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Photographer:

Druse, Kenneth  Search this

Extent:

18.75 Cubic feet (15 boxes, Approximately 45,000 images: 35,000 transparencies + 10,000 35mm slides.)

Type:

Collection descriptions

Archival materials

Notes

Slides (photographs)

Articles

Transparencies

Date:

1978-2005

Summary:

The Ken Druse Garden Photography Collection contains approximately 45,000 film transparency and 35mm slide images, dating from 1978 to 2005, of gardens, garden features, and flora photographed by garden writer and photographer Ken Druse. The photographic images document numerous private and public gardens throughout the United States and a few in Canada. Many have appeared in Druse's own books and articles as well as those by other writers. Approximately half of the collection is arranged according to specific garden, the other half by garden feature. A small portion of the collection consists of slide lectures given by Druse. Some images are identified with general captions and dates. Images documenting specific gardens are sometimes accompanied by handwritten notes, garden descriptions, and articles. Annotations appearing on certain images indicate the publication in which they appeared. The collection includes 'outtakes' or bracketed images that give insight into Druse's photo shooting process.

Biographical Note:

Ken Druse is a garden photographer and author of over a dozen books and numerous newspaper and magazine articles on garden-related topics. His images appear in his own books and articles as well as those by other writers. He received the Sarah Chapman Francis Medal for Literary Achievement from the Garden Club of America in 2004 for his garden writing. He highlights the work of numerous gardeners, garden designers, and horticulture experts on his website and podcast.

Druse's books include Making More Plants: The Science, Art, and Joy of Propagation; Planthropology: The Myths, Mysteries, and Miracles of My Garden Favorites; The Collector's Garden: Designing with Extraordinary Plants; and The Passion for Gardening: Inspiration for a Lifetime.

Provenance:

Ken Druse donated his collection of garden transparencies and slides to the Archives of American Gardens in 2013.

Restrictions:

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

Rights:

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

Topic:

Gardens -- United States  Search this

Gardens -- Canada  Search this

Genre/Form:

Notes

Slides (photographs)

Articles

Transparencies -- 20th century

Citation:

Smithsonian Institution, Archives of American Gardens, Ken Druse garden photography collection

Sponsor:

Cataloging of this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.DRU

See more items in:

Ken Druse garden photography collection

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6766010f8-2336-463d-b952-a88e27fd06bc

EDAN-URL:

ead_collection:sova-aag-dru

Creator:

Kent, Rockwell, 1882-1971  Search this

Names:

American Artists' Congress  Search this

Artists League of America  Search this

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

Citizens' Committee for Government Arts Projects  Search this

Farmers Union of the New York Milk Shed  Search this

Federal Art Project  Search this

Federal Writers' Project  Search this

International Workers Order  Search this

Macbeth Gallery  Search this

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

National Maritime Union of America  Search this

United American Artists  Search this

United Office and Professional Workers of America  Search this

United Scenic Artists  Search this

Boyesen, Bayard  Search this

Chamberlain, J. E.  Search this

Chase, William Merritt, 1849-1916  Search this

Cleland, T. M. (Thomas Maitland), 1880-1964  Search this

Daniel, Charles, 1878-1971  Search this

Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this

DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this

Fitzgerald, James, 1899-1971  Search this

Freuchen, Peter, 1886-1957  Search this

Gellert, Hugo, 1892-1985  Search this

Gottlieb, Harry, 1895-  Search this

Hartley, Marsden, 1877-1943  Search this

Hays, Lee, 1914-1981  Search this

Henri, Robert, 1865-1929  Search this

Jones, Dan Burne  Search this

Keller, Charles, 1914-2006  Search this

Miller, Kenneth Hayes, 1876-1952  Search this

Nearing, Helen  Search this

Nearing, Scott, 1883-1983  Search this

Pach, Walter, 1883-1958  Search this

Phillips, Duncan, 1886-1966  Search this

Rasmussen, Knud, 1879-1933  Search this

Reeves, Ruth, 1892-1966  Search this

Robeson, Paul, 1898-1976  Search this

Roosevelt, Franklin D. (Franklin Delano), 1882-1945  Search this

Ruggles, Carl, 1876-1971  Search this

Seeger, Pete, 1919-2014  Search this

Stefansson, Vilhjalmur, 1879-1962  Search this

Untermeyer, Louis, 1885-1977  Search this

Wildenstein, Felix, 1883-1952  Search this

Zigrosser, Carl, 1891-  Search this

Extent:

88 Linear feet

Type:

Collection descriptions

Archival materials

Poems

Sketches

Business records

Photographs

Drawings

Date:

circa 1840-1993

bulk 1935-1961

Summary:

The Rockwell Kent papers measure 88.0 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.

Scope and Content Note:

The Rockwell Kent papers measure 88 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.

Circumstances surrounding the acquisition of the papers are highlighted in an article by Garnett McCoy ("The Rockwell Kent Papers," in the Archives of American Art Journal, 12, no. 1 [January 1972]: 1-9), recommended reading for researchers interested in the collection. The collection is remarkably complete, for in the mid 1920s Kent began keeping carbon copies of all outgoing letters, eventually employing a secretary (who became his third wife and continued her office duties for the remainder of Kent's life).

Series 1: Alphabetical Files contain Kent's personal and professional correspondence, along with business records of the dairy farm and associated enterprises; also included are printed matter on a wide variety of topics and promotional literature relating to organizations and causes of interest to him. Voluminous correspondence with his three wives, five children, and other relatives, as well as with literally hundreds of friends, both lifelong and of brief duration, illuminates Kent's private life and contributes to understanding of his complex character. Among the many correspondents of note are: his art teachers William Merritt Chase, Robert Henri, and Kenneth Hayes Miller; fellow artists Tom Cleland, Arthur B. Davies, James Fitzgerald, Hugo Gellert, Harry Gottleib, Marsden Hartley, Charles Keller, and Ruth Reeves; collectors Duncan Phillips and Dan Burne Jones; critics J. E. Chamberlain and Walter Pach; and dealers Charles Daniel, Felix Wildenstein, and Macbeth Galleries. Kent corresponded with such diverse people as Arctic explorers Peter Freuchen, Knud Rasmussen, and Vilhjalmar Steffanson; composer Carl Ruggles and songwriters Lee Hays and Pete Seeger; civil rights pioneers Paul Robeson and Dr. W. E. B. Du Bois; writers Bayard Boyesen, Scott and Helen Nearing, and Louis Untermeyer; and art historian and print curator Carl Zigrosser.

Kent's interest and involvement in the labor movement are reflected in correspondence with officials and members of a wide variety and large number of unions and related organizations, among them: the Farmers' Educational and Cooperative Union of America, Farmers' Union of the New York Milk Shed, International Workers Order, National Maritime Union, and United Office and Professional Workers of America. Of special interest is his participation, often in leadership roles, in various attempts to organize artists. Files on the American Artists' Congress, Artists League of America, The Artists Union, United American Artists, and United Scenic Artists contain particularly valuable material on the movement.

A supporter of New Deal efforts to aid artists, Kent was actively interested in the various programs and often was critical of their limitations; he advocated continuing federal aid to artists after the Depression abated. The Kent papers include correspondence with the Federal Arts Project, Federal Fine Arts Project, Federal Writers Project, and the War Department, as well as correspondence with the Citizens' Committee for Government Art Projects and President Franklin D. Roosevelt on the subject.

Kent's professional correspondence documents exhibitions, sales, consignments, and reproduction of prints and paintings. He kept meticulous records of his advertising commissions and illustration work. Detailed correspondence with publishers and printers indicates Kent's involvement in the technical aspects of production and provides a good overview of the publishing industry during the mid-twentieth century.

Business records of Asgaard Farm include records of the dairy and transfer of ownership to its employees, tax and employee information, and documents concerning several related business ventures such as distributor ships for grain, feed, and farm implements.

Series 2: Writings consists of notes, drafts, and completed manuscripts by Rockwell Kent, mainly articles, statements, speeches, poems, introductions, and reviews. The Kent Collection given to Friendship House, Moscow, in 1960, was augmented later by a set of his publications and the illustrated manuscripts of many of his monographs. Also included are a small number of manuscripts by other authors.

Series 3: Artwork consists mainly of drawings and sketches by Kent; also included are works on paper by other artists, many of whom are unidentified, and by children.

Series 4: Printed Matter consists of clippings, exhibition catalogs and announcements, brochures, broadsides, programs, and newsletters. These include items by and about Kent and his family, as well as articles written and/or illustrated by him, and reviews of his books. There is also material on a variety of subjects and causes of interest to him. Additional printed matter is included among the alphabetical files, mainly as attachments to correspondence.

Series 5: Miscellaneous includes biographical material, legal documents, and memorabilia. Artifacts received with papers include textile samples, a silk scarf, dinnerware, ice bucket, and rubber stamp, all featuring designs by Rockwell Kent. Also with this series are a variety of documents including a phrenological analysis of an ancestor, lists of supplies for expeditions, a hand-drawn map of an unidentified place, and technical notes regarding art materials and techniques.

Series 6: Photographs includes photographs of Kent, his family and friends, travel, and art number that over one thousand. Also included here are several albums of family and travel photographs.

Arrangement:

The collection is arranged into six series. Series 1 is arranged alphabetically. The arrangement of the remaining series is explained in each series description. Note that sealed materials that became available in 2000 were microfilmed separately on reels 5740-5741, but have integrated into this finding aid.

Missing Title

Series 1: Alphabetical Files, circa 1900-1971, undated (Reels 5153-5249, 5256, 5740-5741)

Series 2: Writings, 1906-1978, undated (Reels 5249-5252, 5741)

Series 3: Art Work, 1910-1972, undated (Reels 5252, 5741)

Series 4: Printed Matter, 1905-1993, undated (Reels 5252-5254)

Series 5: Miscellaneous, 1859-1969, undated (Reels 5254, 5741)

Series 6: Photographs, circa 1840-1970, undated (Reels 5254-5255, 5741)

Biographical Note:

Rockwell Kent (1882-1971), an energetic and multitalented man, pursued many interests and careers during his very long and active life. At various times he was an architect, draftsman, carpenter, unskilled laborer, painter, illustrator, printmaker, commercial artist, designer, traveler/explorer, writer, professional lecturer, dairy farmer, and political activist.

While studying architecture at Columbia University, Kent enrolled in William Merritt Chase's summer school at Shinnecock Hills, Long Island. He then redirected his career ambitions toward painting and continued to study with Chase in New York. Kent spent a summer working and living with Abbott H. Thayer in Dublin, New Hampshire, and attended the New York School of Art, where Robert Henri and Kenneth Hayes Miller were his teachers.

Critically and financially, Kent was a successful artist. He was very well known for his illustration work--particularly limited editions of the classics, bookplates, and Christmas cards. He was a prolific printmaker, and his prints and paintings were acquired by many major museums and private collectors. During the post-World War II era, Kent's political sympathies resulted in the loss of commissions, and his adherence to artistic conservatism and outspoken opposition to modern art led to disfavor within art circles. After many years of declining reputation in this country and unsuccessful attempts to find a home for the Kent Collection, Kent gave his unsold paintings--the majority of his oeuvre--to the Soviet Union, where he continued to be immensely popular.

An avid traveler, Kent was especially fascinated by remote, Arctic lands and often stayed for extended periods of time to paint, write, and become acquainted with the local inhabitants. Between 1918 and 1935, he wrote and illustrated several popular books about his experiences in Alaska, Tierra del Fuego, and Greenland. In the 1930s and 1940s, Kent was much in demand as a lecturer, making several nationwide tours under the management of a professional lecture bureau; he spoke mainly about his travels, but among his standard lectures were some on "art for the people."

In 1927, Kent purchased Asgaard Farm at AuSable Forks, New York, in the Adirondacks, where he lived for the remainder of his life, operating a modern dairy farm on a modest scale for many years.

As a young man, Kent met Rufus Weeks, became committed to social justice, and joined the Socialist Party. Throughout his life, he supported left-wing causes and was a member or officer of many organizations promoting world peace and harmonious relations with the Soviet Union, civil rights, civil liberties, antifascism, and organized labor. Kent was frequently featured as a celebrity sponsor or speaker at fund-raising events for these causes. In 1948, he ran unsuccessfully as the American Labor Party's candidate for Congress. Kent's unpopular political views eventually led to the dissolution of his dairy business, resulted in a summons to appear before the House Un-American Activities Committee, and prompted the U.S. State Department to deny him a passport, an action that subsequently was overturned by the U.S. Supreme Court.

Kent wrote two autobiographies, This Is My Own (1940) and It's Me, O Lord (1955). In 1969, he was the subject of an oral history interview conducted by Paul Cummings for the Archives of American Art.

Provenance:

In 1969, Rockwell Kent donated his papers to the Archives of American Art; textile samples were received in 1979, and his widow gave additional papers in 1971 and 1996. Letters to Rockwell Kent from wives Frances and Sally, sealed during Sally Kent Gorton's lifetime, became available for research after her death in 2000, and further material was donated to the Archives of American Art in 2001 by the Estate of Sally Kent [Shirley Johnstone] Gorton.

Restrictions:

The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized 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.

Occupation:

Painters -- New York (State)  Search this

Topic:

Designers -- New York (State)  Search this

Mural painting and decoration  Search this

Politics and culture  Search this

Authors -- New York  Search this

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

Dairy farms  Search this

Federal aid to the arts  Search this

Illustrators -- New York (State)  Search this

Illustration of books  Search this

Works of art  Search this

Art and war  Search this

Commercial art  Search this

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

Function:

Labor unions

Genre/Form:

Poems

Sketches

Business records

Photographs

Drawings

Citation:

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

Identifier:

AAA.kentrock

See more items in:

Rockwell Kent papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97edd9940-eb61-4562-9583-def2da778b6a

EDAN-URL:

ead_collection:sova-aaa-kentrock

Creator:

Gugler, Eric, 1889-1974  Search this

Names:

Cornell, Katharine, 1893-1974  Search this

Gugler, Frida  Search this

Manship, Paul, 1885-1966  Search this

Roosevelt, Eleanor, 1884-1962  Search this

Extent:

34.9 Linear feet

Type:

Collection descriptions

Archival materials

Sketches

Watercolors

Glass plate negatives

Paintings

Photographs

Blueprints

Date:

1889-1977

Summary:

The papers of architect and painter Eric Gugler measure 34.9 linear feet and date from 1889-1977. Found within the papers are biographical materials, including papers relating to the Gugler family, personal and business correspondence, writings, project files for commercial and residential commissions, personal business records, photographic materials, including 180 glass plate slides, and artwork.

