Search Results

Author:

Parke, Davis Company  Search this

Collector:

National Museum of American History (U.S.). Division of Medical Sciences  Search this

Names:

Pfizer Inc.  Search this

Warner-Lambert/Parke-Davis  Search this

Warner-Lambert/Parke-Davis. Pharmaceutical Research Division  Search this

Davis, George S.  Search this

Duffield, Samuel P., Dr. (physician, pharmacist)  Search this

Parke, Hervey Coke , 1827-1899  Search this

Extent:

365 Cubic feet (510 boxes, 43 map folders)

Type:

Collection descriptions

Archival materials

Annual reports

Blueprints

Brochures

Catalogs

Correspondence

Employee records

Formulae, chemical

Lantern slides

Newsletters

Newspaper clippings

Notebooks

Price lists

16mm films

Sound recordings

Tracings

Trade literature

Date:

1866-1992

Summary:

The collection documents Parke, Davis and Company, one of the largest and oldest pharmaceutical firms in America.

Scope and Contents:

The collection documents Parke, Davis and Company, one of America's oldest and largest drug makers. Parke, Davis had the first research laboratory in the American pharmaceutical industry. The company played a major role in the development of some of the principle new drugs of the twentieth century and pioneered the field of drug standardization. They were one of the first American firms to produce antitoxins, hormones, and other biologicals. They introduced new and important drugs such as adrenalin, dilantin, chlorenpleniol, and other antibiotics. They also did important research on vitamins, disinfectants, and pencillin.

The collection contains complete documentaion of all the research activities done, including research laboratory notes, correspondence, and published papers. The collection also contains corporate, financial, advertising and sales materials, photographs, and audiovisual materials. The collection is important for those researchers interested in the history of public health, the history of biologicals, pharmaceutical manufacturing and business history.

Arrangement:

Collection is divided into 13 series.

Series 1: Corporate Materials, 1887-1951

Series 2: Financial Materials, 1880-1970

Series 3: Employee/Personnel Materials, 1900-1989

Series 4: Advertising/Sales Materials, 1868-1980

Series 5: Photographs, 1866-1992

Series 6: Notebooks, 1908-1968

Series 7: Control Department Records, 1884-1931

Series 8: Formulas, 1882-1967

Series 9: Equipment Data Files, 1922-1978

Series 10: Publications, 1968-1988

Series 11: Research Materials, 1920-1978

Series 12: Drawings, 1911-1971

Series 13: Addenda, 1867-1970

Series 14: Audio Materials, 1956-1957

Historical:

Parke, Davis and Company traces it's origins to Samuel Pearce Duffield (1833-1916), a physician and pharmacist. Duffield was born in Carlisle, Pennsylvania and his family moved to Detroit when he was an infant. Duffield graduated from the University of Michigan in 1854 and he attended medical school at the University of Pennsylvania, latter leaving for Germany where he studied chemistry and sought treatment for his eyesight. He subsequently earned a Doctor of Philosophy from Ludwig University at Giessen in Germany. Duffield returned to Detroit in 1858 and established a retail drugstore with a strong interest in manufacturing pharmaceuticals. Duffield sought financial partners for his retail and manufacturing venture with A.L. Patrick and Francis C. Conant. Both men retracted their investments and Duffield met Hervey Coke Parke (1927-1899), a native of Bloomfield Hills, Michigan.

Duffield and Parke formed a formal partnership in 1866. George S. Davis, a third partner and traveling salesman previously with Farrand, Sheley and Company, was added 1867. Augustus F. Jennings joined the company as a partner to head manufacturing. The company became known as Duffield, Parke, Davis, & Jennings Company. Duffield withdrew in 1869 and the name Parke, Davis & Company was adopted in 1871. The company incorporated in 1875 and began planning world-wide scientific expeditions to discover new vegetable drugs such as Guarana, Bearsfoot, Eucalyptus Globulus, and Coca. The company first showed a profit in 1876, and the first dividend paid to shareholders in 1878 and dividends paid until mid-1960s. Research was a major activity of the company.

In 1907, Parke, Davis and Company bought 340 acres in northeast Avon Township, Michigan, and called it Parkedale Farm. The farm was dedicated on October 8, 1908, and included sterilization rooms and a vaccine propagating building. By 1909 the farm included 200 horses, 25 to 50 cattle, 150 sheep, and employed 20 men. The horses produced the antitoxin for diphtheria and tetanus, the cattle produced a vaccine for smallpox preventatives, and the sheep made serum. Only the healthiest animals were used and all were well cared for. Exotic plants were also grown on the site and used for drugs. Parke-Davis' chief products were antitoxins and vaccines as well as farm crops for feeding the animals. The farm continued to produce vaccines for diphtheria, scarlet fever, tetanus, smallpox, anthrax, and in the 1950s, the Salk polio vaccine.

Due to a weakening financial position, the company became susceptible to take-over, and was purchased by Warner-Lambert in 1970. Warner Lambert, was then acquired by Pfizer in 2000. In 2007, Pfizer closed its research facilities in Ann Arbor, Michigan.

Source

Rochester Hills Museum at Voon Hoosen Farm (last accessed on September 29, 2021 https://www.rochesterhills.org/Museum/LocalHistory/ParkeDavisFarm.pdf)

Parke, Davis and Company. Parke-Davis At 100...progress in the past...promise for the future. Detroit, Michigan, 1966.

Related Materials:

Materials in the Archives Center, National Museum of American History

Alka-Seltzer Documentation and Oral History Project (NMAH.AC.0184)

N W Ayer Advertising Agency Records (NMAH.AC.0059)

Cover Girl Advertising Oral History Documentation Project (NMAH.AC.0374)

Garfield and Company Records (NMAH.AC.0820)

Albert W. Hampson Commercial Artwork Collection (NMAH.AC.0561)

Ivory Soap Advertising Collection (NMAH.AC.0791)

Kiehl's Pharmacy Records (NMAH.AC.0819)

Alan and Elaine Levitt Advertisement Collection (NMAH.AC.0303)

Medical Sciences Film Collection (NMAH.AC.0222)

Norwich Eaton Pharmaceutical, Inc. Collection (NMAH.AC.0395)

Procter & Gamble Company Product Packaging Collection (NMAH.AC.0836)

Sterling Drug Company Records (NMAH.AC.772)

Syntex Collection of Pharmaceutical Advertising (NMAH.AC.0821)

Warshaw Collection of Business Americana Subject Categories: Medicine (NMAH.AC.0060.S01.01.Medicine)

Warshaw Collection of Business Americana Subject Categories: Patent Medicines (NMAH.AC.0060.S01.01.PatentMedicines)

Materials at the Smithsonian Institution Libraries

Smithsonian Libraries Trade Literature Collection

Trade catalogs related to Parke, Davis & Co.; Warner-Lambert; Pfizer Pharmaceuticals; and Pfizer, Inc.

Materials at Other Organizations

Detroit Public Library, Special Collections

Parke, Davis & Company records, 1892-1959

Scrapbook of clippings, 1929-44; Excursions & Announcements, 1892-1902; and company newsletters.

