Astronautica -- 1, no.5-6 (May-Jun 1974) : 585-622; originally titled "Permanent Lunar Settlements and Their Value for the Human Environment on Earth")
"Lunetta System Analysis" (IAF paper 80-A-11: presented at IAF 31st International Astronautic Congress, Symposium on Space and Engery; possibly SG report SG-OW-21-182)
"Magnetogas Dynamics" ( -- McGraw-Hill Encyclopedia of Science and Technology -- , vol. 8 (NY: McGraw-Hill, 3rd Ed., 1971))
Magnificent Heritage – Missions to New Worlds and the New Solar System (The) -- (documentary; with Elizabeth Miller, Jul 1970)
"Man Can Use Interstellar Space" (Los Angeles -- Times -- , 28 Jun 1972)
"Man, Resources and Planets" (presented to IAF 19th International Astronautical Congress, 13-19 Oct 1968; NR report X8-2233/060)
"Maneuvers and Navigation in Manned Helionautics" (presented to ION National Space Meeting, 23-25 Feb 1971; NR report SD 71-474, Mar 1971)
"Manned Orbital and Lunar Space Vehicles" (presented to 2nd International Symposium on the Physics and Medicine of the Atmosphere and Space, 10-12 Nov 1958; Convair report AZM-059, 25 Nov 1958; reprinted in Southwest Research Institute, -- The Physics and Medicine of the Atmosphere and Space -- (John Wiley, 1960))
"Manned Planetary Spacecraft Commonality with Space Station" (with A. L. Jones; presented to AAS 16th Annual Meeting, 8-10 Jun 1970; NR report SD70-342, Jun 1970)
Manned Space Service Program -- (report KAE-16, Nov 1968)
"Manned Spaceflight in the Seventies, Part I – Alternatives for Manned Spaceflight in the Seventies" (Jan 1971)
"Manned Versus Unmanned Spaceflight" (Oct 1968)
"Material on Space Industrialization Presented to J. T. Murphy, NASA-MSFC, 31 Aug 1976"
"Mehr Mut, die Brücke in eine große Zukunft zu betreten" ( -- Die Welt -- no.304, 31 Dec 1982)
"Mensch, Umwelt, Technik und wachstum – Dem 'Klub von Rom' zum Zehnten ins Stammbuch" (no date)
"Metaprobe – A Concept for Regional Exploration of the Solar System and a Means to Develop International Teamwork in Space Research" (presented to IAF 19th International Astronautical Congress (Oct 13-19, 1968). NR report X-2209/060; originally presented to 5th AIAA Annual Meeting, 21-25 Oct 1968 as "Metaprobe – A Tool for the Synoptic Exploration of Space", NR report X-2291/060)
"Metaprobe – A Tool for the Synoptic Exploration of Space" (presented to 5th AIAA Annual Meeting, 21-25 Oct 1968; NR report X-2291/060; also presented to IAF 19th International Astronautical Congress (Oct 13-19, 1968) as "Metaprobe – A Concept for Regional Exploration of the Solar System and a Means to Develop International Teamwork in Space Research" (NR report X-2209/060))
"Method of High-Speed Spacecraft Ejection from the Solar System (A)" (published as "Saturn-Jupiter Rebound – A Method of High-Speed Spacecraft Ejection from the Solar System", -- JBIS -- 25 no.10 (Oct 1972) : 561-571)
"Method of Using Small Orbital Carriers for Establishing Satellites" (ARS paper 69-52, Dec 1952)
Methodology of Mission and Systems Synthesis of Manned Planetary Flights with Particular Emphasis on Venus and Mars as Target Planets -- (GD report AOK-63-019, 1 Jul 1963)
"Methods of Minimizing Shuttle-Based High- and Low-Thrust Transportation Costs to Geosynchronous Orbit" (IAF paper A74-03; presented to IAF 25th International Astronautical Congress, 30 Sep-5 Oct 1974)
"Mission Analysis of Fast Manned Flights to Venus and Mars" (presented to Interplanetary Mission Conference, AAS 9th Meeting, 15-17 Jan 1963)
Mission Map Parameters: Hyperbolic Excess Velocity, Inclination, Path Angle, Perihelion Distance, and Tranfer Angle, Vol. II – Earth-Mars-Earth 1972-1985 -- (GD report AOK63-0005, 20 Jan 1963)
"Missions Between Planets and to Selected Asteroids of this Solar System, Covering the Period of 1973 to 2000" (presented to AIAA National Meeting, Washington, DC, 28 Jun-2 Jul 1964)