Scope and Contents:

The papers of architect and painter Eric Gugler measure 34.4 linear feet and date from 1889-1977. Found within the papers are biographical materials, including papers relating to the Gugler family, personal and business correspondence, writings, project files for commercial and residential commissions, personal business records, photographic materials, including 180 glass plate slides, and artwork.

Biographical materials include certificates, official documents, curriculum vitae, and histories of the Gugler family. Correspondence consists of professional letters regarding prospective and active projects, and personal correspondence from friends and family, including Eleanor Roosevelt, Katherine Cornell, and Paul Manship. Writings include book proposal drafts, essays, notes, speeches, and writings by others.

Project files consist of correspondence, architectural sketches, blueprints, and photographic and printed materials related to Gugler's work on commercial, residential, governmental, and memorial commissions. Renderings of specific design objects, sculptures, and Gugler's collaborative work on preservation efforts are also included.

Personal business records include correspondence related to Gugler's firm, including office leases, prospective client lists, and service fees. Printed material consists of clippings, exhibition material, postcards, and other miscellaneous items.

Photographic materials are of Eric Gugler and members of the Gugler family. Artwork includes sketches, watercolors, paintings, photographs of artwork, and artwork by Frida Gugler.

Arrangement:

The collection is arranged as 8 series. Glass plate slides are housed separately and closed to researchers, but listed where they fall intellectually within the collection.

Missing Title

Series 1: Biographical Material, 1898-1975 (0.5 linear feet; Box 1, OV 33)

Series 2: Correspondence, 1906-1974 (4 linear feet; Boxes 1-5, 20, OV 33)

Series 3: Writings, 1932-1973 (16 folders; Box 5)

Series 4: Project Files, 1889-1977 (28.2 linear feet; Boxes 5-18, 20-24, 70-72, OV 25-31, OV 33-49, RD 50-69)

Series 5: Personal Business Records, 1928-1972 (0.3 linear feet; Box 18)

Series 6: Printed Material, 1923-1977 (0.3 linear feet; Boxes 19, 24)

Series 7: Photographic Materials, 1890-1966 (9 folders; Box 19)

Series 8: Artwork, 1895-1970 (0.4 linear feet; Box 19, OV 32)

Biographical / Historical:

Architect and painter Eric Gugler (1889-1974) lived and worked in New York City, New York. Known for his work on monuments and memorials, Gugler was selected by President Roosevelt to head the redesign and building of the White House's West Wing in 1934.

Born in Milwaukee, Wisconsin to lithographer Julius Gugler and his wife, Bertha Bremer, Gugler attended Columbia University and received a three year scholarship to continue his studies at the American Academy in Rome. In 1919, he opened his architectural firm on Park Avenue in New York City and began accepting residential and commercial commissions. In addition to designing buildings and houses for clients, Gugler also completed smaller design objects for ceiling details, sculptures, murals, and decorative structures. In the late 1920s and early 1930s, his firm won commissions to complete World War I Memorials in New York and Chicago, Illinois, and also received a major commission to design the Educational Building in Harrisburg, Pennsylvania. Around this time, Gugler married Broadway actress and dancer Anne Tonetti and designed a second residence in the artist's community of Sneden's Landing, New York.

Gugler's interest and willingness to work on large scale memorials and institutional buildings aided in his appointment to a number of prominent commissions in the 1930s to the 1950s. These include the design of the White House's West Wing and the Sicily-Rome American Cemetery and Memorial in Italy, new construction and renovations to the Forman School (Conn.) and Wabash College (Ind.), and the building of residential houses for Katherine Cornell, Barry Faukner, and Paul Manship. In the 1960s, he was selected to head memorial designs for the Franklin Delano Roosevelt and Theodore Roosevelt Memorials in Washington, D.C., and also spent considerable time and energy developing the "Hall of Our History" project. Gugler remained active designing and working on projects until his death in 1974.

Related Materials:

The White House Historical Association's Office of the Curator holds additional Eric Gugler Papers related to the expansion and redesign of the West Wing in 1934.

Provenance:

The papers were donated in 1977 by Gugler's wife, Anne Tonetti Gugler. Additional materials were donated between 1979 and 1980 by Gugler's business associate, Ferdinand Eiseman.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

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

Occupation:

Architects as artists -- New York (State) -- New York  Search this

Topic:

Painters -- New York (State) -- New York  Search this

Architecture -- Designs and plans  Search this

Architecture, Modern -- 20th century  Search this

Architects -- New York (State) -- New York  Search this

Genre/Form:

Sketches

Watercolors

Glass plate negatives

Paintings

Photographs

Blueprints

Citation:

Eric Gugler papers, 1889-1977. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:

AAA.gugleric

See more items in:

Eric Gugler papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a729ea25-2ca9-4693-95a4-2f15b5651aab

EDAN-URL:

ead_collection:sova-aaa-gugleric

Creator:

National Association of Civilian Conservation Corps Alumni  Search this

Ward, C.E.  Search this

Civilian Conservation Corps (U.S.)  Search this

Bidwell, Timothy  Search this

Bires, Andrew, G.  Search this

Extent:

155 Cubic feet (331 boxes, 57 map folders)

Type:

Collection descriptions

Archival materials

Panoramas

Photographs

Newspapers

Pamphlets

Audiovisual materials

Newsletters

Books

Blueprints

Cartoons (humorous images)

Logs (records)

Manuals

Magazines (periodicals)

Menus

Memoirs

Rosters

Poems

Sheet music

Date:

1853-2009, undated

bulk 1933-1942

Summary:

The Archival collections of the National Association of Civilian Conservation Corps Alumni (NACCCA) donated in 2006. The Civilian Conservation Corps (CCC), created as part of the New Deal legislation initiated by President Franklin D. Roosevelt in 1933, was a public work relief program for unemployed men designed to reduce high unemployment during the Great Depression. The CCC carried out a broad natural resource conservation program on national, state, and municipal lands from 1933 to 1942. This collection contains papers, photographs, and ephemera collected and created by alumni of the CCC and donated to the NACCCA archives.

Scope and Contents:

This material was acquired by the National Association of Civilian Conservation Corps Alumni (NACCCA)from CCC alumni and originally housed in the NACCCA archives in St. Louis, Missouri. Photographic materials, including loose photos, slides, snapshots, group photos, panoramic photos, and albums and binders of photographs; printed materials, including newspapers published by individual companies, camps and districts, and the national CCC newspaper, Happy Days; materials documenting each camp, including camp histories, personal memoirs, blueprints of camps and projects worked on; the papers of C.E. Ward, Educational Director of the CCC's 3rd Corps, which document the planning and implementation of educational activities in that region; miscellaneous materials, including camp rosters, cartoons, menus, poems, pamphlets, booklets, magazines, manuals, enrollee discharge papers, work logs, and sheet music; and other more recent materials such as research papers, books on the CCC, selected audiotape and video interviews with some of the alumni; and other miscellaneous items. The collection is arranged into nine series.

Arrangement:

The collection is divided into nine series.

Series 1: Scrapbooks, 1853-2003, undated

Series 2: State Material, 1922-2008, undated

Series 3: Publications, 1924-2006, undated

Series 4: C.E. Ward, 3rd Corps, 1933-2001, undated

Series 5: Photographs, 1929-2008, undated

Series 6: General Ephemera, 1915-2006, undated

Series 7: Bidwell Addendum, 1933-1987, undated

Series 8: Bires Addendum, 1934-1985, undated

Series 9: Audiovisual Materials, 1933-2009, undated

Biographical / Historical:

The Civilian Conservation Corps (CCC) was a New Deal era program, created in 1933 to reduce unemployment, a direct result of the Great Depression. The CCC provided national conservation work across the United States for young, unmarried men. Veterans could be enrolled in the CCC after verification of their service by the Veteran's Administration. Veterans were exempt from the age and marriage restriction. Projects included planting trees, bulding flood barriers, combatting forest fires, maintaining forest roads and trails, and building recreational facilities in the National Park system and a host of other projects. There were separate CCC programs for Native Americans of recognized tribes and African Americans. In 1942, with the waning of the Great Depression and America's entry into World War II in December 1941, resources devoted to the CCC (men and materials) were diverted to the war effort. Congress ceased funding for the CCC and liquidation of the CCC was included in the Labor-Federal Security Appropriation Act (56 Stat. 569) on July 2, 1942, and for the most part completed by June 30, 1943. Appropriations for the liquidation of the CCC continued through April 20, 1948.

Related Materials:

Materials at Other Organizations

National Archives and Records Administration

Record Group 35, Civilian Conservation Corps

Provenance:

Collection donated by National Association of Civilian Conservation Corps Alumni in 2006.

Restrictions:

This collection is open for research use.

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

Viewing film portions of the collection requires special appointment, please inquire; listening to LP recordings is only possible by special arrangement.

Gloves must be worn when handling unprotected photographs and negatives. Special arrangements required to view materials in cold storage. Using cold room materials requires a three hour waiting period. Contact the Archives Center at 202-633-3270.

Rights:

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

Topic:

Conservation of natural resources -- 1930-1950  Search this

Depressions -- 1929 -- United States  Search this

National parks and reserves  Search this

New Deal, 1933-1939  Search this

State parks  Search this

Genre/Form:

Panoramas

Photographs -- 20th century

Newspapers

Pamphlets

Audiovisual materials

Newsletters

Books

Blueprints -- 20th century

Cartoons (humorous images)

Logs (records)

Manuals

Magazines (periodicals) -- 20th century

Menus

Memoirs

Rosters

Poems

Sheet music -- 20th century

Citation:

Civilian Conservation Corps Collection, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0930

See more items in:

Civilian Conservation Corps (CCC) Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8f608a47e-d1a4-4b39-8a85-c1a7bf9c84b6

EDAN-URL:

ead_collection:sova-nmah-ac-0930

Creator:

McCoy, Esther  Search this

Names:

Historic American Buildings Survey  Search this

Society of Architectural Historians  Search this

University of California, Los Angeles. School of Architecture and Urban Planning  Search this

Ain, Gregory, 1908-1988  Search this

Barragán, Luis, 1902-  Search this

Bradbury, Ray, 1920-2012  Search this

Davidson, Julius Ralph, b. 1889  Search this

Dreiser, Theodore, 1871-1945  Search this

Ellwood, Craig  Search this

Gill, Irving, 1870-1936  Search this

Grotz, Dorothy  Search this

Hollein, Hans, 1934-2014  Search this

Jones, A. Quincy (Archie Quincy), 1913-1979  Search this

Maybeck, Bernard R.  Search this

Neutra, Richard Joseph, 1892-1970  Search this

O'Gorman, Juan, 1905-  Search this

Rand, Marvin  Search this

Schindler, R. M. (Rudolph M.), 1887-1953  Search this

Shulman, Julius  Search this

Soriano, Rafael, 1920-  Search this

Watanabe, Makoto  Search this

Worlidge, T. (Thomas), 1700-1766  Search this

Extent:

44 Linear feet

Type:

Collection descriptions

Archival materials

Diaries

Etchings

Photographs

Sound recordings

Interviews

Video recordings

Slides (photographs)

Transcripts

Drawings

Memoirs

Date:

circa 1876-1990

bulk 1938-1989

Summary:

The papers of Southern California architectural historian, critic, and writer Esther McCoy measure 44.0 linear feet and date from 1876 to 1990 (bulk 1938-1989). McCoy was interested in both Italian and Mexican architecture as well as the folk art and crafts of Mexico and South America. The collection documents McCoy's career, as well as her family and personal life through biographical material, extensive correspondence, personal and professional writings, project files, Southern California architects' files, clippings and other printed material, a large collection of photographs and slides, and taped interviews of Southern California modern architects.

Scope and Content Note:

The papers of Southern California architectural historian, critic, and writer Esther McCoy measure 44.0 linear feet and date from 1876 to 1990 (bulk 1938-1989). McCoy was interested in both Italian and Mexican architecture as well as the folk art and crafts of Mexico and South America. The collection documents McCoy's career, as well as her family and personal life through biographical material, extensive correspondence, personal and professional writings, project files, Southern California architects' files, clippings and other printed material, a large collection of photographs and slides, and taped interviews of Southern California modern architects.

Biographical and family material consists of awards, resumes, identification documents, and other documentation of McCoy's personal life. Included are a transcript of a 1984 interview of McCoy by Makoto Watanabe and material relating to her friend, Theodore Dreiser.

Correspondence focuses on her personal relationships with family, friends, and lovers, and general correspondence relating primarily to her work as a writer. McCoy's personal correspondence is valuable to researchers who are interested in her personal life, her struggles as a young writer, and the way in which her family, friends, lovers, mentors, and colleagues helped to shape her work and career. As documented in this correspondence, her life offers a glimpse into twentieth-century American social and political history, especially the radical leftist movements of the 1920s and 1930s. Researchers interested in the roots of feminism in the United States should also find these papers useful in documenting the life of a creative and productive woman who was successful in a field then almost entirely dominated by men. Correspondents of note include her husband Berkeley Tobey, lovers Geoffrey Eaton and Albert Robert, writers Ray Bradbury and Theodore Dreiser, and artists and architects, such as Dorothy Grotz, Craig Ellwood, A. Quincy Jones, Hans Hollein, and J. R. Davidson. General correspondence is primarily with researchers, professors, architects, publishers, and professional organizations.

Personal writings include McCoy's diaries, notebooks, and memoirs, and writings by others including friends, lovers, and colleagues. Also included are drafts of McCoy's fictional works, both published and unpublished, including short stories, teleplays, and novels.

The collection contains in-depth documentation of McCoy's pioneering study of the modernist work of twentieth-century architects in Southern California. The bulk of her papers consist of her writing files for books, exhibition catalogs, articles, and lectures on architecture. Because many of the architects about whom McCoy wrote were her contemporaries, she developed personal relationships with several of them through her research and writing. Her writing files include drafts, notes, research material, photographs, and correspondence. McCoy also traveled extensively, particularly in Italy and Mexico, and wrote about architecture, craft, and culture in those countries. Project files document McCoy's other activities related to architectural history, such preservation projects, juries, grants, the Dodge House Preservation Campaign and related film project, her work for the Society of Architectural Historians and the Historic American Buildings Survey (HABS), and her work at the UCLA School of Architecture and Urban Planning, compiling a slide library and cataloging the Richard Neutra's papers. McCoy also maintained architect files which may contain correspondence, notes, photographs, research material, interview transcripts, about architects and their works. Among these extensive records, the files documenting the careers of R. M. Schindler, Irving Gill, Richard Neutra, and Juan O'Gorman are particularly rich.