University of California San Francisco

Drug Industry Documents was created by the University of California San Francisco Library in collaboration with faculty members C. Seth Landefeld, MD and Michael Steinman, MD. Originally established to house documents from an off-label marketing lawsuit against Parke-Davis (United States of America ex rel. David Franklin vs. Parke-Davis), the archive has grown to include documents from additional sources illustrating how the pharmaceutical industry, academic journals and institutions, continuing medical education organizations and regulatory/funding agencies operate in ways that are detrimental to public health.

Separated Materials:

Division of Medicine and Science, National Museum of American History

The division holds objects related to Parke, Davis that primarily include containers (boxes and glass bottles) that held phamrmaceuticals, biologicals (vaccines), crude drugs, and herb packages. See accessions: 1978.0882; 1982.0043; 1982.0043; 1984.0351; 1985.0475; 1988.3152; 1991.0415; 1992.3127; 2001.3066; 2012.0165; and 2018.5001.

Provenance:

The initial collection of approximately 185 cubic feet was donated by the Warner-Lambert Company, through Jerry A. Weisbach, Vice-President and President of the Pharmaceutical Research Division, on February 3, 1982.

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 copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

advertising  Search this

Antibiotics  Search this

Architectural Blueprints  Search this

Biologicals  Search this

Chemistry  Search this

Diseases  Search this

Drugs -- 1900-1950  Search this

Drug factories  Search this

Influenza Epidemic, 1918-1919  Search this

Laboratories  Search this

Medical scientists -- 1900-1950  Search this

Patents  Search this

Pharmaceutical industry -- 1900-1950  Search this

Pharmacology -- 1900-1950  Search this

Photographs  Search this

Vaccines  Search this

Genre/Form:

Annual reports -- 20th century

Blueprints -- 20th century

Brochures -- 20th century

Catalogs

Correspondence -- 19th-20th century

Employee records

Formulae, chemical

Lantern slides -- 1900-1950

Newsletters -- 20th century

Newspaper clippings

Notebooks -- 1900-1950

Price lists

16mm films

Sound recordings -- Audiotapes -- Open reel

Tracings

Trade literature

Citation:

Parke, Davis Research Laboratory Records, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0001

See more items in:

Parke, Davis Research Laboratory Records.

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8869c518d-5cbd-42cf-b508-e688de3bf14d

EDAN-URL:

ead_collection:sova-nmah-ac-0001

Collector:

Watkins, J. Elfreth (John Elfreth), 1852-1903  Search this

National Museum of American History (U.S.). Division of Transportation  Search this

Creator:

White, John H., 1933-  Search this

Names:

Baltimore and Ohio Railroad Company  Search this

Pullman Railroad Company  Search this

Extent:

31.33 Cubic feet (94 boxes)

Type:

Collection descriptions

Archival materials

Articles

Color slides

Copy prints

Correspondence

Ephemera

Magazines (periodicals)

Manuscripts

Negatives

Newsclippings

Patents

Photocopies

Photographs

Research

Stereographs

Writings

Date:

1830s-1990

Scope and Contents:

The archivist has arranged the collection into seven series. The collection consists primarily of photocopied material assembled by John White for many of his books about railroads. Many files contain original photographs, brochures, advertisements, correspondence, and trade literature. Original Pullman Palace Car photographs can be found across many files. It appears that original Pullman Palace Car photopgraphs were removed from sequence and filed among John White's files. Researchers should consult the Pullman Palace Car Photograph Collection, NMAH.AC.1175. Additionally, original Baltimore & Ohio Railroad documents are found among many of the files. Researchers should also consult the Baltimore & Ohio Railroad Company Records, NMAH.AC.1086.

Series 1: Car Builders, arranged alphabetically by company or individual.

Series 2: Equipment, Rolling Stock, arranged in two sections: alphabetically by White's heading: Articles in Progress and alphabetical by type of railroad car under White's heading: Research Files for Book in Progress.

Series 3: Locomotives, arranged alphabetically by Locomotive builders in two sections, first by individual company and second by individuals.

Series 4: Railroad Companies and Lines, arranged alphabetically by railroad companies and railroad lines.

Series 5: Publications, White's files for his book The American Railroad Freight Car, which are arranged into two sections, Illustrations and Text. Both sections are arranged numerically by chapters or sections of the book.

Series 6: Freight Cars

Series 7: Passenger Cars

Arrangement:

The collection is divided into seven series. Most material arranged alphabetically and then chronologically.

Series 1: Car Builders

Series 2: Equipment--Rolling Stock

Subseries 2.1: Articles in progress

Subseries 2.2: Research Files for Books in Progress

Series 3: Locomotives

Series 4: Railroad Companies and Lines

Series 5: Publications

Series 6: Freights Cars

Series 7; Passenger Cars

Historical:

John H. White, Jr., (1933- ), historian and museum curator, was born in Cincinnati, Ohio. He graduated with a B.A. in history from Miami University, Ohio, in 1958. Shortly after receiving his degree, White joined the staff of the Smithsonian Institution as Assistant Curator of the Division of Transportation, Department of Science and Technology, National Museum of History and Technology (NMHT). White became Associate Curator of the Division, 1961-1966, Curator, 1967-1985, and Senior Historian, 1986-1989. White specialized in land transportation, particularly the history of railroads. He retired in 1990. His papers, the John H. White, Jr., Papers, circa 1959-1989 are at the Smithsonian Institution Archives.

This collection of railroad materials was begun many years ago by employees of the Smithsonian Institution, and maintained later by curators and museum specialists working in the Division of Transportation, NMHT, later named the National Museum of American History (NMAH).

Some of the clippings date back to the time of J. Elfreth Watkins in the 1880-1890s. In 1885 Watkins was appointed Curator of the Section of Steam Transportation, which was successively known as Transportation and Engineering, and Technological Collections. Other portions of White's collection were clearly from Carl Mitman, author of several hundred entries on inventors and engineers in the Dictionary of American Biography and a Smithsonian employee who served as Curator of Mechanical Technology in 1919. In 1921 Mitman took the title of Curator of the Divisions of Mineral and Mechanical Technology, serving in this capacity until 1931. In 1931 the Division of Engineering was established. Mitman served as Curator of the Division and in charge of Mineral Technology, 1931-1938, Head Curator of the Department of Arts and Industries, 1932-1938, and Head Curator of the Department of Engineering and Industries, 1938-1948.

Some portions of this collection were acquired under the time of Frank A. Taylor (Mitman's protégé) who was Assistant Curator, 1928-1931, Assistant Curator for Mechanical Technology, 1932, Curator of the Division and in charge of Mechanical Technology, 1932-1948, Head Curator of the Division of Engineering and Industry, 1948-1957. In 1955 Taylor was appointed Assistant Director, United States National Museum (USNM), with special responsibility for planning the new NMHT, and in 1958 was appointed the first Director of the new museum. In 1962 Taylor became Director of the USNM with responsibility for both the National Museum of Natural History and NMHT.