"Morphological Analysis and Comparison of Nuclear Pulse Drive Mechanization Concepts" (presented to AIAA 5th Joint Propulsion Specialist Conference, 9-13 Jun 1969)
"New Cosmos and Homo Extraterrestris (The)" (delivered to AIAA Symposium: "Our Extraterrestrial Heritage – from UFOs to Space Colonies", 28 Jan 1978)
"New Growth in an Open World at the Threshold of the First Cosmopolitan Millenium – Collected Works of K. A. Ehricke, 1939 through 1980" (introduction to SG "OpenWorld" document series)
"New Growth in an Open World: Evolutionary Perspective and a Cosmopolitan Strategy" (IAF paper IAA-81-234, Aug 1981; presented to IAF 32rd International Astronautical Congress, 11th International Symposium on Space Economics and Benefits II, 6-12 Sep 1981)
"New Supply System for Satellite Orbits (A) – Part 1" ( -- Jet Propulsion -- 24 No.5 (Sep-Oct 1954) : 302-309)
"New Supply System for Satellite Orbits (A) – Part 2" ( -- Jet Propulsion -- 24 No.6 (Nov-Dec 1954) : 369-373)
"Nexus – Concept of a Large Reusable Earth Launch Vehicle (with Freeman D'Vincent; presented at AIAA Summer Meeting, 17-20 Jun 1963; GDA report 63-0065; AIAA paper 63-277)
Non-relativistic Interstellar Mission Performance Analysis to Alpha Centauri -- (report KAE-19, circa 1971)
"Notwendigkeit der Weltraumfahrt (Die) – Der Extraterrestrischel Imperativ" (published in -- Fusion -- (German language edition) 4 no.4 (Fall 1983) : 29-41)
"Offene Neue Welt" (no date)
Omni -- Interview ( -- Omni -- 3 no.12 (Sep 1981) : 87-91, 124)
"On Bounding the Problem of Growth" (17 Jul 1972)
"On the Application of Solar Power in Space Flight" (presented to IAF 7th International Astronautical Congress, 17-22 Sep 1956)
"On the Commercial Satellite Project" (no date)
"On the Descent of Winged Orbital Vehicles" ( -- Astronautica Acta -- 1, fasc.3 (1955))
"On the Mechanics of Descent to a Celestial Body" (presented to ARS Annual Meeting, Dec 1954; -- Journal of Astronautics -- 2 no.4 (Winter 1955) : 137-144)
"On the Need for New Launch Vehicles" (session paper for "Do We Need New Propulsion Systems (Post Saturn) for Lunar and Planetary Flight?", panel for AIAA Annual Meeting, 29 Nov-2 Dec 1966 (chaired by Ehricke); NA report X7-158/060)
"On Space Dynamics at Moderately Low Accelerations" (no date)
"Ӧppen värld med obegränsad tillväxt (En)" ( -- Energi and Utveckling -- , no date, 50-58)
"Orbit Change at Moderate Infra G Acceleration" (no date)
"Our Commitment to Space" ( -- Spaceflight -- 13 no.3 (Mar 1971) : 82; originally titled "Four Objectives – The Fundamental Principles of Our Commitment to Space" (5 Jul 1970))
"Our Philosophy of Space Missions", ( -- Aero/Space Engineering -- 17 no.5 (May 1958) : 38-43; originally titled "Philosophy of Our Space Mission")
"Out There ... Why Not?" (no date)
"Outer Atmosphere Research Program" (Jan 1954)
"Outlook for Space 1980-2000" (6 Sep 1974)
"Outlook for Space, Economy of Infinity aned Economy of Durability" (extract from -- Extraterrestrial Industy - A Challenge to Growth Limitations -- , Proceedings of the Essential Resources Conference, The Conference Board)
"Passive Power Relay Satellite (The) – Concept and Appraisal of Extraterrestrial Means to Contribute to Overcoming the Energy Confrontation" (circa 1974)
"Passive Power Relay Satellites for Global Energy Distribution" (presented to 10th Annual Space Congress, 11-13 Apr 1973; RI report SD73-SA-0016, Feb 1973)
"Peenemünde: The Coming of the Future" (CSULB-Nova; Ehricke interviewed for program; possibly aired as "Hitler's Secret Weapon", -- NOVA -- , 5 Jan 77)
"Peenemuende Rocket Center" (3 Jan 1950)
"Permanent Lunar Settlements and Their Value for the Human Environment on Earth" (published as "Lunar Settlements and Their Value for the Human Environment on Earth"; -- Acta Astronautica -- 1 no.5-6 (May-Jun 1974) : 585-622)