Printed material in this collection documents McCoy's career as well as her personal interests. Included are books, clippings, magazines, newsletters, press releases, as well as publications arranged by subject such as architecture, art, Italy, and Mexico. McCoy also collected literary and leftist publications. The small amount of artwork in this collection consists of artwork sent to her by friends, including a drawing of her by Esther Rollo and etchings by various artists including Thomas Worlidge.

There are personal photographs of family and friends and of McCoy at different times in her life, as well as photographs gathered during the course of her research on architecture. Found here are photographs of architects and their works, including a large number depicting the work of Gregory Ain, Luis Barragan, J. R. Davidson, Irving Gill, Bernard Maybeck, Juan O'Gorman, R. M. Schindler, and Raphael Soriano. Many of these photographs were taken by notable architectural photographers Julius Shulman and Marvin Rand. Also found are photographs of architecture designed for the Case Study House program of Arts & Architecture magazine; exhibition photographs, primarily for the exhibition "Ten Italian Architects" in 1967; and other research photographs primarily documenting architecture and craft in other countries and the history of architecture in California. This series also includes approximately 3,600 slides of architecture.

Audio and video recordings include a videocassette of McCoy's 80th birthday party and 55 taped interviews with architects, people associated with architectural projects, and artists.

Arrangement:

The collection is arranged into 10 series:

Missing Title

Series 1: Biographical and Family Material, 1881-1989 (boxes 1, 48; 0.6 linear feet)

Series 2: Correspondence, 1896-1989 (boxes 1-6, 4.9 linear feet)

Series 3: Personal Writings, 1919-1989 (boxes 6-14; 8.1 linear feet)

Series 4: Architectural Writings, 1908-1990 (boxes 14-24, 42, 49, 50; 10.2 linear feet)

Series 5: Projects, circa 1953-1988 (boxes 24-26, 47, FC 53-56; 2.5 linear feet)

Series 6: Architect Files, 1912-1990 (boxes 26-28, 42; 2.2 linear feet)

Series 7: Printed Material, circa 1885-1990 (boxes 28-31, 42; 2.9 linear feet)

Series 8: Artwork, 1924-1967, undated (box 31; 0.4 linear feet)

Series 9: Photographs and Slides, circa 1876-1989 (boxes 31-38, 41-46, 51; 8.3 linear feet)

Series 10: Audio and Video Recordings, 1930-1984 (boxes 38-40, 47; 2.5 linear feet)

Biographical Note:

Esther McCoy (1904-1989) is remembered best for her pioneering work as an architectural historian, critic, and proponent of Southern California modern architecture of the early to mid-twentieth century. McCoy was interested in both Italian and Mexican architecture as well as the folk art and crafts of Mexico and South America. Although her professional interests ranged from writing fiction to studying the folk architecture and crafts of Mexico, McCoy achieved her most notable success for her numerous articles, books, and exhibitions about Southern California architecture and the architects associated with the modernist movement.

Born in Arkansas in 1904, Esther McCoy grew up in Kansas and attended various schools in the Midwest. In 1926 she left the University of Michigan to launch a writing career in New York, where she moved in avant-garde literary circles and conducted research for Theodore Dreiser. She began writing fiction in New York and continued to write after moving to Los Angeles in 1932, working on short stories, novels, and screenplays. She published numerous short stories between 1929 and 1962, with works appearing in the New Yorker, Harper's Bazaar, and university quarterlies. Her short story, "The Cape," was reprinted in Best Short Stories of 1950. Many of the novels that she wrote from the mid-1960s through the 1980s were related thematically to architects and architecture.

During the late 1920s and throughout the 1930s, McCoy participated in the politically radical movements of the period and wrote for leftist publications. Her interest in the lowcost housing projects of modern architects was prompted by one of her articles about slums for Epic News. During World War II she entered a training program for engineering draftsmen at Douglas Aircraft and in 1944 was hired as an architectural draftsman for the architect R.M. Schindler. As she became increasingly interested in modern architecture and design, she combined her two major career interests and began to focus her energies on architectural research, writing, and criticism. Her first article on architecture, "Schindler: Space Architect," was published in 1945 in the journal Direction.

McCoy began writing about architecture in earnest in 1950 as a free-lance contributor to the Los Angeles Times. From then until her death in 1989, she wrote prolifically for Arts & Architecture magazine, Los Angeles Times, Los Angeles Herald Examiner, Architectural Record, L'Architectura, Zodiac (Italy), Progressive Architecture, Lotus (Italy), and Architectural Forum. In addition to her numerous articles, McCoy wrote several books on Southern California modern architecture and architects. Her first major work, Five California Architects, published in 1960, is now recognized as a classic work in modern architectural history. It promoted a serious study of modern architecture in Southern California and introduced to the world several leading California architects and their work: Bernard Maybeck, Irving Gill, Charles and Henry Greene, and R.M. Schindler. That same year, she published another important book focusing on the work of the California architect Richard Neutra. Other books by McCoy include Modern California Houses: Case Study Houses (1962), Craig Ellwood (1968), Vienna to Los Angeles: Two Journeys (1979), and The Second Generation (1984).

In addition to these books, McCoy organized and wrote catalogs for several significant exhibitions focusing on contemporary architects. Her first was the R.M. Schindler Retrospective, a 1954 exhibition at the Landau Art Gallery in Los Angeles. Her other exhibitions and accompanying catalogs include Roots of California Contemporary Architecture, 1956, Los Angeles Municipal Art Department; Felix Candela, 1957, University of Southern California, Los Angeles; Irving Gill, 1958, Los Angeles County Museum of Art; Juan O'Gorman, 1964, San Fernando Valley State College; and Ten Italian Architects, 1967, Los Angeles County Museum of Art. Moreover, McCoy contributed numerous essays to other exhibition catalogs and publications, lectured at the University of Southern California, participated in preservation projects, organized tours for the Society of Architectural Historians, and contributed to a number of documentary films. Her energy and interests also led her to catalog and transcribe Richard Neutra's papers at the University of California Los Angeles Archives.

McCoy received national recognition from the American Institute of Architects for her seminal and prolific work in the field of Southern California modern architectural history and criticism. Her interests, however, were not exclusively bound to California. She traveled the world and was interested in both Italian and Mexican architecture as well as the folk art and crafts of Mexico and South America. She made five extended trips to Italy during the 1950s and 1960s, publishing regularly about the architecture there and curating the exhibition Ten Italian Architects. She was a contributing editor to two Italian journals, Zodiac and Lotus, and was awarded the Star of Order of Solidarity in 1960 by the Republic of Italy for her research and writing.

Esther McCoy died of emphysema on December 30, 1989, at the age of eighty-five. Her last contribution was an essay for the exhibition catalog Blueprints for Modern Living: History and Legacy of the Case Study House. The show opened at the Museum of Contemporary Art in Los Angeles one month before her death.

Missing Title

1904 -- Born November 18 in Horatio, Arkansas. Raised in Kansas.

1920 -- Attended preparatory school at Central College for Women, Lexington, Missouri.

1922-1925 -- College education: Baker University, Baldwin City, Kansas; University of Arkansas, Fayetteville; Washington University, St. Louis, Missouri; University of Michigan.

1924 -- Visited Theodore Dreiser in Michigan.

1926-1938 -- Began writing in New York City.

1926-1938 -- Researched and read for Theodore Dreiser.

1926-1938 -- Worked for editorial offices and publishers.

1926-1938 -- Traveled to write in Paris (1928), Key West, Florida (1930), and Los Angeles, California (1932-1935).

1938 -- Moved to Santa Monica, California.

1941 -- Married Berkeley Greene Tobey.

1942-1944 -- Employed as engineering draftsman at Douglas Aircraft.

1944-1947 -- Worked as architectural draftsman for R.M. Schindler.

1945 -- Began architectural writing career.

1950 -- Wrote script for film Architecture West.

1950 -- Joined editorial board of Arts & Architecture.

1950-1968 -- Worked as free-lance writer for the Los Angeles Times.

1951-1955 -- Traveled to, researched, and wrote about Mexico and Mexican art and architecture.

1954 -- R.M. Schindler Retrospective exhibition at the Landau Art Gallery, Los Angeles.

1956 -- Roots of California Contemporary Architecture exhibition, Los Angeles Municipal Art Department.

1957 -- Felix Candela exhibition, University of Southern California, Los Angeles.

1958 -- Irving Gill exhibition, Los Angeles County Museum of Art. Traveled to Italy.

1959-1968 -- Contributing editor to Italian periodicals Zodiac and Lotus.

1960 -- Five California Architects (New York: Reinhold).

1960 -- Richard Neutra (New York: G. Braziller).

1960 -- Awarded Star of Order of Solidarity by the Republic of Italy for reporting on arts and crafts in Italy.

1962 -- Death of Berkeley Greene Tobey.

1962 -- Modern California Houses: Case Study Houses (New York: Reinhold) (reprinted as Case Study Houses, Los Angeles: Hennessey and Ingalls, 1978).

1963 -- Resident Fellow at Huntington Hartford Foundation.

1964 -- Juan O'Gorman exhibition, San Fernando Valley State College, Northridge, Calif.

1965 -- Consultant for the California Arts Commission.

1965-1966 -- Wrote and produced the film Dodge House.

1965-1968 -- Lecturer at University of California at Los Angeles, School of Architecture and Urban Planning.

1966 -- Resident Fellow at MacDowell Colony, New Hampshire.

1967 -- Ten Italian Architects exhibition, Los Angeles County Museum of Art.

1967 -- Honorary Associate of the Southern California Chapter of the American Institute of Architects.

1967 -- Regents' Lecturer at University of California, Santa Barbara.

1968 -- Craig Ellwood (New York: Walker).

1968 -- Distinguished Service Citation from the California Council of AIA.

1969-1970 -- Lecturer at the University of California, Santa Barbara.

1969-1989 -- Contributing editor of Progressive Architecture.

1971-1978 -- Graham Foundation Grants.

1974 -- Regents' Lecturer at the University of California,Santa Cruz.

1979 -- Vienna to Los Angeles: Two Journeys (Santa Monica, Calif.: Arts & Architecture Press).

1979 -- Guggenheim Foundation Fellowship.

1981 -- Los Angeles Chapter Women's Architectural League Honorary Member.

1982 -- Los Angeles County Museum of Art's Modern and Contemporary Art Council Award for Distinguished Achievement.

1983 -- Home Sweet Home: The California Ranch House exhibition at California State University.

1984 -- The Second Generation (Salt Lake City: Peregrine Smith Books).

1985 -- American Institute of Architects, Institute Honor.

1986 -- High Styles exhibition at the Whitney Museum of American Art.

1987 -- Vesta Award for outstanding scholarship.

1989 -- Award from the Historical Society of Southern California.

1989 -- Award from the City of Los Angeles Department of Cultural Affairs.

1989 -- Blueprints for Modern Living: History and Legacy of the Case Study House exhibition at the Museum of Contemporary Art, Los Angeles. Died in Santa Monica, California, December 30.

Related Material:

Also in the Archives of American Art are eight sound cassettes of a transcribed interview with Esther McCoy conducted by Joseph Giovannini, June 8-November 14, 1987.

Provenance:

The collection was given to the Archives of American Art by Esther McCoy in 1986. Before her death in 1989, McCoy assisted in the organization and identification of the papers. Original pre-print film elements for Dodge House 1916 were donated to the Archives of American Art by the Academy Film Archive in 2018.

Restrictions:

Use of original papers requires an appointment. Use of audiovisual recordings without access copies requires advance notice.

Rights:

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

Occupation:

Architectural historians -- California  Search this

Art critics -- California  Search this

Topic:

Architecture, Modern -- 20th century -- Mexico  Search this

Architects -- Italy  Search this

Architecture, Domestic -- California  Search this

Authors -- California  Search this

Architecture, Modern -- 20th century -- California  Search this

Architecture, Modern -- 20th century -- Europe  Search this

Architects -- California  Search this

Feminism and art  Search this

Latino and Latin American artists  Search this

Genre/Form:

Diaries

Etchings

Photographs

Sound recordings

Interviews

Video recordings

Slides (photographs)

Transcripts

Drawings

Memoirs

Citation:

Esther McCoy papers, circa 1876-1990, bulk 1938-1989. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the John Randolph Haynes and Dora Haynes Foundation and the Terra Foundation for American Art.

Identifier:

AAA.mccoesth

See more items in:

Esther McCoy papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93ee58e3b-f2fc-4d98-acf9-de6f76bfed63

EDAN-URL:

ead_collection:sova-aaa-mccoesth

Creator:

Bellefleur-Burbidge, Cile  Search this

Priscilla of Boston.  Search this

Burbidge, John (costume designer)  Search this

Extent:

1.6 Cubic feet (3 boxes)

Type:

Collection descriptions

Archival materials

Interviews

Design drawings

Sound recordings

Scrapbooks

Date:

1951-2006

Summary:

Includes Burbidge's design drawings for wedding gowns while employed by the Priscilla of Boston firm, and scrapbooks documenting Cile Bellefleur-Burbidge's wedding cakes.

Scope and Contents:

Includes Burbidge's design drawings for wedding gowns while employed by the Priscilla of Boston firm, and two scrapbooks documenting Cile Bellefleur-Burbidge's wedding cakes. Also included are two books written by Cile Burbidge on cake decorating.

Arrangement:

The collection is divided into three series.

Series 1: Wedding Gown Design Drawings and Materials Relating to John Burbidge, 1968-1985

Series 2; Wedding Cake Scrapbooks,

Series 3: Books,

Biographical / Historical:

John Burbidge was a creative and prolific fashion designer for the Priscilla of Boston wedding gown company from the late 1940s to 1985. Burbidge, born in 1922, went to work for the Priscilla of Boston firm in 1948, after graduating from the New England School of Art and Design and serving for three years in the Army during World War II. He started out operating a button machine and gradually worked his way up to designing. His technique involved clipping photographs of models from magazines, laying tracing paper over the cut-out, and tracing the figure, onto which he added his design. After creating, in his words, "hundreds" of sketches and doodles, he would work out the details in muslin. Eventually he achieved status as Priscilla Kidder's favorite designer and was known for his use of certain features, such as bows, bustled backs, puffed sleeves and "star" bodices. The high point in his career with Priscilla of Boston was in 1971 when he designed the wedding dress worn by President Nixon's daughter Tricia at her White House wedding. The design had a strong influence on wedding fashion, though the design used was never duplicated by the company. Since leaving Priscilla of Boston, Burbidge has made a second career designing and creating dolls in elegant historic costume, while Burbidge's wife, Cile Bellefleur-Burbidge, designs and creates elegant and elaborate wedding cakes.

Related Materials:

Materials at the National Museum of American History

The Division of Home and Community Life has a collection of several Priscilla of Boston wedding gowns.