Smith Hempstone Oliver of the Division of Transportation also kept up the files to a degree, though his main interest was in automobiles.

When White started employment at the Museum in June, 1958, there were, perhaps, two file cabinets on railroads. As Mr. White mentions in a letter to the archivist in March of 2002, "It was and is a great mix of odds and ends -- photos, news clippings, small prints, manufacturing catalogs, post cards, etc. Some junk and some treasure."

White found the material very useful for research and greatly expanded the collection. It more than doubled in size during his years in the Division, 1958-1990. The collection was White's working file and was set up to meet his needs. According to White, the collections greatest lack was cross referencing -- which was mostly in his head. He could usually find things but the organization might be confusing to other users. It was not intended for public use.

White is the author of many books on railroads, including:

American Locomotives: An Engineering History, 1830-1880. Baltimore: Johns Hopkins Press, 1968; 1997.

Early American Locomotives, with 147 engraving. New York: Dover Publications, 1972.

American Single Locomotives and the "Pioneer". Washington: Smithsonian Institution Press, 1973.

The Pioneer, Chicago's First Locomotive. Chicago: Chicago Historical Society, 1976.

The American Railroad Passenger Car. Baltimore: Johns Hopkins University Press, 1978.

The John Bull, 150 Years a Locomotive. Washington, D.C.: Smithsonian Institution Press, 1981.

A Short History of American Locomotive Builders in the Steam Era. Washington, D.C.: Bass, 1982.

Great Yellow Fleet: A History of American Railroad Refrigerator Cars. Golden West Books, 1986

The American Railroad Freight Car: From the Wood-Car Era to the Coming of Steel. Baltimore: Johns Hopkins University Press, 1993.

Provenance:

Collection materials donated by Jack White in 1995.

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:

Electric railroads  Search this

Freight cars  Search this

Locomotives  Search this

Porters  Search this

Railroads -- History  Search this

Railroad car builders  Search this

Railroad companies  Search this

Railroad passenger cars  Search this

Transportation  Search this

Genre/Form:

Articles

Color slides

Copy prints

Correspondence

Ephemera

Magazines (periodicals)

Manuscripts

Negatives

Newsclippings

Patents

Photocopies

Photographs -- 19th century

Photographs -- 20th century

Research

Stereographs

Writings

Citation:

Division of Transportation Railroad Reference Files, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0523

See more items in:

Division of Transportation Railroad Reference Files

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep83b50b7ee-ab37-4b18-b17c-cffb2543738e

EDAN-URL:

ead_collection:sova-nmah-ac-0523

Artist:

Cornell, Joseph  Search this

Names:

Benton, Elizabeth Cornell  Search this

Cornell, Robert  Search this

Extent:

196.8 Linear feet

186 Nitrate negatives

Type:

Collection descriptions

Archival materials

Nitrate negatives

Photographic photoprints

Photographs

Place:

New York, New York

Date:

1750-1980, bulk 1930-1972

Summary:

The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.

Scope and Contents:

The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.

Correspondence is with collectors, museums, galleries, artists, friends, family, charity organizations, admirers and those admired by Cornell, and World War II European pen pals. Discussions about the appreciation, donation, sale, purchase, and exhibition of Cornell's works are frequent, with the inclusion of shipping and loan documentation or notices of payment installments. Galleries and museums frequently request that Cornell agree to an exhibition, which he often declines, and fans request free works be mailed or affordable works be sold to them. With friends, artists, and those he admired, Cornell discussed topics that fascinate him, included bits of poetry or philosophical musings, sent clippings or a collaged letter, and occasionally discussed a project or work in process. After World War II, when so many were displaced by the war in Europe, Cornell answered ads for pen pals in the "Christian Science Monitor," often responding to requests for clothing or other goods, and sometimes exchanging many letters over several years. Family correspondence is with his mother, sisters, brother, and others, and often notes activities of the day, foods eaten, and general musings, as well as occasionally mentioning a project or artwork. Correspondents of note include Stan Brakhage, Betty Freeman, Charles Henri Ford, Allegra Kent, Yayoi Kusama, Roberto Matta, Marianne Moore, Octavio Paz, Sonia Sekula, Pavel Tchelitchew, Parker Tyler, Dorothea Tanning, and Betsy von Furstenberg, among others.

Cornell was often preoccupied with his thoughts, feelings, memories, a project or thematic "exploration," and jotted notes on seemingly any surface available. Notes and musings are on napkins, the backs of envelopes, newspaper clippings, and paper bags from record and magazine stores. Frequently, an observation would trigger a lengthy nostalgic moment, or a "feé," fairy-like child or girl, would capture his imagination and lead him to thoughts of 18th-century ballerinas and silent film stars. Cornell wrote longer diary notes, sometimes expanding on an earlier notation or emotion, and often wrote when he experienced trouble sleeping or woke early. Drafted letters to imaginary muses or admired individuals are interspersed among diaries, often revealing Cornell's yearnings to find emotional intimacy and human connection. Over time, Cornell revisited his notes and occasionally made further notations about renewed thoughts on a topic, dating the note with "revisited" or "reviewed." Notes are often written in a stream-of-consciousness style, for example, jumping from the mention of a record album or composer, to a ballerina of the same period, a note about a French poet, the memory of childhood, or an observation made earlier in the day, all in the space of a few lines. Notes about artistic processes or meanings behind works or images do occasionally emerge from the tangled, poetic notations. Notes also often provide insights into Cornell's internal emotional state and give clues about his intentions behind an artwork or a particular thematic fixation.

Financial materials document Cornell's professional and personal business activities, including the sale of artworks, annual expenses for supplies and household incidentals, payments and schedules for personal assistants, receipts for donations to charities and nonprofits, and tax documents. There is also information about who worked as assistants, or "helpers," in his later years and where Cornell purchased art supplies. Additionally, specific details are documented through receipts and invoices, such as what kind of paint he purchased. Estate records include preparations made for Cornell's artworks after his death, and clippings about other deceased artist's estates show that he thought often about such arrangements in his later years.

Exhibition files highlight several select solo exhibitions for Cornell, as well as preparations and planning for the "Robert Cornell: Memorial Exhibition" in honor of his brother in 1966. Also included are several early exhibition catalogs and announcements, including "Surréalisme" (January 9-29, 1932) and "Exhibition of Objects (Bibloquet) by Joseph Cornell" (December 6-31, 1939) at the Julien Levy Gallery, and "Romantic Museum: Portraits of Women, Constructions and Arrangements by Joseph Cornell" (December 1946) at the Hugo Gallery.

Film projects and collected film materials consist of files related to Cornell's various experimental film projects: "Aviary," "Cappuccino," "Centuries of June," "Fable for Fountains," "Nymphlight," "Serafina's Garden," and unrealized film scenario "Monsieur Phot." Files include film-making notes, correspondence, and photographs. Cornell's interest in film also led him to collect film-related materials, such as film stills, film posters, and screening programs. Scattered correspondence documents the interest other institutions and individuals had in purchasing and viewing his collection. Though most of his collected film stills and movie posters were donated to the Anthology Film Archives, film stills from "Escape Me Never" (1935) and "The Passion of Joan of Arc" (1928) are still within the collection, as well as film-screening programs for Cornell's collection of films.