"Perspective and Systems Engineering of Manned Planetary Flight" (presented to AAS 16th Annual Meeting, 8-10 Jun 1970; NR report SD70-339, Jun 1970)
"Pesticides, Fungicides, Oxides of Nitrogen = Recognized Environmental Hazards" (no date)
Philosophy and Outline of Long-Range Space Planning for the Needs of This Nation and Mankind -- (NR report PD71-16; Jul 1971)
"Philosophy of Our Space Mission" (published as "Our Philosophy of Space Missions", -- Aero/Space Engineering -- 17 no.5 (May 1958) : 38-43)
"Planning Space Stations for Long Range Utilization" (presented to Short Course in Space Station Utilization, University of Tennessee, Tullahoma, Mar 1971; NR report SD 71-473, Mar 1971)
"Planning Space Stations for Long Range Utilization of Space for Earthians" (presented to von Karman Institute for Fluid Dynamics, Brussels, during the Short Course on Space Station Technology and Utilization, Sep 1971; NR report SD 71-562, Sep 1971)
Pollution of the Future (The) -- (SG report SG879-1, Aug 1978)
Post-Nova Launch Vehicles, Intermediate Report No.2, Extraterrestrial Options, Concept Selections and Schedule (GDA report AOK62-0012, 13 Nov 1962)
Power Relay Satellite (The) – A Means of Global Distribution of Electricity from Large Remotely Located Energy Factories Processing Solar, Nuclear or Other Sources of Primary Energy -- (report E74-11-1, Nov 1974)
Power Relay Satellite (The) – A Means of Global Energy Transmission Through Space, Part I: Technology, Operation, Performance and Economics of the Power Relay System -- (report E74-3-1, Mar 1973)
Power Relay Satellite (The) – A Means of Global Energy Transmission Through Space, Part II: The Power Relay Satellite Concept in the Framework of the Overall Energy Picture and Complete Terrestrial Energy Systems -- (report E74-6-1, Jun 1974)
"Power Relay Satellite (The) – A Means of World Electrification through Space Transmission" (Aug 1973; presented to IAF 24th International Astronautical Congress, Symposium on Cost Reduction in Space Operations, 7-13 Oct 1973)
"Power Relay Satellite (The) – Problem Areas" (circa Jan 1974)
Power Relay Satellite (PRS) Concept in the Framework of the Overall Energy Picture (The) -- (report E73-12-1, Dec 1973)
"Powered Ascension Path of Satellite Vehicles" (no date)
"Powered Flight Without Atmosphere" (published as Chapter 6.1 of -- Handbook of Astronautical Engineering -- (H.H. Koelle, ed, McGraw-Hll, 1961); Convair report AE61-0199, 19 Mar 1961)
"Powered Flyby" (no date)
"Practical Approach to the Disposal of Highly Toxic and Long-Lived Spent Nuclear Fuel Waste Between Venus and Earth (A)" (presented to 10th International Symposium on Space Economics and Benefits II: Socio-Economic Benefits of Space Operations, 31st International Astronautical Congress, 22-27 Sep 1980; published in -- Acta Astronautica -- 10 no.11 (Nov 1983))
"Producing Advanced Fusion Fuel on the Moon" ( -- Fusion -- (English language ed.), Sep 1982)
"Profitability of Manufacturing in Space in View of Lunar Industrial Development and Geo-Socio-Economic Benefit" (presented to ASME Winter Meeting – Manufacturing in Space, Boston 17-18 Nov 1983; published in L. Kops, Ed. -- Manufacturing in Space -- [PED Vol.11] (NY: ASME, 1983), pp.183-198)
Programmatic Comparison of Initial Manned Missions to Venus and Mars (A) -- (GDA report AOK 63-031, 16 Oct 1963)
"Project Orbital Carrier" (1st edition, May 1952)
"Project Orbital Carrier" (2nd edition, Aug 1952)
"Propellant for Booster of a Two-Stage Missile" (PGAF Memorandum #3, 1 Feb 1949)
"Propulsion System for Fast Manned Reconnaissance Flights to Mars and Venus" (presented to IAS National Flight Propulsion Meeting, 6 Mar 1959; Convair report AZM-068)
"Propulsion Systems Comparison and Evaluations for Space Missions" (published as Chapter 18 of -- Jet, Rocket, Nuclear, Ion, and Electric Propulsion – Theory and Design -- , W. H. T. Loh, ed. (Springer-Verlag, 1968); NA report X7-626/060, Mar 1967)