Provenance:

The collection was donated by Mr. and Mrs. Burbidge. The design drawings were donated in 1997 and the scrapbooks were donated in 2007.

Restrictions:

The 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:

Fashion design -- 1970-1990  Search this

Costume designers  Search this

Costume design -- 1970-1990  Search this

Wedding costume -- 1970-1990  Search this

Wedding cakes  Search this

Genre/Form:

Interviews

Design drawings

Sound recordings

Scrapbooks -- 20th century

Citation:

John and Cile Bellefleur-Burbidge Wedding Design Collection, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0562

See more items in:

John Burbidge and Cile Bellefleur-Burbidge Wedding Design Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep871c10bab-0a37-4440-bce8-64a8bf4e9083

EDAN-URL:

ead_collection:sova-nmah-ac-0562

Creator:

Pittsburgh Consolidation Coal Company  Search this

Consolidation Coal Company  Search this

Donor:

Bethlehem Steel Corporation  Search this

Extent:

23 Cubic feet (99 boxes)

Type:

Collection descriptions

Archival materials

Photographs

Photograph albums

Date:

1885-1940s

Summary:

The collection documents the building, operation and daily life of coal mining communities in Kentucky, West Virginia and Ohio between 1911 and 1946. The collection is a valuable for the study of mining technology and the social conditions of the time period and regions.

Scope and Contents:

The collection consists mostly of photographs depicting Pittsburgh Consolidation Coal Company mines and mining towns in Maryland, Kentucky, Ohio, Pennsylvania, and West Virginia. Subjects include worker housing, schools for miners' children, gardens, churches, recreational facilities, health services, company stores, safety, mining machinery, construction of mines and related structures, and the interiors of mines.

Arrangement:

The collection is arranged into two series.

Series 1: Background Materials, 1904-1933

Series 2: Photographs, 1885-1940s

Subseries 2.1: Photograph Albums, 1885-1932

Subseries 2.2: West Virginia Division, 19091-1917

Subseries 2.3: Glass Plate and Film Negatives, 1911-1940s

Subseries 2.4: Numbered Photographs, 1911-1930

Subseries 2.5: Miscellaneous, 1913, 1916

Historical Note:

The Consolidation Coal Company was started in 1864 to mine bituminous coal deposits in Maryland's Cumberland region. it expanded by acquiring other mine companies as well as rail and other transportation companies. It went into receivership in 1932. The Pittsburgh Coal Company, founded in 1900, took over the firm in 1945 and formed the Pittsburgh Consolidation Coal Company.

The Consolidation Coal Company (Maryland)

The Consolidation Coal Company was incorporated in Maryland on March 8, 1860, for the purpose of effecting a merger of a number of coal operators mining the Georges Creek basin in Allegany County, Maryland. Because of the Civil War, during which Confederate armies frequently blocked the region's only outlet to market, the company was not actually organized until April 19, 1864. Starting life as the dominant operator in this small but significant coal field, "Consol" rose to become the nation's top producer of bituminous coal.

The Georges Creek or Cumberland Coal Field, occupying part of the triangle of western Maryland, contained a high-quality, low-volatile bituminous steam coal which was also, thanks to the Potomac River, the coal of this type most accessible to Eastern markets. Coal had been mined in the region beginning in the 1700s, and the first coal company, the Maryland Mining Company, had been incorporated in 1828. However, large-scale development could not occur until the mid-1840s, after the Baltimore and Ohio Railroad reached Cumberland and provided reliable transportation. This also coincided with the development of ocean steam navigation and a rapid growth in the number of railroad locomotives and stationary steam engines. Cumberland coal was ideal for ship bunkering, and much of the output was shipped to New York Harbor. Naturally, New York capitalists and manufacturers played a leading role in developing the field. Lewis Howell's Maryland and New York Iron and Coal Company rolled the first solid U.S. railroad rail at its Mount Savage mill in 1844. The Consolidation Coal merger was put together by New Yorkers such as William H. Aspinwall, Erastus Corning, the Delanos and Roosevelts, and the Boston financier John Murray Forbes, who already had substantial investments in the region.

Upon its formation, the Consolidation Coal Company acquired the properties of the Ocean Steam Coal Company, the Frostburg Coal Company, and the Mount Savage Iron Company totaling about 11,000 acres. The last named company brought with it control of the Cumberland and Pennsylvania Railroad, which connected the mines to the Baltimore & Ohio and later the Pennsylvania and Western Maryland railroads. In 1870, Consol absorbed the Cumberland Coal and Iron Company of 1840, the next largest operator in the field, and gained an additional 7,000 acres. Further purchases from the Delano interests gave it over 80 percent of the entire Cumberland Field.

Soon after its hated rival, the Pennsylvania Railroad, gained access to the Cumberland Coal Field, the Baltimore and Ohio Railroad began purchasing large blocks of Consolidation Coal stock to protect its traffic base in 1875, eventually gaining a 52 percent interest. A B&O slate of directors was elected in February 1877, with Charles F. Mayer of Baltimore as president, and the company offices were moved from New York to Baltimore.

Until the turn of the century, Consolidation Coal's mining operations were confined to the small soft coal region of western Maryland. The company purchased the 12,000 acre Millholland coal tract near Morgantown, W.Va. in 1902 and acquired controlling interests in the Fairmont Coal Company of West Virginia and the Somerset Coal Company of Pennsylvania the following year. These acquisitions boosted Consolidation's annual production more than six-fold in only three years. The company purchased the 25,000 acre Stony Creek tract in Somerset County, Pa., in 1904. The Fairmont Coal Company purchase included a joint interest in the North Western Fuel Company, which owned and operated docks and coal distribution facilities in Wisconsin and Minnesota.

In 1906, the Interstate Commerce Commission held a formal investigation of rail ownership of coal companies, which resulted in the passage of the Hepburn Act and its "Commodities Clause," which prohibited railroads from dealing in the commodities they hauled. In anticipation of the new regulations, the Baltimore and Ohio Railroad sold its entire holdings of Consolidation stock to a Baltimore syndicate headed by Consol president Clarence W. Watson, J. H. Wheelwright and H. Crawford on April 26, 1906. At the time of the B&O's divestiture, the aggregate annual output of Consolidation's mines totaled more than 10 million tons and the company controlled more than 200,000 acres. The John D. Rockefeller interests began purchasing Consol securities in 1915, eventually securing a controlling interest. The company's offices were returned to New York City in May 1921.

After the B&O divestiture, Consol began expanding into the Southern Appalachian coal fields, which were just being opened by railroads on a large scale. The mines in this region yielded a low volatile coal that provided an ideal fuel source for stationary steam engines, ships, and locomotives. Of equal importance, operators in the remote mountains had been able to resist unionization and thus achieve lower operating costs, while all of Consol's previous holdings had been in the so-called "Central Competitive Field" to the north, which had been unionized in the 1890s. Consolidation Coal purchased 30,000 acres in the Millers Creek Field of Eastern Kentucky in 1909 and 100,000 acres in the Elkhorn Field the next year. In February 1922, Consol secured a long term lease and option on the Carter Coal Company, whose 37,000 acres straddled the borders of Virginia, West Virginia and Kentucky. In 1925, Consol became the nation's largest producer of bituminous coal, excluding the captive mines of the steel companies.

During the Great Depression, Consolidation Coal experienced serious financial difficulties and was forced into receivership on June 2, 1932. The Rockefellers liquidated their holdings at a loss, and the Carter Coal Company was returned to the Carter heirs in 1933. Consol was reorganized and reincorporated in Delaware as the Consolidation Coal Company, Inc. on November 1, 1935, and was able to retain its position as one of the nation's top coal producers. Eventually, stock control passed into the hands of the M.A. Hanna Company group of Cleveland, dealers in coal and iron ore. Although production reached record levels during the Second World War, management feared a recurrence of the collapse that had followed World War I. It also faced the prospect of increased competition from oil and natural gas and the loss of traditional markets such as home heating and locomotive fuel. As a result Consol opened negotiations with another large producer, the Pittsburgh Coal Company, which was the dominant operator in the Pittsburgh District.

The Pittsburgh Coal Company

The Pittsburgh Coal Company was a product of the great industrial merger movement of the late 1890s. In 1899, two large mergers were effected in the Pittsburgh District.

The Monongahela River Consolidated Coal and Coke Company was incorporated in Pennsylvania on October 1, 1899 to merge the properties of over 90 small firms operating mines along the Monongahela River south of Pittsburgh. Some of these operations dated to the early 1800s, and all of them shipped coal down the Ohio-Mississippi River system by barge from close to the mine mouth, or later by the railroads built along the river banks. The combination controlled 40,000 acres of coal land, 100 steam towboats, 4,000 barges, and facilities for handling coal at Cincinnati, Louisville, Vicksburg, Memphis, Baton Rouge and New Orleans.

The Pittsburgh Coal Company was incorporated in New Jersey as a holding company on September 1, 1899 and acquired the properties of over 80 operators located in the areas back from the river on both sides of the Monongahela south of Pittsburgh. The combination was engineered by some of the most prominent Pittsburgh industrialists, including Andrew W. Mellon, Henry W. Oliver, and Henry Clay Frick. It controlled over 80,000 acres and six collector railroads, the longest of which was the Montour Railroad. Most of its output was shipped by rail, with a large share being transferred to ships on the Great Lakes for distribution throughout the industrial Midwest. The company owned coal docks and yards at Chicago, Cleveland, Duluth, West Superior, Sault Ste. Marie, Ashtabula, Fairport and Thornburg. Subsequently, the company expanded in southwestern Pennsylvania and the Hocking Valley of Ohio through the lease of the Shaw Coal Company in 1901 and the purchase of the Midland Coal Company in 1903. Most of the properties were vested in a separate Pittsburgh Coal Company, an operating company incorporated in Pennsylvania.

Unlike the Consolidation Coal Company, which had grown by gradual accretion, the Pittsburgh Coal Company had been created in a single stroke. As with many mergers of the period, its capitalization probably contained a high percentage of "water" in anticipation of profits from future growth. Unfortunately, the years after the merger saw explosive growth in the coal fields of Southern Appalachia instead. Although farther from major consuming centers, they enjoyed several advantages. The coal itself was superior, low-volatile with higher BTU content and altogether cleaner than the high-volatile coals of Ohio and the Pittsburgh District. As already noted, the southern mines were also non-union. With the inroads of Southern Appalachian coal, the Pittsburgh Coal Company continuously lost ground in the crucial Lake and western markets from 1900 to 1915. The company's capitalization proved unwieldy in the unsettled economic conditions following the Panic of 1907. A reorganization plan was devised under which a new Pittsburgh Coal Company was incorporated in Pennsylvania on January 12, 1916 by merging the old Pittsburgh Coal Company of Pennsylvania and the Monongahela River Consolidated Coal and Coke Company. The old holding company was then liquidated and the stock of the new operating company distributed to its stockholders. Dissension between the common and preferred stockholders delayed consummation of the plan until July 16, 1917.

The Pittsburgh Coal Company, which had all its operations in the Central Competitive Field, had a much more difficult time than Consolidation in breaking the 1923 Jacksonville Agreement with the United Mine Workers in 1925-1927 and reverting to non-union status. The three-year struggle ended the company's ability to pay dividends. Pittsburgh Coal survived the Depression without receivership but with ever-increasing arrearages on its preferred stock. By the end of World War II, its managers were just as eager as those at Consol to attempt greater economies through merger. The Pittsburgh Coal Company and the Consolidation Coal Company merged on November 23, 1945, with exchange ratios of 65 to 35 percent. Pittsburgh Coal Company, the surviving partner, changed its name to the Pittsburgh Consolidation Coal Company.

The Pittsburgh Consolidation Coal Company

After the merger, the M.A. Hanna Company interests of Cleveland became the dominant factor in Pitt-Consol's affairs. Hanna had transferred its pre-merger Consol stock to its subsidiary Bessemer Coal & Coke Corporation in 1943. This led to a restructuring whereby Pitt-Consol acquired Hanna's share of the North Western-Hanna Fuel Company in April 1946 and the Hanna coal properties in eastern Ohio on June 16, 1946 These included large reserves of strippable coal that accounted for about 20 percent of the state's production. Pitt-Consol later acquired Hanna's holdings of coal land in Harrison, Belmont and Jefferson Counties, Ohio, on December 30, 1949. It purchased the New York Central Railroad's 51 percent interest in the Jefferson Coal Company, giving it full control, in 1952 and merged it into the Hanna Coal Company Division.

Pitt-Consol sold its last major railroads, the Montour Railroad and the Youngstown & Southern Railway to the Pennsylvania Railroad and the Pittsburgh & Lake Erie Railroad on December 31, 1946. The Northwestern Coal Railway had been sold to the Great Northern system, and the Cumberland & Pennsylvania Railroad had been sold to the Western Maryland Railway in May 1944.

In addition, a new Research and Development Division was created to fund projects aimed at developing more efficient production methods, new outlets for coal consumption, coal-based synthetic fuels and chemical byproducts. A new coal gasification plant opened at Library, Pa., in November 1948, and the company began the manufacture of a smokeless fuel briquette under the trademark "Disco" at Imperial, Pa., in 1949. An experimental coal slurry pipeline was built in Ohio in 1952.

During the 1950s and early 1960s, Pitt-Consol made many changes in its coal holdings, selling high-cost or less desirable properties, diversifying its reserves across many different coal fields, rationalizing property lines to permit large mechanized underground or strip mines and forming joint ventures with steel companies to secure guaranteed customers. Pitt-Consol acquired the Jamison Coal and Coke Company in 1954 and the Pocahontas Fuel Company, Incorporated, a large producer of low-volatile Southern Appalachian coal, in 1956. In the latter year, it sold its Elkhorn Field properties to the Bethlehem Steel Corporation. As Pittsburgh District operations became less central, the corporate name was changed back to Consolidation Coal Company in April 1958.

The Consolidation Coal Company, CONOCO and CONSOL Energy, Inc.:

Consol continued to expand into the early 1960s. On April 30, 1962, it absorbed the Truax-Traer Coal Company of Illinois. Truax-Traer also mined lignite in North Dakota, a low-grade but low-sulfur coal that was taking a greater share of the power generation market as environmental laws placed greater restrictions on high-sulfur coal from the Central Competitive Field. The following year Consol acquired the Crozer Coal and Land Company and the Page Coal and Coke Company, owners of additional reserves of low-volatile, low-sulfur steam coal in southern West Virginia.