Writing and design projects document Cornell's work authoring articles and designing issues of specialty dance magazine "Dance Index," and his layouts for popular magazines like "Good Housekeeping," "House and Garden," and "Mademoiselle." Other writing projects include brochures dedicated to opera singers Maria Malibran and Giulia Grisi, "Maria" and "Bel Canto Pet." Materials used for these brochures, such as copper photo engraving plates, are also found. Design work includes a series of Christmas cards created with The Museum of Modern Art as well as traced patterns ("textile tracings") and design clippings from Cornell's time working as a "textile designer" for Traphagen Commercial Textile Studio.

Cornell acquired troves of source material from bookstalls, antique stores, sporting good and department stores, hardware stores, and magazine and record shops. He kept boxes and files of material on admired individuals, such as actresses, artists, dancers, and singers, as well as on art projects or thematic "explorations." Files are on general topics such as American history, scientific phenomena, animals, plants, and humankind, as well as on series of artworks, such as "Castles," "Homage to the Romantic Ballet," and "Medici Slot Machines." Focused "exploration" projects include "Celestial Theatre," "Colombier," "GC 44," and "Switzerland," among others. Materials include photographs, photostats, maps, book fragments, autographed letters, notes, collage clippings and cutouts, collected prints and engravings, box and collage fragments, and scattered artifacts.

Collected ephemera includes large amounts of blank postcards and greeting cards, stamps, collected bus and train tickets, food labels and packaging, decals, and other materials. Artifacts are three-dimensional collected objects and source objects, which include found objects from the streets, dried flowers, and pieces of nature gathered from walks around his neighborhood. Cornell may have gathered materials because they inspired a memory or nostalgic feeling, or because they fit with a bin of other similar objects to select from for an artwork in progress.

Photographs found within the collection are of Cornell at work and as a child with family. Also found are assorted personal and family photographs, photographs of Cornell's attic and garage storage, and photographs of his Utopia Parkway house. Photographs of artwork include few installation photographs, in addition to photographs of Cornell's boxes and collages. Collected photographic materials include vintage photographs, such as tintypes, a cyanotype, stereoscopic glass slides, albumen prints, cabinet cards, and cartes-de-visite. Cornell also collected cased photographs, such as daguerreotypes, ambrotypes, and one opalotype. Negatives and photostats were often produced from various prints and even other photographs and used in Cornell's boxes and collages. Images are of men and women, actors, authors, dancers, performers, well-known men and women, royalty, places, and artwork. Photographs of note include those by Hans Namuth of Willem and Lisa de Kooning and of Edward Hopper's bedroom; photographs by Henri Cartier-Bresson; a photograph by Julia Margaret Cameron; photographs by Brassai; and a photogravure by Alfred Stieglitz from "Camerawork."

Also found in the collection are works of art by others, including a sketch by Pavel Tchelitchew, as well as artwork by Cornell, such as unfinished collages, Rorschach drawings or ink blots, and childhood artwork. Printed material includes assorted bulletins, flyers, exhibition materials for other artists, journals, and sent printed membership and charity materials. Magazines, including "View," are also included, and often have annotations by Cornell or a note to "cut" or "review" with page numbers. A large amount of magazine and newspaper clippings are in the collection, sometimes collected with a group of like material by Cornell, and at other times simply gathered in heaps. Occasional annotations are also found on the clippings.

Cornell's personal library and book collection includes over 2500 titles, ranging from fiction, poetry, and cinema, to history, science, and travel. Notable among the titles are "Baedeker's" travel guides that Cornell often sourced for his "Hotel" box series, as well as an influential publication by Max Ernst, "La Femme 100 têtes," which includes a typed letter and exhibition flyer tucked within. Books often have annotations, some fairly extensive, by Cornell, and assorted collected items, notes, and correspondence tucked between pages. Pages were often cut by Cornell, either to make photostats and use in a box, or to file with other thematic "explorations." A wide range of authors and topics provide insight into Cornell's interests and to ideas behind artwork and diary notes. Cornell's collection of record albums includes over 145 records. These contain inserted notes and clippings and are often referenced in diary notes Cornell made, noting a recent album or song listened to while at work in his studio.

The papers of Cornell's mother, Helen Storms Cornell, and his brother, Robert Cornell, are also included in the collection. Both lived with Cornell his whole life, spending the most time with him at their home at 3708 Utopia Parkway. Financial materials document shared responsibilities for billing, utilities, household fixes and chores, and expenditures, and Helen kept detailed financial records in a series of ledgers. Robert notes when he borrowed money from Cornell, or when he means to pay Cornell back for the purchase of a typewriter. Activities documented in diaries also occasionally cross paths with Cornell, noting his visitors or an exchange of letters continued after introductions through Cornell. Personal activities, such as Robert's interest in his train collection and his drawing projects and cartoon series, are also documented.

Arrangement:

The Joseph Cornell Study Center Collection is arranged into 15 series:

Series 1: Biographical Material, 1917-1972 (Boxes 1, 98, OV118; 0.9 linear feet)

Series 2: Correspondence, 1813, 1934-circa 1973 (Boxes 1-8, 86; 6.5 linear feet)

Series 3: Diaries and Notes, 1940-1976 (Boxes 8-10, 98-99, 135, OV108, OV119; 3.5 linear feet)

Series 4: Personal Business and Estate Records, 1950-1978 (Boxes 10-14; 4.1 linear feet)

Series 5: Exhibition Files, 1932-1973 (Box 14; 0.3 linear feet)

Series 6: Film Projects and Collected Film Materials, circa 1924-1972 (Boxes 14-16, 100, 133; 1.6 linear feet)

Series 7: Writing and Design Projects, circa 1910s, 1936-1962 (Boxes 16-18, 86, 100, 131-132, OV109-OV111, OV120-OV122; 3.6 linear feet)

Series 8: Source Material, 1750-circa 1911, 1926-1972 (Boxes 19-49, 86-92, 96, 100-105, 126-130, 132-137, OV112-OV115, OV125; 42.2 linear feet)

Series 9: Artifacts and Ephemera, 1768, circa 1839-1972 (Boxes 49-52; 3.2 linear feet)

Series 10: Photographic Material, circa 1800s-1972 (Boxes 52-56, 80-86, 93, 106, 128, 133, OV116, OV123-OV124; 7.5 linear feet)

Series 11: Artwork, circa 1810-1972 (Boxes 56-57, 107, OV117; 1.2 linear feet)

Series 12: Printed Material, 1855-1972 (Boxes 57-76, 94-96, 107; 16 linear feet)

Series 13: Book Collection and Personal Library, 1722-1980 (99.8 linear feet)

Series 14: Record Album Collection, circa 1925-1974 (3.2 linear feet)

Series 15: Cornell Family Papers, 1910-1980 (Boxes 77-79, 97, 107; 3.2 linear feet)

Biographical / Historical:

Joseph Cornell (1903-1972) was a self-taught assemblage and collage artist, and filmmaker, active in New York City. He was born in Nyack, New York on December 24, 1903, and died of heart failure at his home in Queens, New York on December 29, 1972. The oldest of four children, he was born Joseph I. Cornell to his mother, Helen Storms Cornell (1882-1966), and his father, Joseph I. Cornell (1875-1917). Cornell had two younger sisters, Elizabeth ("Betty") Cornell Benton (1905-2000) and Helen ("Sissy") Cornell Jagger (1906-2001), as well as one brother, Robert Cornell (1910-1965), who had cerebral palsy.