"Raumfahrtsziele und Weltraumtechnik von Morgen" (presented at Industry Fair, Hannover, 26-27 Apr 1971; published in -- Astronautik -- 8 no.3/4 (Aug-Dec 1971) : 95-109; -- Technische Möglichkeiten von Morgen III -- (Düsseldorf and Vienna: Econ Verlag, 1971); -- Junkers Nachrichten -- 14 no.2 (Mar-Apr 1972) : 3-5; no.3 (May-Jun 1972) : 5-7; no.4 (Jul-Aug 1972) : 4-6; no.5 (Sep-Oct 1972) : 4-6; no.6 (Nov-Dec 1972) : 4-6)
Re-entry Characteristics of Recoverable Spherical Satellites, Satelloids and Lunar Vehicles -- (Convair report AZP 001, 25 Jun 1957)
"Re-entry of Spherical Bodies Into the Atmosphere at Very High Speeds" (presented to ARS 12th Annual Meeting, Dec 1957)
"Regional and Global Energy Transfer Via Passive Power Relay Satellites" (presented to 10th Annual Space Congress, 11-13 Apr 1973; RI report SD73-SH-0117, Apr 1973)
"Regional Power Distribution Via Power Relay Satellite" (presented to 1st Greater Los Angeles Area Energy Symposium, 3 Apr 1975)
"Rescue from Space by a Secondary Vehicle" (presented to 2nd International Symposium on the Physics and Medicine of the Atmosphere and Space, 10-12 Nov 1958)
"Response to Questions by the Subcommittee on Energy (Congressman Mike McCormack, Chairman) and the Subcommittee on Space Science and Applications (Congressman James W. Symington, Chairman) Following Testimony Before Both Subcommittees on 24 May 1973" (23 Jul 1973)
"Restricted 3-Body Systems Flight Mechanics in Cislunar Space and the Effect of Solar Perturbation" (presented to American Mathematical Society for Orbit Symposium, January 1957; Convair report AZM-013, Mar 1957)
"Review and Evaluation of Solar Central Power Stations for Use in the U.S., Mideast and Japan and Associated Solar Engineering Business Development (A)" (19 Jul 1974)
"Review of Important Aspects Concerning the Use of Power Relay Satellite for Icelandic Energy Export by Means of Beamed Microwave Transmission (A)" (no date)
Review of Future Space Applications for House Science and Astronautics Committee -- (RI report SSV74-41; 25 Sep 1974)
"Role of the Army in Space" (presented to Association of the United States Army "Rockwell Night", 24 Feb 1970)
"Safety Aspects in Planning Manned Interplanetary Missions" (submitted to AIAA 4th Annual Meeting, 1967)
"Satelliten zur irdischen Energie-Übertragung Technische und sozio-ökonomische Untersuchungen" (presented at HOG 23rd Raumfahrtkongreß, Jun 1974; published in -- Astronautik -- 12 no.2 (1975) : 19-25)
"Satelloid (The)" (presented to IAF 6th International Astronautical Congress, Copenhagen, 1-6 Aug 1955; -- Astronautica Acta -- 2 no.2 (1956) : 63-100)
"Saturn-Jupiter Rebound – A Method of High-Speed Spacecraft Ejection from the Solar System" (originally titled "A Method of High-Speed Spacecraft Ejection from the Solar System", -- JBIS -- 25 no.10 (Oct 1972) : 561-571)
"Science Policy and the Extraterrestrial Imperative" (adapted and exerpted from -- Extraterrestrial Imperative -- (1971); presented to Congressman G. P. Miller, Chairman, Committee on Science and Astroanutics, US House of Representatives, Feb 1972; later identified as report KE72-1-1, Jan 1972)
Selection of Promising Initial Planetary Missions and Mission Modes -- (GDA report ASO 63/24, 18 Sep 1963)
"Shuttle and Apollo – The Nature of their Differences" (circa 1971)
Shuttle Station as Element of Low-Cost Geospace Transportation to Geosynchronous Orbit, Interlinking with Earth-Space Shuttle -- (NR report PD70-24, Feb 1970)
"Sidereal Civilization" (no date)
Siebente Kontinent (Der) – Die Industri Alisierung und Besiedlung des Mondes -- (Müchen: Thiemig Verlag, 1984)