In 1966, just two years after the company marked its centennial, Consolidation Coal was acquired by the Continental Oil Company (Conoco). This was part of a general trend whereby U.S. oil companies extended their reach by acquiring coal reserves and large coal producers. In turn, Conoco was acquired by E.I. du Pont de Nemours & Company in 1981. This purchase was motivated by DuPont's desire to obtain better control of chemical feedstocks in an era of high oil prices. Consolidation Coal was not a major factor in the Conoco acquisition and did not really fit into DuPont's strategy, especially after coal and oil prices declined. As a result, it was quickly sold off when DuPont was restructured a decade later. In 1991, a new holding company CONSOL Engery, Inc. was incorporated as a joint venture of DuPont Energy Company and the German energy conglomerate Rheinisch-Westfalisches Elektrizitatswerk A.G., through its wholly owned subsidiaries Rheinbraun A.G. and Rheinbraun U.S.A. GmbH. Consolidation Coal Company became a wholly-owned subsidiary of CONSOL Energy, Inc. DuPont eventually sold most of its half interest, so that by 1998, Rheinbraun affiliates owned 94% of CONSOL Energy stock, while DuPont Energy retained only 6%. CONSOL Energy purchased the entire stock of the Rochester & Pittsburgh Coal Company on September 22, 1998. CONSOL Energy stock began trading on the New York Stock Exchange under the symbol "CNX" in 1999, with an initial public offering of more than 20 million shares.

CONSOL Energy produced more than 74 million tons of coal in 1999, accounting for approximately 7% of domestic production. The company currently operates 22 mining complexes, primarily east of the Mississippi River.

Source

Historical note from the Consolidation Coal Company Records, Archives Service Center, University of Pittsburgh

Related Materials:

Materials in the Archives Center

The Archives Center holds a number of collections that document coal.

Coal and Gas Trust Investigation Collection (AC1049)

Hammond Coal Company Records (AC1003)

Lehigh Coal and Navigation Company Records (AC0071)

Lehigh Valley Coal Company Records (AC1106)

Philadelphia and Reading Coal and Iron Company Records (AC0282)

Materials in Other Organizations

Archives Service Center, University of Pittsburgh

CONSOL Energy, Inc. Mine Maps and Records Collection, 1857-2002

AIS.1991.16

The CONSOL Energy Inc. collection contains coal mine maps, related documents and topographical information, as well as surface maps and detailed information on mine accidents. Additionally, there are technical drawings, outside notes on multiple mines, traverse and survey books, information on companies and railroads with which CONSOL conducted business, and a variety of non-print materials including photographs, negatives and aperture cards. Digital reproductions of selected material are available online.

CONSOL Energy Inc. West Virginia and Eastern Ohio Mine Maps and Records Collection, 1880-1994

AIS.2004.22

The CONSOL Energy Inc. West Virginia and Eastern Ohio Mine Maps and Records Collection contains coal mine maps as well as surface maps and detailed information on mine accidents in West Virginia and Eastern Ohio. Additionally, there are technical drawings, related documents, traverse and survey books, publications and photographs.

Consolidation Coal Company Records, 1854-1971, bulk 1864-1964

AIS.2011.03

The Consolidation Coal Company (Consol) was created by the merger of several small operators mining the Georges Creek coal basin in Allegany County, Maryland. The company expanded rapidly in the early twentieth century through the purchase of substantial tracts in the coal fields of Pennsylvania, West Virginia, and Kentucky as well as docks and distribution facilities in the Great Lakes region. By 1927, Consol was the nation's largest producer of bituminous coal. Following a merger with the Pittsburgh Coal Company in 1945, the company pursued a policy of acquiring companies which afforded opportunities for greater diversification while selling off unprofitable lines. In addition, a new research and development division was created to fund projects aimed at developing more efficient production methods and new outlets for coal consumption. The records of the Consolidation Coal Company and its affiliated companies are arranged in seven series. Minute books and contract files provide the most comprehensive documentation in this collection.

Provenance:

Donated to the National Museum of American History in 1987 by Bethlehem Steel Corporation.

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.

Rights:

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

Topic:

Mining corporations  Search this

Mining -- West Virginia  Search this

Mining -- Pennsylvania  Search this

Mining -- Maryland  Search this

Company towns  Search this

Mining -- Kentucky  Search this

Mines -- West Virginia  Search this

Mines -- Pennsylvania  Search this

Mines -- Maryland  Search this

Mines -- Kentucky  Search this

Mining and minerals industry  Search this

Genre/Form:

Photographs -- Black-and-white negatives -- 20th century

Photographs -- 20th century

Photograph albums -- 20th century

Citation:

Pittsburgh Consolidation Coal Company photographs and other materials, Archives Center, National Museum of American History

Identifier:

NMAH.AC.1007

See more items in:

Pittsburgh Consolidation Coal Company photographs and other materials

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep86027ae9f-9a84-4277-adcf-d0b5e919ac6a

EDAN-URL:

ead_collection:sova-nmah-ac-1007

Creator:

Diamond, Freda, 1905-  Search this

Names:

Libbey-Owens-Ford Glass.  Search this

Extent:

3 Cubic feet (3 boxes, 4 folders )

Type:

Collection descriptions

Archival materials

Design drawings

Scrapbooks

Awards

Articles

Photographs

Date:

1945-1998

Summary:

Archival materials relating to Diamond's career as an industrial designer, including various client files (especially Libbey Glass) containing photographs, designs, sketches, and other papers; articles by and about Diamond; magazines; awards; and a scrapbook.

Arrangement:

The collection is divided into eight series.

Series 1: Client Files, 1945-1966

Series 2: Libbey Glass, 1946-1984

Series 3: Shaker Furniture and Clothing, undated

Series 4: Articles, 1945-1983

Series 5; Scrapbook, 1937-1946

Series 6: Presentations and Awards, 1951-1994

Series 7: Japan (1957 and 1968) and Israel (1973)

Series 8: Photographs, 1964-1967

Biographical / Historical:

Freda Diamond's work shaped the tastes of many Americans in the middle of the twentieth century. Diamond was born in New York City in 1905. She graduated from Cooper Union, a renowned institution of design, and then studied in Europe. As an industrial designer, Diamond's area of expertise focused largely on the home, influencing the tastes of the average American housewife. Her ability to predict consumer demands through market research was an important factor in the success of her designs. In 1942, Libbey Glass, a division of Owens-Illinois, commissioned Diamond (at her own prompting) to make a survey of consumer tastes. The resulting award-winning designs sold many companies on the idea of researching consumer preferences before manufacturing a product. Her opinion was so respected that in 1945 she was appointed to a manufacturing rehabilitation committee sent to Italy. Diamond's role was to educate Italian craftsmen on what to manufacture for the American mass market. In 1957 and 1968 she made similar trips to Japan. She died in 1998.

Provenance:

The collection was donated to the division of Ceramics and Glass, NMAH by Freda Diamond in June of 1997.

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:

Glassware  Search this

Furniture, Shaker  Search this

Furniture  Search this

Designers  Search this

Industrial design  Search this

Genre/Form:

Design drawings

Scrapbooks -- 20th century

Awards

Articles

Photographs -- 20th century

Citation:

Freda Diamond Collection, 1945-1984, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0616

See more items in:

Freda Diamond Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep84e98848f-dc81-46af-a080-4f28b5dbb7a3

EDAN-URL:

ead_collection:sova-nmah-ac-0616

Creator:

Becker, Richard  Search this

Bradford, Alex  Search this

Extent:

0.66 Cubic feet (2 boxes)

Type:

Collection descriptions

Archival materials

Sheet music

Songbooks

Sound recordings

Theater programs

Parts (musical)

Playbills

Programs

Scripts (documents)

Clippings

Music

Date:

1950-1997, undated

Summary:

Papers relating to Alex Bradford's career as a composer of Gospel music. Included among the materials are playbills, published sheet music, music manuscripts, gospel song books, play scripts, newspaper clippings and articles, and one LP record.

Scope and Contents:

Collection documents the career of Alex Bradford as a composer of gospel music. Most of the materials relate to the musical production Your Arms Too Short to Box with God and include playbills and an LP. There are music manuscripts, published sheet music, and three Gospel song books of Bradford's music. In addition, there are playscripts for some of Bradford's other musical productions. Newspaper clippings and magazine articles document the importance of Bradford's creative work to the African American community. Lastly, playbills from the League of New York Theatres and Producers Antoinette Perry Award (Tony Awards) ceremonies are also found among the materials. The materials are arranged in chronological order.

Arrangement:

The collection is arranged into one series.

Biographical / Historical:

Alex Bradford was a musical and theater legend who served as a bridge between the gospel and secular worlds in music and performance. Bradford was responsible for the rise and popularity of the mass gospel choir. Alex Bradford was born in Bessemer, Alabama in the late 1920s during an era of racial segregation. A racially motivated altercation eventually led his mother to send him to New York. Before he left Alabama, Bradford performed on stage and sang in various children's choirs. Bradford was a talented and influential gospel singer, performer, song writer, and stage play author. Richard Becker, an accomplished music producer, worked with the Beatles and the Rolling Stones. Becker's first collaboration with Bradford resulted in their production of Black Nativity, based on a play by Langston Hughes. Commissioned to do a second stage musical, the two created Your Arms Too Short to Box With God, based on the Biblical book of Matthew. Your Arms was the first musical production fully funded at the Ford's Theatre in Washington, DC. The musical made its debut on Broadway at the Lyceum Theatre, on December 22, 1976. The original cast included Al Green, Patti LaBelle, and newcomer Jennifer Holliday.

Related Materials:

Materials in the Archives Center, National Museum of American History

Eugene D. Smallwood Gospel Music Collection NMAH.AC.0456

Martin and Morris Company Records NMAH.AC.0492

Wade in the Water Radio Series Collection NMAH.AC.0516

Program in African American Culture NMAH.AC.0408

Sam DeVincent Collection of Illustrated American Sheet Music, Series 36: Folios and Songbooks NMAH.AC.0300

Warshaw Collection of Business Americana, Series: Music NMAH.AC.0060

Duke Ellington Collection NMAH.AC.0301

Provenance:

Richard Becker donated the materials to the Archives Center, National Museum of American History in January 2001.

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.

Reproduction restricted due to copyright or trademark.

Topic:

Gospel music  Search this

Genre/Form:

Sheet music -- 20th century

Songbooks

Sound recordings -- 1930-1990

Theater programs -- 1970-1980

Parts (musical)

Playbills

Programs

Scripts (documents)

Clippings -- 20th century

Music -- Manuscripts

Citation:

Richard Becker Collection of Alex Bradford Gospel Music Materials, 1950-1997, undated Archives Center, National Museum of American History

Sponsor:

Processing and encoding funded by a grant from the Council on Library and Information Resources.

Identifier:

NMAH.AC.0761

See more items in:

Richard Becker Collection of Alex Bradford Gospel Music Materials

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8349b0fa0-fd12-4c71-96d5-64f3fd2bfa6d

EDAN-URL:

ead_collection:sova-nmah-ac-0761

Creator:

Gray, Cleve, 1918-2004  Search this

Subject:

Richter, Hans  Search this

Marin, John  Search this

Lipchitz, Jacques  Search this

Pollock, Jackson  Search this

Grace, Louise N.  Search this

Gray, Francine du Plessix  Search this

Duchamp, Marcel  Search this

Dillenberger, Jane  Search this

Gabo, Naum  Search this

Ernst, Jimmy  Search this

Davis, Jim  Search this

Calder, Alexander  Search this

Barzun, Jacques  Search this

Weber, Nicholas Fox  Search this

Smith, David  Search this

Villon, Jacques  Search this

Pratt Institute  Search this

Rhode Island School of Design  Search this

Neuberger Museum of Art  Search this

Jacques Seligmann & Co  Search this

Betty Parsons Gallery  Search this

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

Princeton University  Search this

Berry-Hill Galleries  Search this

Type:

Poems

Articles

Photographs

Reviews (documents)

Notes

Illustrations

Notebooks

Sketches

Drafts (documents)

Video recordings

Sound recordings

Interviews

Manuscripts

Paintings

Prints

Watercolors

Drawings

Lectures

Citation:

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

Topic:

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

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

Designers  Search this

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9567

(DSI-AAA_SIRISBib)211768

AAA_collcode_grayclev

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211768

Creator:

Williams, Claude, 1908-2004  Search this

Fouse-Williams, Blanche Y.  Search this

Extent:

1 Electronic discs (CD)

13 Cassette tapes

4.66 Cubic feet (14 boxes, 3 map- folders)

Container:

Map-folder 1

Map-folder 3

Type:

Collection descriptions

Archival materials

Electronic discs (cd)

Cassette tapes

Letters (correspondence)

Photographs

Programs

Posters

Scrapbooks

Financial records

Awards

Business records

Audiotapes

Articles

Manuscripts

Date:

1920-2005

Summary:

Business and personal papers, photographs, and audio recordings of Claude "Fiddler" Williams, an award-winning jazz fiddler. Although Williams played music for almost a century the materials in this collection date largely from 1970 to 2005.

Scope and Contents:

This collection documents the later life and career of jazz violinist Claude "Fiddler" Williams. Materials include correspondence, photographs, unpublished writings, awards, business records, financial records, programs and a few music manuscripts. There is one scrapbook and several audio recordings. There are also an autographed poster from 1997 honoring five inductees to the Oklahoma Music Hall of Fame, including Claude Williams, Merle Haggard, Patti Page, Woody Guthrie and Eddie Burris. While there are some materials from Williams's youth, the vast majority of the collection dates from 1970. Williams's second wife, Blanche Y. Fouse-Williams, was vigilant about saving his papers. She also managed his career for the last few years of his life. This accounts for the increased volume of materials documenting his later years. Materials generally are arranged in chronological order within series and subseries.

Series 1, Business Records, 1973-2005, undated, is divided into seven subseries and includes business records, information relating to tours and performances, awards and certificates, business and personal correspondence, financial papers, articles and newspaper clippings, and biographical information.

Subseries 1, Events, 1977-2004, undated, includes contracts, copies of newspaper clippings, performance programs, brochures, ticket stubs, travel itineraries, travel receipts, correspondence, materials regarding his work as a fiddle teacher, advertisements for performances, a certificate of recognition, and napkins saved from a Washington Education Television Association (WETA) performance at the White House in 1998. Materials are arranged in chronological order.

Subseries 2, Itineraries, 1990-2001, includes lists and correspondence detailing locations, musicians, travel and lodging plans, and financial compensation for William's performances. Materials are arranged in chronological order.

Subseries 3, Awards and Certificates, 1978-2002, contains awards and certificates of appreciation from the Steamboat Delta Queen, Annual Black Musicians Conference, Kansas City Chapter of the International Association of Jazz Record Collectors, and the Manhattan School of Music, as well as an invitation to a reception honoring Kansas City Jazz musicians from the Consul General of Japan. Materials are arranged in chronological order.