Cornell attended the Phillips Academy, a preparatory boarding school in Andover, Massachusetts, beginning shortly after his father's death in 1917. He attended for four years but did not receive a diploma, and soon began work as a textile salesman for the William Whitman Company in Manhattan. His work took him, by foot, through the city, visiting secondhand bookshops on Fourth Avenue, browsing music stores and magazine shops, and catching early shows at the Metropolitan Opera House. He would occasionally wait outside the stage doors for favorite singers and dancers to emerge, requesting signatures on photographs or bits of costumes.

Around 1926, Cornell joined the Christian Science Church, joined by his brother Robert shortly thereafter, and both continued to be lifelong members. Cornell kept a number of books in his personal library on Christian Science teachings and regularly subscribed to "The Christian Science Monitor."

After living in several rental houses in Bayside, New York, Cornell's mother purchased a house for the family in 1929 in Flushing, Queens. Cornell, along with his mother and brother, would live at 3708 Utopia Parkway, for the rest of their lives. His two sisters soon married and moved away, eventually settling in Westhampton, Long Island and in the poultry-farming business.

With no formal art training to speak of, Cornell's first work was a Max Ernst-inspired collage, "Untitled (Schooner)," created in 1931. He was especially inspired by Ernst's collage novel, "La Femme 100 têtes," published in 1929. French artist Odilon Redon was also among the few artists Cornell named as an influence on his art. His first sculptural works were small, cardboard pill boxes with bits of ephemera, costume adornments, and nature hidden inside. Cornell also created a series of glass bell jar works, placing small trinkets and Victorian-era-like compositions within. It was these early collages and bell jar works that were included in Cornell's debut exhibition, "Surréalisme" (January 9-29, 1932), a group show at the Julien Levy Gallery. Cornell designed the announcement for the show and exhibited alongside Max Ernst, Man Ray, Pierre Roy, Pablo Picasso, Marcel Duchamp, Eugène Atget, George Platt Lynes, Jean Cocteau, and Salvador Dalí. Months later, Cornell was invited to have his first solo show, "Objects by Joseph Cornell: Minutiae, Glass Bells, Shadow Boxes, Coups d'Oeil, Jouets Surréalistes" (November 26-December 30, 1932), also at the Julien Levy Gallery.

In 1932, after eleven years of work, Cornell was laid off from the William Whitman Company due to the Great Depression. Soon after, he took on more responsibility in the church, working part-time as an attendant in the Christian Science Reading Room in Great Neck, New York. Beginning in 1933, he taught Sunday school classes for three years and in 1935, became the Sunday school librarian. However, his religious activities and artistic ventures continued to remain separate.

In the early 1930s, Cornell progressed from movie lover to filmmaker. When Julien Levy began his New York Film Society in 1933, holding screenings of various experimental films in the gallery, Cornell began buying and collecting films and film stills in earnest. He set up a 16-millimeter projector in his home to screen favorites, such as those by Georges Méliès, D.W. Griffith, and Louis Feuillade. His collection quickly grew to over 2,500 film stills and several hundred films, and included silent era films, such as nature documentaries, goofy newsreels, travelogues, early cartoons, and slapstick comedies, as well as several feature films. In 1933, Cornell wrote a screenplay, or "scenario," entitled "Monsieur Phot." Between 1935 and 1937, Cornell also occasionally created publicity photomontages for Universal and Columbia studios. Of the nearly thirty films Cornell created, periods of activity can generally be separated into two areas: collage films of the late 1930s, consisting of combined elements from films in his own collection, and films he directed in the 1950s, which were collaborations with other filmmakers set in New York City. "Rose Hobart," Cornell's most celebrated collage film, was created and shown in the Julien Levy Gallery in 1936 and includes clipped footage from "East of Borneo." Later films were directed and filmed with cinematographers Stan Brakhage, Rudy Burckhardt, and Larry Jordan.

In 1934, Cornell began a job at the Traphagen Commercial Textile Studio as a "textile designer," a job he held for six years. Continuing to work at his kitchen table in the evenings, Cornell completed his first assemblage box construction, "Untitled (Soap Bubble Set)," in 1936. It was first exhibited at The Museum of Modern Art's show, "Fantastic Art, Dada and Surrealism" (December 9, 1936-January 17, 1937). This work was also the first to be acquired by a museum, purchased for $60.00 by the Wadsworth Atheneum in Massachusetts in 1938. Cornell's European debut was also in 1938, as one of three Americans represented in the "Exposition Internationale du Surréalisme" (January 17-Febuary 24, 1938) at the Galerie Beaux-Arts in Paris, alongside Man Ray and Anne Clark.

At the end of 1939, Cornell began corresponding with poet Charles Henri Ford, founder of avant-garde magazine "View," Pavel Tchelitchew, and Parker Tyler. After his "Soap Bubble Sets," this period saw the development of Cornell's homages to singers and actresses, including "Untitled (Fortune-Telling Parrot for Carmen Miranda)," the destroyed "Garbo (Greta Garbo in the Legendary Film 'The Crystal Mask,' c. 1845)," and "Dressing Room for Gilles." He also began using photostats of art reproduction prints, as with the print of Jean Antoine-Watteau's painting, "Pierrot" (circa 1719), used in his "Gilles" box.

In the 1940s, the Romantic ballet emerged as Cornell's new topic of interest. Through his friend Pavel Tchelitchew, Cornell was introduced to the School of American Ballet and New York City Ballet founders, Lincoln Kirstein and George Balanchine. Cornell collected dance memorabilia and had a great love of the Romantic ballet. His favorite dancers were primarily ballerinas of the nineteenth century, including Fanny Cerrito, Marie Taglioni, Fanny Elssler, Lucille Grahn, and Carlotta Grisi. Cornell's "Homage to the Romantic Ballet" works largely took the shape of jewel-box style wooden boxes with glass overlays and included bits of velvet, tulle, sequins, crystals, and chiffon, occasionally collected from dancers themselves. His most well-known work of this series is "Taglioni's Jewel Casket" (1940). Cornell also admired several living ballet dancers, including Tamara Toumanova, Zizi Jeanmaire, and Allegra Kent, who would all make their way into Cornell's box works and/or collages. Collecting for the "exploration," "Portrait of Ondine," Cornell's cased portfolio dedication to Fanny Cerrito and her role in the ballet "Ondine," began in the 1940s, though not completed until around 1960.