"Significance of Earth-To-Low-Orbit Shuttle for the Cost Effectiveness of Space Operations (The)" (presented to IAF 22nd International Astronautical Congress, 20-24 Sep 1971; NR report SD 71-780, Sep 1971; published in -- Raumfahrtforschung -- 16 no.2 (Mar/Apr 1972) : 65-77)
"Socio-Economic Determinants of a Program for Lunar Industrialization In Support of Space Light Development Lunetta and Soletta" (IAF paper IAF-A-77-66; presented to the Seventh Symposium on Cost Effectiveness in Space Operations, at the IAF 28th International Astronautical Congress, 25 Sep-1 Oct 1977)
"Socio-Economic Evaluation of the Lunar Environment and Resources (A) – I. Principles and Overall System Strategy" (IAF paper 78-A-40; presented to the Symposium on Space Economics and Benefits, IAF 29th International Astronautical Congress, Dubrovnik, Yugoslavia, 1-8 Oct 1978; published in -- Acta Astronautica -- 8 no.11-12 (Nov-Dec 1981) : 1389-1433; SG report SG778-1, Jul 1978)
"Socio-Economic Evaluation of the Lunar Environment and Resources (A) – II. Energy for the Selenosphere" (IAF paper 79-A-16, presented to IAF 30th International Astronautical Congress, Symposium on Space Economics and Benefits); published in -- Acta Astronautica -- 8 no.11-12 (Nov-Dec 1981) : 1407-1433; SG report SG779-3, Jul 1979)
"Socio-Economic Evaluation of the Lunar Environment and Resources (A) – III. Selenospheric Economics and Cislunar/Terrestrial Market Analysis" (IAF paper IAA-82-235; presented IAF 33rd International Astronautical Congress, 27 Sep-3 Oct 1982,12th International Symposium on Space Economics and Benefits: Socio-Economics Benefits of Space Operations; published in -- Acta Astronautica -- 11 no.2 (Feb 1984)
"Solar Energy" ( -- McGraw-Hill Encyclopedia of Science and Technology -- , vol. 12 (NY: McGraw-Hill, 3rd Ed., 1971))
Solar Option (The) – A Study -- (report E74-4-1, Apr 1974)
"Solar Power from Space" (circa 1973)
"Solar Power Module Concept and Data Summary" (no date)
"Solar Powered Space Ship (The)" (ARS paper 310-56; presented to ARS Semi-Annual Meeting, 18-20 Jun 1956
"Solar Transportation" (presented to AAS 4th Goddard Memorial Symposium, 15-16 Mar 1966; NA report X6 661/3061, Mar 1966 rev. May 1996)
"Some Basic Aspects of Operation in Cislunar and Lunar Space" (no date)
"Space" ( -- Young People's Science Encyclopedia -- (Edited by the Staff of the National College of Education, Chicago: Children's Press, 1970))
"Space – 1980" (circa 1970)
"Space and a World Society Under Law" (no date)
"Space and Energy Sources" (presented to the World Electrotechnical Congress, Moscow, USSR, June 21-25, 1977; RI report, May 1977)
"Space and Human Dividends" (no date)
"Space Applications for Earth-to-Low-Orbit Shuttle Vehicles" (presented as the University of Tennessee, Tullahoma Short Course in Reusable Launch and Re-Entry Vehicles for Space Flight, Oct 1970; and Von Karman Institute for Fluid Dynamics Lecture Series in the Technology of Space Shuttle Vehicles, Nov 1970; NR report SD70-637, Nov 1970)
"Space Applications for Low Cost Ferry Vehicles" (presented at the Space Institute of the University of Tennessee Tullahoma Short Course in Reusable Launch and Re-Entry Vehicles for Space Flight Technology and Applications, 18-22 Aug 1969; NR report SD70-66, Feb 1970)
"Space Dumping – Extra-terrestrial Contamination, Pollution and Waste Disposal" ( -- The Environment This Month -- 1 no.1 (Jul 1972) : 36-45; originally titled "Extraterrestrial Contamination, Pollution and Waste Disposal")
"Space Engineering" (no date)
Space Flight -- , Vol. I – -- Environment and Celestial Mechanics -- (Princeton: D Van Nostrand Co, 1960)
Space Flight -- , Vol. II – -- Dynamics -- (Princeton: D Van Nostrand Co, 1962)
Space Flight -- , Vol. III – -- Missions, Operations, Vehicles and Planning -- (not published)
"Space Industrial Productivity – New Options for the Future" (Jul 1975; presented to the Committee on Science and Technology and the Subcommittee on Space Science and Applications, Hearings on Future Space Flight, 22-30 Jul 1975)