Subseries 4, Correspondence, 1975-2004, consists of information relating to travel arrangements, tours, remuneration, music recordings, press kits, contracts, public television performances, involvement with the National Endowment for the Arts and the National Endowment for the Humanities, as well as Williams's Smithsonian Folkways recording. Materials are arranged in chronological order.

Subseries 5, Financial Papers, 1990-2005, includes information about travel and payment, hotel bills and receipts, invoices for performances, music recordings sales, royalty statements and copies of checks. Materials are arranged in chronological order.

Subseries 6, Press, 1973--005, undated, includes magazines, newspaper clippings and articles, about Williams's performances and music, appearances and jazz festivals, as well as the Kansas City Jazz scene. Magazine titles include Kansas City Magazine , Missouri Alumnus , The Masters Traditional Arts Apprenticeship Program , Jazz Ambassador Magazine , Kansas City Ambassador to Jazz , The Mississippi Rag , Fiddler Magazine , Jazz News , Jazz Times , Living Blues , Blues Access , and Kansas City . Materials are arranged by type and then in chronological order.

Subseries 7, Music, 1989-1995, undated, contains thirteen audio tape recordings, one CD, sheet music and set lists of music performed by Williams. There is an audio recording of Black and Blue: A Musical Revue , a Folk Master performance at Carnegie Hall. Williams's work with James Chirillo, an appearance on Birdflight , as well as recordings of live and studio performances are also included among these materials. There is a copy of Williams's CD Swingtime in New York and an interview from1992. Materials are arranged in chronological order.

Series 2, Personal Papers, 1978--005, undated, is divided into two subseries and contains letters, cards, postcards, invitations, copies of email, and requests for information and interviews. Most of the correspondence was addressed to Williams but there are materials that were sent to Blanche Williams. The correspondence is generally from fans, friends and family.

Subseries 1, Correspondence, 1978-2005, undated, consists of birthday cards from school age children, postcards, copies of newspaper clippings, White House and other government correspondence, congratulations or birthday wishes, as well as personal correspondence from friends inquiring about Williams's health and well-being. Also included is a draft for a chapter in a book on Claude Williams's contributions to jazz. Requests relating to research about Williams are also included. Materials are arranged in chronological order. Materials are arranged first by type followed by general correspondence in chronological order.

Subseries 2, Miscellaneous, undated, contains ephemera, autographs, affiliates list, well-wishes to Blanche Williams, a funeral program, mailing lists, lists of affiliated organizations, and a Count Bassie autograph.

Series 3, Photographs, 1977-2004, undated, includes personal and professional photographic prints and negatives of Williams. Subjects include performances and festivals, headshots and publicity, images of other musicians, family, friends, and posters with photographs created for his funeral. The majority of these photographs are of performances. Materials are arranged by subject.

Arrangement:

The collection is arranged into three series.

Series 1, Business Records, 1973-2005, undated

Subseries 1.1, Events, 1977-2004, undated

Subseries 1.2, Itineraries, 1990-2001

Subseries 1.3, Awards and Certificates, 1978-2002

Subseries 1.4, Correspondence, 1975-2004

Subseries 1.5, Financial Papers, 1990-2005

Subseries 1.6, Press, 1973-2005, undated

Subseries 1.7, Music; 1989-1995, undated

Series 2, Personal Papers, 1978-2005, undated

Subseries 2.1, Correspondence, 1978-2005, undated

Subseries 2.2, Miscellaneous, undated

Series 3, Photographs, 1977-2004, undated

Biographical / Historical:

Claude "Fiddler" Williams, 1908-2004, was born in Muskogee, Oklahoma, the son of a blacksmith. His musical gifts developed at a very early age, and he quickly became adept at the guitar, banjo, mandolin and cello, learning mostly by ear, without formal training. After hearing the jazz violinist Joe Venuti, the violin became his instrument of choice, and it remained so for the rest of his life. He migrated to Kansas City in 1927 and toured with several territory bands. Additionally Williams toured with the Twelve Clouds of Joy and the Cole Brothers, and in 1936, joined Count Basie's band as the first guitarist. After he was fired from Count Basie's band because John Hammond thought Williams's guitar solos were taking too much attention away from Basie, he went back to the violin (or "fiddle" as he preferred to call it) and focused exclusively on it for the rest of his life. Later he started his own band and toured with several jazz groups working for a short time with the Works Progress Administration (WPA). His band appeared at the Monterey Jazz Festival, the Nice Jazz Festival, and the Smithsonian Institution's Festival of American Folk Life. Williams received numerous honors and awards, including induction into the Oklahoma Jazz Hall of Fame, a proclamation from the city of Kansas City, and a 1998 National Heritage Fellowship which included a $10,000 award. President Bill Clinton invited him to perform at one of the parties celebrating his first inauguration. Williams continued to tour and perform until well into his nineties. He also gave instruction at Mark O'Connor's annual fiddle camp to young violinists. Mr. Williams died in April 2004.

Separated Materials:

Artifacts donated to the Museum's Division of Culture and the Arts (now Division of Cultural and Community Life) include a suit and violin. See accession numbers: 2005.3105 and 2007.3020.

Provenance:

This collection was donated by Claude Williams's widow, Blanche Y. Fouse-Williams, in 2005.

Restrictions:

The collection is open for research use.

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

Technical Access: Do not use original materials when available on reference audio tapes.

Rights:

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

Topic:

Music -- 20th century -- United States  Search this

Jazz -- 20th century -- United States  Search this

Jazz musicians -- United States  Search this

Violinists  Search this

Musicians -- United States  Search this

Genre/Form:

Letters (correspondence) -- 20th century.

Photographs -- 2000-2010

Programs

Posters -- 1950-2000

Scrapbooks

Financial records

Awards

Business records -- 20th century

Audiotapes

Articles

Photographs -- 20th century

Manuscripts -- Music -- 20th century

Citation:

Claude Williams Papers, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0909

See more items in:

Claude Williams Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep82736f8a2-824b-43e6-96c8-6449a163c087

EDAN-URL:

ead_collection:sova-nmah-ac-0909

Creator:

Lanza, Kenneth  Search this

Lanza, Anthony, 1925-1995  Search this

Extent:

1.33 Cubic feet (2 boxes)

Type:

Collection descriptions

Archival materials

Drawings

Diaries

Letters (correspondence)

Photographs

Place:

Japan -- World War, 1939-1945

Hiroshima-shi (Japan) -- History -- Bombardment, 1945

Date:

1925-1946

undated

bulk 1940-1946

Summary:

World War II personal papers, photographs, and printed material of Anthony R. Lanza, who served in the U.S. Army in Japan between 1944 and 1946.

Scope and Contents:

The collection documents Anthony Lanza's United States Army service in Japan during World War II, mostly through letters and photographs. Also included are miscellaneous items such as newsletters, clippings, drawings, Japanese travel and language guides, and official military papers. Particular research value lies in the photographic documentation of Hiroshima shortly after the atomic bomb was dropped, photographs of the Enola Gay, and an eyewitness account by a survivor.

Series 1, Photographs, 1925, 1944, 1945, 1946, undated, contains documentation of Lanza's time in Japan during World War II, divided by subject matter. Many of the photographs are annotated on the reverse side. Included in the collection are photographs of the Enola Gay, Hiroshima shortly after the atomic bomb was dropped, and the 308th General Hospital in Japan. There are also several photographs of landscapes and Japanese citizens. The folder containing street scenes includes one formal portrait of a Japanese family Lanza encountered in his travels. There are also photographs not taken in Japan, including images of Niagara Falls.

Series 2, Personal Papers, 1940s, undated, contains various papers that belonged to Lanza, including his diary, several letters to his mother written from Japan, a scrapbook, a first person account of the Hiroshima bombing written by Reverend John A. Siemes, military papers (special orders, immunization records, payroll information, and discharge papers), military newsletters, newspaper and magazine clippings, and various sketches and notes. The newspaper and magazine subjects contain information regarding a relative, a blurb about a DDT insecticide experiment, and information regarding musical performances.

Series 3, Materials Related to Japan, 1945, undated, contains two Japanese language books, a tourist magazine, and a book created for tourism about Japan dated 1945.

Arrangement:

The collection is arranged in three series.

Series 1, Photographs, 1925, 1944, 1945, 1946, undated

Series 2, Personal Papers, 1940s, undated

Series 3, Materials Related to Japan, 1945, undated

Biographical / Historical:

Dr. Anthony R. Lanza was born July 20, 1925, in New York City. He was inducted into the United States Army in March of 1944, worked at the 308th General Hospital in Japan, and received an honorable discharge in May of 1946. He attained the rank of Master Sergeant and received the American Campaign Medal, Good Conduct Medal, Asiatic Pacific Campaign Medal, and World War II Victory Medal. Lanza later worked as a public school teacher in Union, New Jersey, and Valley Stream, New York, as well as a faculty member of the School of Education at New York University. He also served as Chief of the NESA Education Branch in AID/Washington, as an Education Advisor in Turkey for nine years, and as a USAID Chief Education Officer in Guatemala, Afghanistan, and Pakistan for twelve years. He went on to work as Regional Education Officer for Africa for the Office of Overseas Schools in the U.S. State Department.

Related Materials:

World War II Bomb Damage Photographs contains photographs of the aftermath of the bombings in Nagasaki, Japan, and Manila in the Philippines. Emilio Segre Collection documents research relating to the development of the atomic bomb.

Provenance:

Anthony Lanza's son, Kenneth Lanza, donated this collection in 2005 and additional materials were donated in 2007.

Restrictions:

The collection is open for research use. Researchers must handle unprotected photographs 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.

Topic:

Atomic bomb  Search this

Japanese language -- 1940-1950  Search this

Nuclear warfare  Search this

Military occupation -- Japan  Search this

Travel -- Japan  Search this

World War, 1939-1945  Search this

Genre/Form:

Drawings -- 1940-1950

Diaries -- 1940-1950

Letters (correspondence) -- 20th century.

Photographs -- Black-and-white photoprints -- Silver gelatin -- 1940-1950

Citation:

Anthony Lanza World War II Papers, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0910

See more items in:

Anthony Lanza World War II Letters and Photographs

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep89becc5b3-fb32-4904-8c51-4647468a7677

EDAN-URL:

ead_collection:sova-nmah-ac-0910

Creator:

Omata, Hiroko  Search this

Extent:

1 Cubic foot (1 box)

Type:

Collection descriptions

Archival materials

Genealogical tables

Genealogies

Date:

ca. 1900-2006.

Summary:

The collection documents family history in Japan and in America and consists of photographs, documents and genealogical charts. There are also original audio recordings of Japanese poetry recitations and a transcript of an oral history interview relating to the internment of Japanese Americans.

Scope and Contents note:

This collection consists of genealogical and historical information about the Kamikawa, Omata, and Matsumoto families and their descendants compiled by Hiroko Kamikawa Omata. The materials include ancestry charts, copies of photographs, letters, interviews, and copies of official documents such as diplomas, naturalization papers, as well as announcements regarding the internment of Japanese-American citizens during World War II. The collection was arranged by the donor, and the Archives Center has maintained this arrangement. All dates in this collection refer to the original creation date of the collected materials. The family papers were originally amassed in 2004 and were edited in 2006.

Arrangement:

The collection is arranged into two series.

Series 1: Kamikawa, Omata and Matsumoto Families Papers, 1850-2006, undated

Series 2: Oral History Interview, 2004

Biographical/Historical note:

: Four Kamikawa brothers, Riichi, Mitsuiji, Masuichi and Koichi, emigrated from Japan to Fresno, California, just before the turn of the twentieth century. They married and started a merchant business, Kamikawa Brothers, which operated in Fresno, Selma, San Francisco and Del Rey, California, and in Japan. The brothers expanded the business to include banking, a hotel, grocery, restaurant, public bath, vineyard and other enterprises. During World War II, family members were interned at a camp in Arkansas. After the war many settled in New Jersey and Maryland.

Members of the Omata family -- a brother, George, and two sisters, also immigrated to California in the 1890s, though the sisters eventually returned to Japan. George established grocery and dry good stores in Hanford, California, and was successful in securing day laborers for community businesses. George's son, Robert, married Hiroko, the daughter of Masuichi Kamikawa, in 1948. Some members of the Omata family also were interned, and they too eventually settled on the East Coast.

The Matsumoto family was a well-to-do family in Japan. They were involved in the production of fertilizer and steel. Katsu (Kazu) Masimoto was the wife of Masuichi Kamikawa, and mother of Hiroko Kamikawa Omata.

Related Materials:

Materials in the Archives Center

Bishop Mitsumyo Tottori Memorial Notebooks (NMAH.AC.0926)

Japanese American Documentary Collection (NMAH.AC.0305)

Gerald Lamboley Collection of Japanese-American Letters (NMAH.AC.0450)

Catherine Hann Papers (NMAH.AC.0921)

Juanita Tamayo Lott Filipino American Photographs and Papers (NMAH.AC.0925)

Provenance:

Collection donated by Hiroko Omata, 2006.

Restrictions:

Collection is open for research and access on site by appointment. 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.

Topic:

Merchants -- 20th century  Search this

Japanese Americans -- Forced removal and internment -- 1942-1945  Search this

Japanese American families -- Photographs  Search this

Japanese American families  Search this

Immigrants  Search this

Genre/Form:

Genealogical tables

Genealogies

Citation:

Kamikawa and Omata Family Papers, circa 1900-2006, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0924

See more items in:

Kamikawa and Omata Family Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8c1938ba6-f7f7-4a6c-b78d-e19c978f9e18

EDAN-URL:

ead_collection:sova-nmah-ac-0924

Creator:

D'Rivera, Paquito, 1948-  Search this

Extent:

0.3 Cubic feet (1 box)

Type:

Collection descriptions

Archival materials

Photographs

Manuscripts

Date:

1988-2000

Summary:

Collection consists of three music manuscripts created by Cuban-born musician and composer Paquito D'Rivera and a photograph.

Scope and Contents:

The collection consists of three music manuscripts created by D'Rivera including A Song of Peace commissioned by the New York Festival of Songs for its annual concert series in 2000. Annie Colina wrote the lyrics for this song. There are also two other music manuscripts including I Remember Diz written by D'Rivera for Dizzy Gillespie shortly after his death. In addition, there is a photograph of D'Rivera's birthday celebration with Dizzy Gillespie in 1988. The materials are arranged in chronological order.

Arrangement:

The collection is arranged in three folders.