In late 1940, Cornell quit his job at Traphagen to concentrate on freelance commercial magazine design and editorial work during the day and his artwork at night. That same year, Charles Henri Ford started "View" magazine to promote Surrealists and Neo-Romantics in New York City and often asked Cornell to contribute. Published in the December 1941-January 1942 issue, one of his early contributions was a collage dedication to stage actress Hedy Lamarr: "Enchanted Wanderer: Excerpt from a Journey Album for Hedy Lamarr" (1941). Along with writing the accompanying text, he created a photomontage of Lamarr with her face overlaying the painted portrait of a Renaissance boy by Italian painter Giorgione. Peggy Guggenheim, at the advice of Marcel Duchamp, purchased multiple Cornell works prior to opening her new gallery, Art of This Century. Cornell also befriended Roberto Matta Echaurren, another Surrealist living in exile, who introduced him to Robert Motherwell.

After deciding to fully dedicate his time to his art in early 1940, he set up a studio in his basement. Complete with floor-to-ceiling wooden shelving, he kept his large collection of boxed source material stacked with handwritten labels in cardboard boxes. Themed folders of materials such as "Stamps" or "Maps" were kept in stacks and works in progress and finished works were stored in the basement, garage, and attic. Entering a renewed period of productivity, Cornell embarked on many new and important box projects in 1942. One of the first boxes created in his new basement studio, and the first of the "Penny Arcade" or "Medici Slot Machine" series, was "Medici Slot Machine" (1942), which includes a photostat of "Portrait of Marquess Massimiliano Stampa" (1557) by Sofonisba Anguissola. Another work from this time is the first of his "Castle" or "Palace" series, "Setting for a Fairy Tale" (1942), which uses a photostat of a French building from Jacques Androuet du Cerceau's book, "Les Plus excellents bastiments de France" (1576). "Untitled (Pharmacy)" (circa 1942) was the first of his "Pharmacy" series and included twenty-two apothecary jars. Cornell tended to work in series and created thirteen "Palace" boxes between 1942 and 1951, and ultimately created six "Pharmacy" works.

In 1943, Cornell began working at an electronics company, the Allied Control Company, Inc., to do his part to contribute to the defense effort during the war. He also sent correspondence and care packages to displaced Europeans, who listed their needs in "The Christian Science Monitor." Influenced by World War II, one of his strongest works to emerge in 1943 was "Habitat Group for a Shooting Gallery." Another notable work to come out of this period, "The Crystal Cage (Portrait of Berenice)," was an excerpt from one of his album "explorations" that was published in the January 1943 issue of "View."

Cornell left his job at Allied Control in 1944, but soon began working at the Garden Centre in Flushing, owned by a fellow Christian Scientist. Cornell was often nostalgic for this time in his life, devoting an entire "exploration" of material fondly remembered as "GC 44." He rode a bicycle to work and enjoyed collecting trips gathering dried grasses, driftwood, shells, and other relics of nature on the same bicycle as he rode through the streets of Queens. During this time, he continued to tend to his projects for "Dance Index," a magazine founded in 1942 by Lincoln Kirstein, but taken over by Donald Windham in 1944. Cornell designed several covers for the magazine and was given control of the entire summer 1944 issue, which he devoted to the Romantic ballet. He also devoted a special 1945 issue to Hans Christian Andersen, making great use of the New York Public Library Picture Collection.

Throughout the 1940s, Cornell continued to support himself with commercial design work for magazines like "Vogue," "Good Housekeeping," "Harper's Bazaar," "Town & Country," and "Mademoiselle." In 1946, after thirteen years at the Julien Levy Gallery, he joined the Hugo Gallery. In December 1946, Cornell's solo exhibition, "Romantic Museum at the Hugo Gallery: Portraits of Women by Joseph Cornell," celebrated his favorite movie stars, singers, and ballet dancers, and included his work created for the show, "Untitled (Penny Arcade Portrait of Lauren Bacall)." Cornell's "Greta Garbo" box, as well as "Souvenir for Singleton," an homage to Jennifer Jones and her role in the film "Love Letters," were also included in the show. In late 1948, his West Coast debut was in the exhibition, "Objects by Joseph Cornell," held at the Copley Gallery. The end of the 1940s saw the final issue of "View" magazine in 1947, the closure of the Julien Levy Gallery in April 1949, and Cornell's departure from the Hugo Gallery after his last show in November 1949.

In late 1949, Cornell joined the Charles Egan Gallery, known primarily for showing Abstract Expressionists. At this time, Cornell was working on a new series of boxes known as his "Aviary" works, most of which include a white-painted box with cutouts of birds mounted on wood. Though he had worked on bird-related boxes before, including an "Owl" series in the mid-1940s, his "Fortune Telling Parrot" (1939), and "Object 1941" (1941), these newer works were stripped of French elements and left "clean and abstract" by design. His first show at the Egan Gallery, "Aviary by Joseph Cornell" (December 7, 1949-January 7, 1950), included twenty-six "Aviary" works, nearly all created in 1949. Donald Windham agreed to write the foreword for the exhibition catalog, a single folded sheet, and Cornell gave him one of the boxes in the show, "Cockatoo: Keepsake Parakeet," in appreciation. Through the Egan Gallery, Cornell became friends with a new group of artists, including Franz Kline, Jack Tworkov, and Willem de Kooning. Cornell also held two screenings of a selection of his collected films at Subjects of the Artist, an art school founded by Robert Motherwell, Mark Rothko, David Hare, and William Baziotes.

In 1950, Cornell's second show at the Egan Gallery, "Night Songs and Other New Work" (December 1, 1950-January 13, 1951), introduced his new "Observatory" series. These works are largely defined by stark, whitewashed spaces with astronomical charts and constellations replacing colorful birds. The Museum of Modern Art purchased its first Cornell work from this show in early 1951, "Central Park Carrousel, in Memoriam" (1950).

For three months in 1951, Cornell was beset by various ailments and had trouble finding the energy to create new work. He worried more for his aging mother and the health of his brother. After a monthlong vacation with his sisters in Westhampton, he returned with renewed interest in Emily Dickinson's poetry. His whitewashed boxes took on a new form in his newest "Dovecote" series, using grids and circular cutouts. The works then transformed into homages to Dickinson, notably "Toward the Blue Peninsula: For Emily Dickinson" (circa 1953), and then to his "Hotel" series. Cornell's "Hotel" boxes include photostats of vintage European ads for hotels collected from vintage travel guides, especially "Baedeker's," adhered to the back walls of the boxes. Another new series of work, his "Juan Gris" series, was dedicated to Cubist artist Juan Gris. Between 1953 and the mid-1960s, Cornell created at least fifteen "Juan Gris" boxes, which often include a cutout of a white cockatoo in a Cubist-collage habitat. Cornell's third and last show at Egan Gallery, "Night Voyage" (February 10-March 28, 1953), included some of these newest works. After leaving Egan Gallery, his work was introduced to Chicago collectors in a solo show at the Frumkin Gallery, "Joseph Cornell: 10 Years of His Art" (April 10-May 7, 1953), which included nearly thirty pieces. Cornell's first museum retrospective was this same show held at the Walker Art Center in Minneapolis (July 12-August 30, 1953).