"Space Industrialization – New Growth Through An Open World" (presented to AIAA 13th Annual Meeting; Jan 1977)
Space Industrialization – Statement to the Commitee on Science and Technology Hearing on Future Space Projects, US House of Representatives -- (SG report SG178-1, Jan 1978)
"Space Light: Space Industrial Enhancement of the Solar Option" (published in -- Acta Astronautica -- 6 no.12 (Dec 1979) : 1515-1633; SG report SG812-1, Feb 1981)
"Space Light – The Enhanced Solar Option" (published in -- Swann Oil Energy Digest -- 2 no.17 (24 Aug 1977); SG report SG777-1)
Space Light Illumination from Sun-Synchronous Orbits -- (SG report SG278-2, Feb 1978)
"Space Medicine" ( -- Young People's Science Encyclopedia -- (Edited by the Staff of the National College of Education, Chicago: Children's Press, 1970))
"Space Pilot" ( -- Young People's Science Encyclopedia -- (Edited by the Staff of the National College of Education, Chicago: Children's Press, 1970))
"Space Planning Methodology" (circa 1969)
Space Shuttle – The Timing is Right -- (RI report E73-4-1, Apr 1973)
"Space Shuttle and the Energy Crisis" (no date)
"Space Shuttle and the Power Crisis" (no date)
"Space Shuttle May Point the Way to Safe Disposal of Atomic Waste" (Huntsville -- Times -- , 30 Jun 1972)
"Space Station" ( -- Young People's Science Encyclopedia -- (Edited by the Staff of the National College of Education, Chicago: Children's Press, 1970))
Space Station Accessibility and Launch Complex Selection -- (Convair report KE-59/3, 15 Sep 1959)
Space Station Accessibility and Launch Complex Selection -- (Convair report KE-59/4, rev. 25 Feb 1960)
Space Station for Development and Orbital Flight Training -- (Convair report KE-59/2, 12 May 1959)
"Space Stations – Symbols and Tools of New Growth in an Open World" (keynote address to Session 1 (International Space Stations) of the International Space Hall of Fame Dedication Conference, 3-9 Oct 1976; RI report SD 76-SA-0200)
"Space Stations – Tools of New Growth in an Open World" (5th IAF Invited Lecture, presented to IAF 25th International Astronautical Congress, 30 Sep-5 Oct 1974; later report E74-9-1, Sep 1974)
Space Technology and Energy – Presentation to the Space Science and Applications and the Energy Subcommittee of the Committee of Science and Astronautics, US House of Representatives -- (RI report SD 73-SH-139, 24 May 1973)
"Space Tourism" (AAS paper 67-127; presented to AAS 13th Annual Meeting, 1-3 May 1967)
"Space Transportation Lecture" (presented to 3rd Conference on Engineering for Executives, University of Texas; NA report BR6-802/3061, Mar 1966)
"Space Travel" -- (Young People's Science Encyclopedia -- (Edited by the Staff of the National College of Education, Chicago: Children's Press, 1970))
"Space Vehicles" (published as Chapter 24.1, "Advanced Launch and Carrier Vehicle", -- Handbook of Astronautical Engineering -- (H.H. Koelle, ed, McGraw-Hll, 1961))
"Space Vehicles" ( -- Young People's Science Encyclopedia -- (Edited by the Staff of the National College of Education, Chicago: Children's Press, 1970))
"Space Vehicles Prototypes" (published as Chapter 24.18, "Advanced Space Vehicle Prototypes", -- Handbook of Astronautical Engineering -- (H.H. Koelle, ed, McGraw-Hll, 1961)
"Spacecraft" (presented to 3rd Jet Age Conference, 26-28 Feb 1958; Convair report AZM-020, 25 Feb 1958)
"Spacecraft Propulsion" ( -- McGraw-Hill Encyclopedia of Science and Technology -- , vol. 12 (NY: McGraw-Hill, 3rd Ed., 1971))
"Spacelab – Model for International Teamwork" (presented to 12th Space Congress, 9-11 Apr 1975)
"Sprung In Die Unendlichkeit – Der Flug Des Pioneer Zum Jupiter" (circa 1974)
"STEPP, A Computerized System for Space Technology Evaluation and Program Planning" (no date)