Biographical / Historical:

Paquito D'Rivera, born in 1948, is a Cuban musician and composer of both jazz and classical music. He plays both the clarinet and the alto saxophone. In his teen years, D'Rivera became a founding member of the Orquesta Cubana de Musica Moderna, directing the group for two years. At the same time, he played both the clarinet and saxophone with the Cuban National Symphony Orchestra. D'Rivera was also a founding member and co-director of the musical group Irakere, a band that played a mixture of jazz, rock, classical and traditional Cuban music. In 1980, he sought asylum in Spain at the United States Embassy. He moved to New York and played with Dizzy Gillespie's last big band. D'Rivera has won several Grammy awards, including Best Latin Jazz Album in 2003 and 2008 and best classical album at the Latin Grammy awards in 2003 and 2005. In addition, D'Rivera was nominated for Grammy awards in 1979 and 1980. He received the National Medal for the Arts in 2005 and was named one of the 2005 National Endowment for the Arts Jazz Masters.

D'Rivera is also a composer of music. In 2007, he received a John Simon Guggenheim Fellowship in Music Composition. He also received the 2007-2008 appointment as Composer-in-Residence at the Caramoor Center for Music and the Arts. D'Rivera's compositions reflect his widespread musical interests combining Afro-Cuban rhythms and melodies with classical origins.

Related Materials:

Archives Center, National Museum of American History

Tito Puente Papers (AC0894)

Chico O'Farrill Papers (AC0892)

Mongo Santamaria Papers (AC0893)

Smithsonian Jazz Oral History Program Collection (AC0808)

Charismic Production Records of Dizzy Gillespie (AC0979)

Separated Materials:

The Museum's Division of Culture and the Arts (now Division of Cultural and Community Life) holds artifacts related to this collection including a Panama hat, white tuxedo, and D'Rivera's first clarinet. See accession number: 2005.3048.

Provenance:

Paquito D'Rivera donated the collection to the Archives Center in 2005.

Restrictions:

The collection is open for research use.

Physical Access: Researchers must handle unprotected photographs 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.

Topic:

Jazz musicians -- United States  Search this

Jazz  Search this

Music -- 20th century  Search this

Musicians -- United States  Search this

Genre/Form:

Photographs -- Black-and-white photoprints -- Silver gelatin -- 1980-2000

Manuscripts -- Music -- 20th century

Citation:

Paquito D'Rivera Music Manuscripts and Photograph, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0891

See more items in:

Paquito D'Rivera Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8f5b82ece-a10d-4907-a9f7-d39b5ab1484c

EDAN-URL:

ead_collection:sova-nmah-ac-0891

Creator:

O'Farrill, Chico, 1921-2001  Search this

O'Farrill, Lupe  Search this

Stravinsky, Igor, 1882-1971  Search this

Extent:

1 Cubic foot (5 boxes)

Type:

Collection descriptions

Archival materials

Photographs

Videotapes

Scores

Date:

1975 - 1975

1999 - 1999

1949

Summary:

The collection documents the professional career of Chico O'Farrill, Cuban-born trumpet player, composer and arranger of Afro Cuban, bebop, and other styles of jazz.

Scope and Contents:

The collection consists of materials documenting the musical career of Chico O'Farrill. There are no personal papers, and there is very little information about his life.

Arrangement:

The collection is arranged into two series.

Series 1, Music Manuscripts, undated

Series 2, Other Materials, 1949, 1975, 1999

Biographical / Historical:

: Arturo (Chico) O' Farrill was born October 28, 1921, into an Irish-German Cuban family in Havana, Cuba. He learned to play trumpet while attending Riverside Military Academy in Gainesville, Georgia. O'Farrill later returned to Havana and studied composition. He arranged and composed classical music and jazz for mainstream and Latin musicians. He played trumpet throughout the mid-forties with various Cuban bands, including the Lecuna Cuban Boys. In 1948, O'Farrill moved to New York to study at The Julliard School. Later he composed and arranged music for Benny Goodman, Count Basie, Machito, Stan Kenton, Dizzy Gillespie, and Gato Barbieri. He collaborated with impresario Norman Granz, who helped put together a recording session including Machito, alto saxophonist Charlie Parker, tenor saxophonist Flip Phillips and drummer Buddy Rich. They recorded Afro Cuban Jazz Suite in 1950, a successful blend of the bebop sound he arranged for Benny Goodman and Latin jazz rhythms. O'Farrill formed his own band and toured the United States and Cuba, returning to Havana around 1955, subsequently relocating to Mexico City. O'Farrill moved to Los Angeles in 1965. He recorded Afro Cuban Moods with Dizzy Gillespie in 1975. Around this time, he began to compose commercial music for advertising and television. From 1998 until 2000, he conducted the Lincoln Center Latin Jazz Orchestra and the Chico O'Farrill Afro-Cuban Jazz Big Band in New York. O'Farrill died on June 27, 2001 in New York City.

Materials in the Archives Center, National Museum of American History:

Paquito D'Rivera Music Manuscripts and Photograph (AC0891)

Tito Puente Papers (AC0894)

Mongo Santamaria Papers (AC0893)

Charismic Productions Records of Dizzy Gillespie (AC0979)

Latino Music Collection (AC0852)

Provenance:

Guadalupe Valero O'Farrill, widow of Chico O'Farrill, donated the collection in 2005.

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:

Jazz  Search this

Music -- 20th century  Search this

Jazz musicians -- United States  Search this

Musicians -- United States  Search this

Genre/Form:

Photographs -- 20th century

Videotapes

Scores

Citation:

Chico O'Farrill Papers, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0892

See more items in:

Chico O'Farrill Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8cd9290a4-a56d-40e6-9586-e5bdb6eac67f

EDAN-URL:

ead_collection:sova-nmah-ac-0892

Creator:

Santamaria, Mongo, 1917-  Search this

Extent:

2 Cubic feet (4 boxes)

Type:

Collection descriptions

Archival materials

Articles

Passports

Photographs

Manuscripts

Concert programs

Date:

1950s-1996

Summary:

Collection includes music manuscripts, articles and clippings, concert programs, passports, and photographs.

Scope and Contents:

This collection documents, mostly in photographs, the musical career of Mongo Santamaria. Other materials include music manuscripts, magazine and newspaper articles, flyers, posters, and passports.

Series 1, Photographs, circa 1950s–1990s, includes primarily black and white and some color images of Mongo Santamaria. There is a photograph of Santamaria with the first Congo he brought from Cuba to the United States. Of particular interest is Santamaria performing with Tito Puente and Cal Tjada's bands. Some of the earlier photographs document performances at the Palladium Nightclub and Apollo Theatre. There are publicity photographs of Santamaria and his band created by the recording studios. The photographs also include award ceremonies, bar scenes and concert appearances. The materials are arranged in chronological order.

Series 2, Music Manuscripts, 1958-1985; undated, includes music created by Santamaria and music performed by him but written by other composers. Escena Afro-Cubanas composed and arranged by Valerie Capers (1985), Just Say Good-by by Rodgers Grant, Mambo Olga Pachanga by Nicolas Martinez (1961) and Peace by Horace Silver are included among these materials. The materials are arranged in alphabetical order by title.

Series 3, Personal and Background Information, 1945-1996; undated, include a profile of Santamaria and other musicians written in Japanese. There are also magazine articles documenting the development of Santamaria's career and his public appearances. Articles from the Miami Herald and the Chicago Tribune are also included among the materials. Personal items consist of Santamaria's Cuban and American passports. The materials are arranged in alphabetical order by type.

Series 4, Performance Materials, 1977-1996; undated, includes the National Academy of Recording Arts and Sciences Certificate to Mongo Santamaria and his Latin-Jazz Orchestra in recognition of nomination for the Best Tropical Latin Performance for Free Spirit, Espirito Libre, 1985. There are also flyers and an entertainment guide, some in Spanish, advertising public appearances for concert performances. A program in French for a jazz festival in Vienna includes profiles of the performers. There are posters including a black and white drawing of jazz musicians by Robert Leonard (1985) and appearances at the Miami Jazz and Heritage Festival, Apollo Theatre, Oberlin College and the Blue Note. Materials are arranged in alphabetical order by type.

Arrangement:

The collection is divided into 4 series.

Series 1: Photographs, circa 1950s-1990

Series 2, Music Manuscripts, 1958-1985 and undated

Series 3, Personal and Background Information, 1945-1996 and undated

Series 4, Performance Materials, 1977-1996 and undated

Biographical / Historical:

Cuban-born percussionist, composer, arranger, and bandleader.

Related Materials:

The materials in this collection complement the Latino Music Collection, Tito Puente Papers, Chico O'Farrill Papers, Dizzy Gillespie Collection and Paquito d'Rivera Music Manuscripts and Photograph.

Provenance:

Donated to the Archives Center by Mongo Santamaria's daughter, Nancy Anderson.

Restrictions:

Collection is open for research.

Rights:

Fees for commercial reproduction. Reproduction restricted due to copyright or trademark.

Topic:

Music -- 20th century  Search this

Jazz musicians -- United States  Search this

Jazz  Search this

Drummers (Musicians)  Search this

Musicians -- United States  Search this

Genre/Form:

Articles

Passports

Photographs -- 1950-2000

Manuscripts -- Music -- 20th century

Concert programs

Citation:

Mongo Santamaria Papers, 1965-2001, Archives Center, National Museum of American History. Gift of Nancy Anderson.

Identifier:

NMAH.AC.0893

See more items in:

Mongo Santamaria Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep86da90852-d80c-4f01-b373-10272925814e

EDAN-URL:

ead_collection:sova-nmah-ac-0893

Creator:

Armstrong, Lucille  Search this

Bechet, Sidney, 1897-1959  Search this

Armstrong, Louis, 1901-1971  Search this

Condon, Eddie, 1905-1973  Search this

Calloway, Cab, 1907-1994  Search this

Commodore Records.  Search this

Feather, Leonard, 1914-1994  Search this

Gabler, Milt  Search this

Davis, Sammy, 1925-  Search this

Decca (recording company).  Search this

Granz, Norman  Search this

Hawkins, Coleman  Search this

Kaempfert, Bert, 1923-1980  Search this

Ives, Burl, 1909-  Search this

Holiday, Billie, 1915-1959  Search this

Norvo, Red, 1908-1999  Search this

Mills Brothers.  Search this

Krupa, Gene, 1909-1973  Search this

Kelly, Peck, 1898-  Search this

Williams, Cootie, 1911-1985  Search this

United Hot Clubs of America.  Search this

Stewart, Rex (William), Jr., 1907-1967 (cornetist)  Search this

Jordan, Louis, 1908-1975  Search this

Goodman, Benny (Benjamin David), 1909-1986  Search this

Names:

Crosby, Bing, 1904-1977  Search this

Goodman, Benny (Benjamin David), 1909-1986  Search this

Extent:

25 Cubic feet (75 boxes )

Type:

Collection descriptions

Archival materials

Legal records

Magazines (periodicals)

Catalogs

Correspondence

Financial records

Music

Bank statements

Autobiographies

Articles

Tax records

Business records

Newsletters

Photographs

Recordings

Sheet music

Date:

1895-2001

Summary:

The collection documents Gabler's involvement in the recording industry and the evolution of Commodore Records. The documentation begins with the Commodore Radio Shop through its evolution to Commodore Music Shop. The collection also includes the beginnings of the Commodore record label and information detailing Gabler's 30 years as staff producer and later Vice-President in Charge of Artists and Repertoire at Decca Records (1941-1974). There is a small collection of black and white photographs chronicling the early years at the Commodore Music Shop, as well as jam sessions, often held at Jimmy Ryan's on 52nd Street. The collection also includes a vast array of audio recordings (mainly audiodiscs).

Scope and Contents:

Papers documenting Gabler's life and career, including: correspondence with family members, friends and people in the music business such as Sammy Davis, Jr. and Lucille Armstrong (Louis' wife); Gabler's writings, including an autobiography and numerous articles; music manuscripts and sheet music, the lyrics for some of which were written by Gabler, and other compositions written by others, including Red Norvo, Eddie Condon and others; legal and financial records, including royalty statements, tax papers and banking records; business records for Commodore and Decca, including correspondence from persons such as Norman Granz, Burl Ives, and Leonard Feather; Commodore and Decca legal records including licensing and trademark documents; publicity materials; production records, such as production logs and liner notes; printed materials such as catalogs, newsletters, magazines, and periodicals; papers relating to Gabler's affiliation with Bert Kaempfert, including correspondence, sheet music and lyrics, and production records; photographs of Gabler and his family and of numerous others in the music industry, including Bing Crosby, Billie Holiday, Sammy Davis Jr., Bert Kaempfert, the Mills Brothers, Rex Stewart, Cootie Williams, Benny Goodman, Coleman Hawkins, Gene Krupa, Louis Jordan, Peck Kelly, Sidney Bechet, Cab Calloway, Louis Armstrong, and numerous others, many taken in the studio during recording sessions; and audio recordings.

Arrangement:

The collection is arranged into twenty-seven series.

Series 1: Personal Correspondence

Series 2: Writings by Milt Gabler

Series 3: Music Manuscripts and Sheet Music

Series 4: Personal Financial and Legal Records

Series 5: Commodore and Decca Correspondence and Gabler Rolodex

Series 6: Commodore and Decca Legal Records

Series 7: Commodore and Decca Financial

Series 8: Publicity

Series 9: Commodore and Decca Projects

Series 10: Production Records

Series 11: Commodore General Correspondence

Series 12: Commodore Financial Records

Series 13: Commodore Legal Records

Series 14: Commodore Production Records

Series 15: Commodore, Various Projects and Topical Files

Series 16: Commodore Publicity Records

Series 17: Business Cards

Series 18: Catalogs

Series 19: Newsletters

Series 20: Serials

Series 21: Monographs

Series 22: Newsclippings, Periodical Articles, and Advertisements

Series 23: Correspondence with Organizations

Series 24: Organization Membership cards

Series 25: Bert Kaempfert

Series 26: Photographs

Series 27: Audio Discs

Biographical / Historical:

Milt Gabler was born in Harlem, New York on May 20, 1911. He began managing his father's radio and small appliance store, the Commodore Radio Shop, while still a teen. Gabler convinced his father to expand the business and sell audio recordings. Soon Gabler pioneered the concept of marketing reissues by leasing discontinued masters from various record companies (mainly Victor, Columbia, Vocalion, and Brunswick). Eventually the Gablers changed the name of the family business to the Commodore Music Shop. By the early 1930's Gabler founded the first mail order record label, United Hot Clubs of America, to reach an even greater audience of jazz enthusiasts. In 1935 Gabler began publicizing the music shop by staging a series of Sunday afternoon jam sessions at several different recording studios along 52nd Street. Later the jam sessions moved to the nearby jazz club, Jimmy Ryan's.