As New York City continued to change, Cornell grew more nostalgic for the city he had explored since the 1920s. The impending closure of the Third Avenue El train prompted him to dream up a film project to capture its last days, resulting in "Gnir Rednow," a reworking of Stan Brakhage's 1955, "Wonder Ring." During this time, Cornell joined the Stable Gallery, run by Eleanor Ward, interacting often with Robert Rauschenberg, Cy Twombly, and Joan Mitchell, remaining there until the end of the 1950s. His astronomy-themed exhibition, "Winter Night Skies" (December 12, 1955-January 13, 1956), included his "Night Skies" series of work with celestial chart fragments, Greek mythological figures, and paint-splattered "windows" representative of star-filled night skies. In 1956, he became aware of ballerina Allegra Kent, and began a series of work devoted to her, the first of which was "Via Parmigianino (Villa Allegra)" (1956), which included a photostat of a painting by Parmigianino, "The Madonna of the Long Neck" (circa 1540). In late 1957, after two years, Cornell had his last show at Stable Gallery, "Joseph Cornell: Selected Works" (December 2-31, 1957), consisting of a series of "Sand Fountain" boxes and "Space Object" or "Celestial Navigation" works. The "Sand Fountain" boxes included different colors of sand meant to flow within, often from the tops into cordial glasses. His "Celestial Navigations" included galaxy-like compositions set within the boxes, with rolling, painted cork balls, metal rings, and constellation charts, sometimes hovering over cordial glasses or clay pipes. This last Stable Gallery show earned him his first published profile, written by Howard Griffin for the December 1957 issue of "Art News." Also in 1957, he won the Kohnstamm Prize for Construction at the Art Institute of Chicago's 62rd Annual Exhibition of Paintings and Sculpture.

Towards the end of the 1950s, Cornell spent less time creating new bodies of work, and focused more on revisiting previous series and reviewing piles of collected source material. In 1959, Cornell returned to making collages, frequently sourcing popular magazines. In December 1959, Cornell was awarded $1,500 for his "Orion" collage, entered in the Art Institute of Chicago's "63rd American Exhibition of Painting and Sculpture." Also in December, he was offered a show at Bennington College in Vermont, which he titled, "Bonitas Solstitialis: Selected Works by Joseph Cornell and an exploration of the Colombier" (November 20-December 15, 1959). The show included one of his newest "explorations" of collected material related to "colombier," or pigeon houses.

By 1962, Cornell was working diligently on new collages, using Masonite boards and colorful magazine clippings. He also began creating collages using nude images interspersed with constellation clippings or hazy blue dyes. As in previous decades and art movements, Cornell became acquainted with new artists, spending less time in the city and more time hosting visitors at his Utopia Parkway home. Visitors included artists Walter De Maria, Robert Whitman, Andy Warhol, James Rosenquist, and Robert Indiana. Tony Curtis also became a frequent visitor and friend, introduced by Richard Feigen in 1964. The early 1960s was also the first time Cornell put out an advertisement for assistants in the "Long Island Star-Journal," employing a number of young men and women who helped organize clippings and run errands. Cornell also met Joyce Hunter, a young runaway waitress at a city coffee shop, who would occupy his thoughts and diary notes for the next several years. When she was murdered at the end of 1964, Cornell paid for her funeral. He went on to make several "Penny Arcade" collages in memoriam to her, including, "Penny Arcade (re-autumnal)" (1964).

In 1964, Cornell began friendships with several women including artist Carolee Schneeman, who was his first assistant in the early 1960s. He also met artist Yayoi Kusama through art dealer Gertrude Stein. After becoming friends, she visited him often and they exchanged letters and notes. As he did with other artist friends, Cornell supported her by purchasing several of her early watercolor paintings, and they stayed connected until his death in 1972.

Cornell's life greatly changed in 1965 with the death of his brother, Robert. By this time, his mother lived with his sister in Long Island, and Cornell was alone in the Utopia Parkway house for the first time. He exchanged frequent letters and phone calls with his mother and devoted much time to thinking about Robert and Joyce, often aligning them in his diary notations. Cornell also created a series of collages dedicated to his brother's memory, incorporating photostats of Robert's hundreds of drawings into Cornell's work, as with the later collage, "The Heart on the Sleeve" (1972). Cornell's "Time Transfixed" series of collages were also dedications to Robert's memory, referencing Magritte and Robert's love of trains. He mounted an exhibition, "Robert Cornell: Memorial Exhibition" (January 4-29, 1966), at the Robert Schoelkopf Gallery, where he showed Robert's artwork alongside his newly created collage dedications.

After Robert's death, Cornell relied more heavily on assistants, going through many part-time "helpers." In October 1966, Cornell's mother died, adding her to his constant thoughts and diaries. Though he was still grieving, he was given two major retrospectives in 1967. The first was at the Pasadena Art Museum, put on by James Demetrion and Walter Hopps, "An Exhibiton of Works by Joseph Cornell" (January 9-February 11, 1967). The second retrospective was at the Guggenheim Museum just three months later, "Joseph Cornell" (May 4-June 35, 1967), organized by Diane Waldman. After these shows, he was highlighted in the December 15, 1967 issue of "Life" in the article, "The Enigmatic Bachelor of Utopia Parkway."

In 1968, Cornell was given an "award of merit," which included a medal and $1,000, by the American Academy and Institute of Arts and Letters. He was also given a medal and $1,000 by the Brandeis University Creative Arts Awards in the painting category, along with an exhibition. Days later, "The New York Times" announced Cornell the winner, along with Donald Judd, of India's first Triennale of Contemporary World Art. The Brandeis exhibition, "Boxes and Collages by Joseph Cornell" (May 20-June 23, 1968), was organized by William Seitz and concentrated on Cornell's more recent 1960s collages. Cornell was also included in the Metropolitan Museum of Art's hundredth anniversary show, "New York Painting and Sculpture: 1940 to 1970" (October 18, 1969-February 1, 1970), where twenty-two of Cornell's boxes were shown in their own gallery. At the end of 1970, Cornell was given a solo show at the Metropolitan, "Collages by Joseph Cornell" (December 10, 1970-January 24, 1971), which included forty-five of his newest collages.

Now preferring to stay closer to his home in Flushing, Cornell was more interested in sharing his art with young adults and children, than an adult audience. He hosted a group of high school students, sponsored by the Metropolitan Museum of Art's education department, at his home in conjunction with his collage show (1970-1971). He also showed his work in the art department of Queens College of the City University of New York. Cornell still hosted visitors on occasion, having Yoko Ono and John Lennon at his home at least once. Leila Hadley, Betsy von Furstenberg, and Anne Jackson also made frequent visits. With his deteriorating health, Cornell worried about what would happen to his work after his death and hired lawyer Harry Torczyner to help him plan his estate and get his affairs in order.