"Statement of Krafft A. Ehricke , Chief Scientific Adviser to the Space Division of Rockwell International, Before the Committee on Aeronautical and Space Sciences, United States Senate" (RI report, 31 Oct 1973)
"Statement of Krafft A. Ehricke, Scientific Advisor, North American Space Operations, Rockwell International Corporation, before the Committee on Interior and Insular Affairs, United States Senate" (RI report, 27 Jun 1974)
"Statement of Krafft A. Ehricke , Space Division, Rockwell International, Before the Space Science and Applications and the Energy Subcommittees of the House Science and Astronautics Committee" (25 May 1973)
"Statement to Subcommittee on Science, Technology and Space; Commitee on Commerce, Science and Transportation, Symposium on the Future of Space, US Senate" (SG report SG278-1, Feb 1978)
"Statement to the Committee of Science and Astronautics, House of Representatives, Congress of the United States" [1973 NASA Authorization, 92nd Congress, Second Session] (Jan 1972)
"Strategic Approach to Interplanetary Flight (A)" (presented to 4th International Symposium on Bioastronautics and The Exploration of Space, 24-27 Jun 1968, San Antonio, TX; NR report X8-1689/060)
"Strategic Approach to the Development of Geolunar Space (A)" (presented to IAA Orbiting International Laboratory and Space Sciences Conference, Oct 1969; NR report SD69-710, Oct 1969)
Study of Interplanetary Missions -- (GDA report, circa Jan 1964)
Study of Interplanetary Missions to Mercury through Saturn with Emphasis on Manned Missions to Venus and Mars 1973/82 Involving Capture -- (GDA report GDA 63-0916, 30 Sep 1963)
Study of Interplanetary Vehicle Assembly Modes, Part I -- ( GDA report AOK 63-029, 23 Sep 1963)
"Summary of Fundamental Rules of Space Navigation" (published as part of -- Space Flight -- Vol. II, -- Dynamics -- ; Convair report KE61/2, 22 Sep 1961)
Summary of Preliminary Data on Earth-to-Orbit Vehicles -- (Convair report KE59/1, 4 May 1959)
"Sun-Synchronous Power Generation and Space Light Systems Lunetta/Soletta" (IAF paper 76-120; presented to session 15 of the IAF 27th International Astronautical Congress, 10-16 Oct 1976)
Sun-Synchronous Power Generation Satellite System (The) -- (report E76-1-2, Jan 1976)
"Sun, Wind, and Space (Testimony Before the Senate Interior Committee)" (no date)
"Synoptic Comparison of Advanced Propulsion Systems for Maneuvering Operations Associated with Several Employment Modes in Geolunar Space" (presented to 5th Symposium on Advanced Propulsion Concepts, 8-10 Apr 1968; NR report X8-1353/060, Apr 1968)
System Analysis of a New Concept for Low-Cost Transportation Involving Geosynchronous and Lunar Space -- (report KAE-8-1, no date)
"System Analysis of Fast Manned Flights to Venus and Mars – Part I: Mission Philosophy, Life Support, Scientific Reconnaissance and Prototype Vehicle Layout" (published in -- Transactions of the ASME – Journal of Engineering for Industry -- 83B no.1 (Feb 1961) : 1-12; Convair report AZM-072, 11 Mar 1959)
"System Analysis of Fast Manned Flights to Venus and Mars – Part II: Storage of Liquid and Solid Hydrogen on Nuclear Powered Interplanetary Vehicles" ( -- Transactions of the ASME - Journal of Engineering for Industry -- 83B no.1 (Feb 1961) : 13-28)
System Concepts for STS Derived Heavy Lift Launch Vehicles, Special Emphasis Task Decsription -- (circa Apr 1975)
Systems Integration, Mission-Performance Analysis, Vehicle Comparisons -- (with B. H. Ohman; GDA report AOK62-0010, 1 Dec 1962)
Technical, Financial and Development-Related Aspects of Beamed Power Transmission Systems Using a Power Relay Satellite (PRS) -- (report E74-12-1, Dec 1974; reprinted as -- Hard and Soft Power Relay Satellite Systems – Technical, Financial and Development-Related Aspects of Beamed Power Transmission Over Great Distances -- (SG reprint SG879-2R, Aug 1979))