In 1938 Gabler founded the Commodore music label. It was the first American recording label created exclusively for jazz music. A recording session for Eddie Condon's Windy City Seven at Brunswick Studios was the first original Commodore recording. In 1939 Gabler recorded Billie Holiday's controversial "Strange Fruit", which became Commodore's first major commercial success. Other notable Commodore artists include Sidney Bechet, Jonah Jones, Peck Kelley, Red Norvo, Ralph Sutton, and Teddy Wilson. Gabler began as a staff producer at Decca Records in 1941 and worked with artists from many different musical genres: Ella Fitzgerald, Bing Crosby, Judy Garland, Brenda Lee, the Weavers, and Louis Jordan, among others. Gabler also began writing lyrics in collaboration with Decca songwriters/composers. In 1954 Gabler produced the first recordings by Bill Haley and the Comets. In addition, Gabler continued to run the Commodore recording label until 1957. Gabler also managed the Commodore Music Shop until 1958, when he began working full-time at Decca as Vice-President in Charge of Artists and Repertoire. Throughout the 1960's Gabler served as lyricist in a number of collaborations with Bert Kaempfert and Herbert Rehbein. Gabler retained his influential position at Decca until 1974 when the corporation moved to the West Coast. Through the Decca years, Gabler had saved the Commodore masters and in 1974 began to reissue the recordings through Atlantic, Columbia Special Products, and finally United Hot Clubs of America. In 1987 Mosaic Records also began to reissue the entire catalog of Commodore recordings.

In the last decades of his life Gabler remained active in a number of professional organizations, most notably the National Academy of Recording Arts and Sciences, which bestowed upon him a Grammy lifetime achievement award in 1991. Gabler died in New York on July 20, 2001.

Provenance:

Collection donated by Milt Gabler estate, through Lee Gabler.

Restrictions:

The collection is open for research use. Some materials restricted; but most are available for unrestricted research access on site by appointment.

Several items of personal correspondence contained private medical information about living individuals. The originals were removed and will remain sealed until 2030. Copies with the sensitive information redacted are available for research use in the collection.

Access to audio recordings for which no reference copy exists requires special arrangements with Archives Center staff. Please ask the reference archivist for additional information.

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 publishers  Search this

Jazz musicians -- United States  Search this

Jazz -- 20th century -- United States  Search this

Composition (Music)  Search this

Music trade  Search this

Music -- 20th century -- United States  Search this

Musicians -- United States  Search this

Genre/Form:

Legal records

Magazines (periodicals) -- 20th century

Catalogs

Correspondence -- 20th century

Financial records

Music -- Manuscripts

Bank statements

Autobiographies

Articles

Tax records

Business records -- 20th century

Newsletters -- 20th century

Photographs -- 20th century

Recordings

Sheet music -- 20th century

Citation:

Milt Gabler Papers, 1927-2001, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0849

See more items in:

Milt Gabler Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep844dc4ee2-1f0b-43c1-9566-5dc6b5b62ee2

EDAN-URL:

ead_collection:sova-nmah-ac-0849

Creator:

Smothers Brothers  Search this

Names:

Paulsen, Pat  Search this

Seeger, Pete, 1919-2014  Search this

Extent:

7 Cubic feet (21 boxes, 1 map-folder)

Type:

Collection descriptions

Archival materials

Biography files

Clippings

Color slides

Contact sheets

Contracts

Itineraries

Legal records

Letters (correspondence)

Photograph albums

Photographs

Color prints (photographs)

Programs

Press releases

Scrapbooks

Scripts (documents)

Date:

1959-2008, undated

Summary:

The collection documents the lives and careers of the Smothers Brothers, with emphasis on their 1960s television variety show, The Smothers Brothers Comedy Hour.

Scope and Contents:

Collection documents the private lives and professional careers of Tom and Dick Smothers, with emphasis on their television variety show, The Smothers Brothers Comedy Hour. The largest portion of the collection contains photographic materials. Publicity materials including press releases, programs, newspaper clippings, and magazine articles; correspondence containing fan mail (some from famous persons such as Lucille Ball, Jack Paar, and others), letters from viewers both complimentary and critical of shows, and letters from members of Congress; business records including contracts, tour itineraries, talent agency materials, scripts, and scrapbooks; and legal documents relating to the lawsuit against Columbia Broadcasting System (CBS) are also found in the collection. Collection is arranged into three series: Series 1, Photographs, 1961-2007, undated; Series 2, Business Records, 1959-2002, undated; and Series 3, Personal Papers, 1966-2008, undated.

Arrangement:

Collection is arranged into three series:

Series 1: Photographic Materials, 1961-2007, undated

Subseries 1.1: Television Shows, 1966-1989, undated

Subseries 1.2: Specials, Tours, and Public Appearances, 1964-1988, undated

Subseries 1.3: Motion Picture Films and Theatre, 1969-1982

Subseries 1.4: General, 1961-2007, undated

Subseries 1.5: Promotional, 1961-2003, undated

Series 2: Business Records, 1959-2002, undated

Subseries 2.1: Press, 1960-2002, undated

Subseries 2.2: Employee Files, 1959-1999, undated

Subseries 2.3: Smothers Brothers v. Columbia Broadcasting System, Incorporated (CBS), 1966-1972, undated

Subseries 2.4: Correspondence, 1960-1996

Subseries 2.5: Performance Materials, 1962-1993, undated

Subseries 2.6: Fan Club, 1990-1992, undated

Series 3: Personal Papers, 1966-2008, undated

Related Materials:

Materials in the Archives Center, National Museum of American History

Duncan Family Yo-Yo Collection NMAH.AC.0807

Colonna, Farrell Wine Label Collection NMAH.AC.0626

Sam DeVincent Collection of Illustrated American Sheet Music, Series 16: Country, Western and Folk Music NMAH.AC.0300

Bob Rule Papers, NMAH.AC.0855

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:

Comedy  Search this

Folk singers  Search this

Television personalities  Search this

Television  Search this

Variety shows (Television programs) -- Production and direction  Search this

Genre/Form:

Biography files

Clippings -- 20th century

Color slides -- 20th century

Contact sheets

Contracts

Itineraries

Legal records

Letters (correspondence) -- 20th century.

Photograph albums

Photographs -- 20th century

Color prints (photographs) -- 20th century

Photographs -- Black-and-white photoprints -- 20th century

Photographs -- Black-and-white negatives -- 20th century

Photographs -- Black-and-white negatives -- Acetate film

Programs

Press releases

Scrapbooks

Scripts (documents)

Citation:

Smothers Brothers Collection, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.1437

See more items in:

Smothers Brothers Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep83ece83d3-a6c8-44b1-8d02-c25507efbd68

EDAN-URL:

ead_collection:sova-nmah-ac-1437

Creator:

Norvo, Red, 1908-1999  Search this

Donor:

Corlin, Portia Norvo  Search this

Extent:

4 Cubic feet (7 boxes)

Type:

Collection descriptions

Archival materials

Awards

Biographies

Correspondence

Photographs

Clippings

Interviews

Date:

1932-1998

Summary:

Correspondence, transcripts of interviews, photographs, a biography, a discography, an award, printed material and other miscellany documenting the life and career of Red Norvo.

Scope and Contents:

The Red Norvo Papers consist of correspondence, transcripts of interviews with Red Norvo, miscellaneous publications (catalogues, monographs, newsletters, pamphlets, programs), periodicals, articles and clippings, photographs, and several miscellaneous documents: various advertisements, a hotel receipt, liner notes, an award from Metronome, a biography prepared by Capitol Records, a Red Norvo discography, a concert engagement advertisement in the form of a postcard, a poster (Benny Goodman), and a Red Norvo concert tour itinerary.

Arrangement:

Divided into 7 series: Series 1: Correspondence, 1939-1997; Series 2: Red Norvo Interview Transcripts, 1991-1993; Series 3: Miscellaneous Publications; Series 4: Miscellaneous Documents; Series 5: Periodicals, Series 6: Periodical Articles and News Clippings; Series 7: Photographs.

Biographical / Historical:

Along with Lionel Hampton, Red Norvo stands as one of the most celebrated and influential figures in the history of Jazz vibraphone. Norvo was born Kenneth Norville in Beardstown, Illinois on March 31, 1908. He began studying marimba at an early age and played in a rhumba band in 1925. After a brief stint as a tap dancer and conductor on the Vaudeville circuit, Norvo played xylophone with the Paul Whiteman Orchestra. He later married the band's singer, Mildred Bailey, and together they were known as Mr. and Mrs. Swing. From the late 1930's through the early 1940's Norvo lead his own orchestra (with arrangements by Eddie Sauter) and his own sextet.

In 1944 Norvo switched permanently to vibraphone and joined the Benny Goodman Sextet. In 1945 the Red Norvo Selected Sextet (featuring Charlie Parker and Dizzy Gillespie) recorded Hallelujah, Get Happy, Slam Slam Blues, and Congo Blues—an event that many critics regard as helping to commence the bebop era and the establishment of modern jazz. In 1946 Norvo played with Woody Herman's First Herd. But in Norvo's formative years it was the improvisational piano style of Teddy Wilson that most influenced his own style of play. In 1950 Norvo founded the Red Norvo Trio, which included Tal Farlow on guitar and Charles Mingus on bass. Norvo also performed and recorded with a quintet. He settled in Santa Monica, California and became a prolific recording musician with Capitol and other labels. Most of the essential singers of the period either performed or recorded with him: Frank Sinatra, Billie Holiday and Peggy Lee to name a few. Norvo notably backed Sinatra on his Australian tour in 1959 and appeared with him in the 1960 film, Ocean's Eleven. In 1961 Norvo began to suffer hearing loss, a condition which worsened throughout the remainder of his life. In the 1970's he performed mainly in Las Vegas. He died April 6, 1999 in Santa Monica.

Related Materials:

Materials in the Archives Center

Benny Carter Collection (NMAH.AC.0757)

Milt Gabler Papers (NMAH.AC.0849)

Jazz Oral History Program Collection(NMAH.AC.0808)

William Russo Music and Personal Papers(NMAH.AC.0845) Jack Siefert/Woody Herman Collection(NMAH.AC.0659) Ernie Smith Jazz Film Collection (NMAH.AC.0491)

Provenance:

The collection was donated to the Archives Center by Portia Norvo Corlin on April 1, 2004.

Restrictions:

Collection is open for research and access on site by appointment. 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.

Topic:

Periodicals  Search this

Vibraphone  Search this

Jazz  Search this

Jazz musicians -- United States  Search this

Music -- 20th century  Search this

Genre/Form:

Awards

Biographies

Correspondence -- 20th century

Photographs -- 20th century

Clippings -- 20th century

Interviews -- 1990-2000

Citation:

Red Norvo Papers, 1932-1997, Archives Center, National Museum of American History. Gift of Portia Norvo Corlin.

Identifier:

NMAH.AC.0858

See more items in:

Red Norvo Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8b2c9ef61-86a8-4078-bfa5-98cf05e3fad7

EDAN-URL:

ead_collection:sova-nmah-ac-0858

Creator:

Marutani, William M.  Search this

Names:

Japanese Americans Citizens League  Search this

Commission on Wartime Relocation and Internment of Civilians  Search this

Donor:

Marutani, Victoria  Search this

Extent:

1 Cubic foot (4 boxes)

Type:

Collection descriptions

Archival materials

Correspondence

Photographs

Awards

Legal documents

Date:

1940-2003

Summary:

These materials are arranged chronologically and include information about Marutani's life and professional activities. The series includes information about his time in the Army, his association with Tule Lake, his work on the Loving v. Virginia case, photographs, a plaque from the Tule Lake Reunion Committee, and lecture research and notes.

Scope and Contents:

Papers mostly relating to Marutani's activism on behalf of former inmates of Japanese American internment camps during World War II, including: papers relating to Marutani's service with the Commission on Wartime Relocation and Internment of Civilians, notes, facts and copies of historic documents he gathered; correspondence with former internees; photographs of camps and internees; legislative and litigative materials; and papers relating to Marutani's own wartime and post-war experiences.

This collection documents Marutani's activism on behalf of former Japanese American internment camp residents. Included are papers relating to Marutani's involvement with the CWRIC, notes, research, and photocopies of historic documents; correspondence; photographs of camps and internees; and legislative and litigation materials. Also, there are papers relating to Marutani's own wartime and post-war experiences.

Series 1: Commission on Wartime Relocation and Internment of Civilians (CWRIC), 1940-1990 These materials relate to the investigation by the Commission and the response to the results. Series one is divided into two subseries: Correspondence, 1980-1984 and Reference Materials, 1942-1990. The correspondence is in the original order that Marutani created and relates to research, communications between Commission members, and reactions to the Commission's findings. The reference materials also include research done in affiliation with the Commission.

Series Two: William M. Marutani Papers, 1942-2003

Arrangement:

Collection arranged into one series.

Biographical / Historical:

William M. Marutani, a second generation Japanese American, was born in Kent, Washington. In the fall of 1941, he enrolled in courses at the University of Washington, but was forced to leave because of Executive Order 9066, which initiated the wartime incarceration of Japanese Americans. Marutani was taken to Fresno Assembly Center in the spring of 1942, and three months later was transferred to Tule Lake concentration camp, where he spent an additional three months. At the age of 20, he volunteered for the armed forces but was denied because of his Japanese ancestry. However, in 1944, he was inducted into a military intelligence school and later sent to Japan where he served in the Counter Intelligence Corps. In 1953, Marutani graduated from the University of Chicago Law School and joined the firm of MacCoy, Evans, and Lewis. He provided legal counsel for the Japanese American Citizens League (JACL) and presented arguments in Loving v. Virginia, the ruling that struck down anti-miscegenation laws. In 1981, President Jimmy Carter appointed Marutani to the Commission on Wartime Relocation and Internment of Civilians (CWRIC). This commission was created to investigate the incarceration of Japanese Americans and reparations for that action. Marutani was the only Japanese American to serve on the Commission. Based on his recommendations, Congress issued a payment with an apology to those affected. Marutani accepted the apology from President George Bush but refused the payment. Marutani passed away on November 15, 2004, at the age of 81.

Provenance:

Donated to the Archives Center by Marutani's widow, Victoria Marutani, in 2005.

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:

Concentration camps -- 1942-1945 -- United States  Search this

Japanese Americans -- Forced removal and internment -- 1942-1945  Search this

Genre/Form:

Correspondence -- 1950-2000

Photographs -- 20th century

Awards

Legal documents -- 1940-2000

Citation:

William M. Marutani Papers, 1942-2002, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0890

See more items in:

William M. Marutani Papers

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep84d8c731f-8b44-43fd-aec6-cc4c614c324f

EDAN-URL:

ead_collection:sova-nmah-ac-0890