"Technology and Economy of Extraterrestrial Industrialization (The)" (no date)
"Toward Aviation's New Infinities" (originally titled "Air Traffic in the Coming Space Age", -- Jet Tales -- 1/81)
"Ultraplanetary Probe (The)" (AAS paper AAS-71-164; presented to AAS 17th Annual Meeting, 28-30 Jun 1971; NA report SD 71-542)
"Und Wieder wind die Welt gerettel" ( -- Die Welt -- 106, 7 May 1983); review of Fritjof Capra, -- Wendezeit -- (Bern/Munich: Scherz Verlag, 1983), originally published as -- The Turning Point -- (New York: Simon and Schuster, 1982))
United Nations and the Power Relay Satellite as Element of Global Energy Development (The -- ) (report KE75-4-1, 5 Apr 1975)
"Use of Shuttle in Establishing Large Space Installations" (presented at American Association for the Advancement of Science 7th Annual Meeting, Dec 27-28, 1972; NR report SD 73-SA-0015, Jan 1973)
"Utilization of Space Environment for Therapeutical Purposes" (with B. D. Newsom; AAS paper 66-19; presented to AAS 12th Annual Meeting, 21-22 Feb 1966; NR report X6-1962/060, August 1966)
"Vision of Space: We Must Expand to Survive" (Don Barr interviews Ehricke; Los Angeles -- Herald Examiner -- , 9 Apr 1970)
"Wachsen in die Offene Welt" ( -- Die Welt -- no.89, 17 Apr 1982)
"Wachstum als überlebenschance des Modernen Menschen" (published as "Wie ist das eigentlich mit den Grenzen des Wachstums?", -- Geistige Welt -- 244, 18 Oct 1980)
"We Must Colonize the Planets" (Don Barr interviews Ehricke; Los Angeles -- Herald Examiner -- , 10 Apr 1970)
"Weltraum Technik als Mittel der Produktionssteigerung" (no date)
"Wie ist das eigentlich mit den Grenzen des Wachstums?" ( -- Geistige Welt -- 244, 18 Oct 1980; originally titled "Wachstum als überlebenschance des Modernen Menschen")
Wirtschaft, Weltall und Wachstum -- (with E. A. Miller, 1978)
"World Electrification through Space Transmission (WEST)" (Jan 1973)
Abbreviations
AAS -- American Astronautical Society
ABMA -- Army Ballistic Missile Agency
AFOSR -- Air Force Office of Scientific Research (USAF)
AFSC -- Air Force Systems Command (USAF)
AIAA -- American Institute of Aeronautics and Astronautics
ARS -- American Rocket Society
ASME -- American Society of Mechanical Engineers
AWST -- Aviation Week and Space Technology
CRS -- Congressional Research Service (Library of Congress)
GD -- General Dynamics
GD|FW -- General Dynamics, Fort Worth
GDA -- General Dynamics Astronautics
GDC -- General Dynamics Convair
GE -- General Electric
HOG -- Hermann Oberth Gesellschaft
IAF -- International Astronautical Federation
IAS -- Institute for Aeronautical Sciences
ION -- Institute of Navigation
JBIS -- Journal of the British Interplanetary Society
JPL -- Jet Propulsion Laboratory
LC -- Library of Congress
LLL -- Lawrence Livermore Laboratory
LSI -- Lunar Science Institute
MIT -- Massachusetts Institute of Technology
MSC -- Manned Spacecraft Center (NASA)
MSFC -- Marshall Space Flight Center (NASA)
NA -- North American Aviation
NAS -- National Academy of Sciences
NASA -- National Aeronautics and Space Administration
NIH -- National Institutes of Health
NR -- North American Rockwell (successor to NA)
ONERA -- Office National d'Études et de Recherches Aérospatiale (France)
ONRL -- Oak Ridge National Laboratory
PWA -- Pratt & Whitney Aircraft Corp
RI -- Rockwell International (successor to NR)
SAMSO -- Space and Missile Systems Organization (USAF)
SG -- Space Global Co
TUB -- Technische Universität Berlin
UAC -- United Aircraft Corp
UARL -- United Aircraft Research Laboratory
Provenance:
Ingeborg M. Ehricke, Gift, 2003
Restrictions:
No restrictions on access.
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Blanche Stuart Scott Collection, Acc. NASM.XXXX.0062, National Air and Space Museum, Smithsonian Institution.