In 1972, Cornell had a show at the Cooper Union, a college in New York, specifically for children. He displayed his boxes and collages at child-height and had cherry soda and brownies at the opening reception on February 10. He then held a show at the Albright-Knox Art Gallery in Buffalo, also for children: "Children's Preview of the Exhibition of Joseph Cornell – Collages and Boxes (April 18-June 17, 1972). In the winter of 1972, at the request of the Phoenix House drug treatment and prevention program, Cornell contributed to a charity project compiling limited-edition lithographic prints for a portfolio, which included artists like David Hockney, James Rosenquist, and Ellsworth Kelly.

On December 29, 1972, a week after turning sixty-nine, Cornell died of heart failure at his home. He was cremated and interred near the graves of his mother, father, and brother, overlooking the Hudson River in Nyack, New York.

Works Cited:

1. Hartigan, Lynda Roscoe. "Joseph Cornell: Navigating the Imagination." New Haven, Connecticut and London: Yale University Press, 2007. Exhibition Catalog.

2. McShine, Kynaston. "Joseph Cornell." New York: Museum of Modern Art, 1980.

3. San Francisco Cinematheque and The San Francisco Museum of Modern Art. "Joseph Cornell: Films." 2007. Exhibition Program. (Presented in conjunction with SFMOMA's exhibition of "Joseph Cornell: Navigating the Imagination").

4. Schaffner, Ingrid and Lisa Jacobs. "Julien Levy: Portrait of an Art Gallery." Cambridge, Massachusetts and London: The MIT Press, 1998.

5. Solomon, Deborah. "Utopia Parkway: The Life and Work of Joseph Cornell." New York: Farrar, Straus and Giroux, 1997.

Separated Materials:

The Smithsonian Archives of American Art houses the Joseph Cornell papers, 1804-1986, bulk 1939-1972.

Provenance:

The Joseph Cornell Study Center collection was donated to the Smithsonian American Art Museum by Joseph Cornell's sister and brother-in-law, Elizabeth Cornell Benton and John A. Benton, in 1978, which prompted the creation of the Joseph Cornell Study Center. Additional materials were donated in installments by the artist's estate, the Joseph and Robert Cornell Memorial Foundation, from 1985 to 1997. Elizabeth and John A. Benton originally donated 66 linear feet of three-dimensional and non-textual source material and 50 linear feet of books to the Smithsonian Archives of American Art, which were subsequently transferred to the Smithsonian American Art Museum's Joseph Cornell Study Center in 1994 and 1995.

Restrictions:

Access to the collection requires an advanced appointment. Contact collection staff at least two weeks prior to preferred date, at AmericanArtCornellStudy@si.edu.

Series 9: Artifacts and Ephemera, Series 13: Personal Library and Book Collection, and Series 14: Record Album Collection, are still undergoing processing and preservation and may not be available for research use. Record albums are unavailable for playback. Contact collection staff for full lists of publications and record albums.

Rights:

Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.

Occupation:

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

Topic:

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

Assemblage (Art)  Search this

Assemblage artists -- New York (State) -- New York  Search this

Found objects (Art)  Search this

Works of art  Search this

Celebrities  Search this

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

Genre/Form:

Photographic photoprints -- Silver gelatin -- 1900-1950

Photographs -- 1860-1870 -- Black-and-white photoprints -- Silver albumen -- Cartes-de-visite

Photographs -- Daguerreotypes -- 1840-1860

Citation:

Joseph Cornell Study Center collection, 1750-1980, bulk 1930-1972. Joseph Cornell Study Center, Smithsonian American Art Museum.

Sponsor:

Funding for the processing of this collection was generously provided by the Joseph and Robert Cornell Memorial Foundation.

Identifier:

SAAM.JCSC.1

See more items in:

Joseph Cornell Study Center Collection

Archival Repository:

Smithsonian American Art Museum, Research and Scholars Center

GUID:

https://n2t.net/ark:/65665/ih7d97fc249-474d-41bf-953d-5305df1e4c06

EDAN-URL:

ead_collection:sova-saam-jcsc-1

Donor:

Finley, Harry, 1942-  Search this

Names:

Museum of Menstruation (1994-1998)  Search this

Extent:

7.5 Cubic feet (23 boxes, 1 map folder)

Type:

Collection descriptions

Archival materials

Advertisements

Cd-roms

Correspondence

Filmstrips

Fliers (printed matter)

Newspaper clippings

Pamphlets

Patents

Photographs

Postcards

Trade literature

Videocassettes

Date:

circa 1890s-2011

Summary:

Collection documents menstruation and menstrual products.

Scope and Contents:

The collection documents through advertisements, product packaging, educational materials and pamphlets, correspondence, photographs, and videotapes, one of the most important topics in health experienced by half of the world's population, menstruation. Menstruation products are a worldwide industry with a documented connection to women's rights, pervasive economic, education, and opportunity inequities, and ecological problems.

The archival materials document health, business, advertising, and innovation history. Topics found within the collection include freedom, equality, success, ideals of race and gender in advertising, disposable products and innovation, small, woman-owned businesses and DIYers (Do It Yourself) who devised products to keep plastics out of landfills; business and health issues with multinational conglomerates, such as Tambrands, Procter & Gamble, Kimberly-Clark Corporation, and Scott Paper Company; and period poverty and tampon tax issues.

The collection represents US-made and consumed products, both mass-marketed and small business/DIY (Do It Yourself), from around the country. Also represented are products produced in other countries such as the United Kingdom, Germany, France, Japan, Mexico and Italy. All major, corporate US brands (and many multinational brands) are represented, for example: Tampax (now owned by Procter & Gamble), Kotex (Kimberly-Clark and Scott Paper), o.b (Johnson & Johnson, now Edgewell Personal Care). Also represented are a host of small companies, inventors, and DIY (Do It Yourself) products, such as: Women's Choice, Glad Rags, Instead Cup (Ultrafem), the Keeper, and organic cotton products from Natracare.

Arrangement:

Collection is arranged into five series.

Series 1: Museum of Menstruation Materials, 1984-2003

Series 2: Booklets, Pamphlets, and Other Writings, circa 1894-2003

Series 3: Product Inserts and Product Packaging, circa 1890s-2011

Series 4: Advertising and Sales Materials, 1914-2000s

Series 5: Ephemera and Other Materials, circa 1896-2005

Biographical:

Harry Finley (1942-) was born in Long Branch, New Jersey to George and Marjorie Finley. He holds a B.A. in Philosophy from Johns Hopkins University and did post graduate work in philosophy and German at the University of Florida. Finley worked as a graphic designer for the Department of the Army in Washington DC and Germany (1971—2004) and also as a painter, illustrator, and cartoonist.

Historical:

The Museum of Menstruation (MUM) was founded by Harry Finley in 1994 and operated as a physical museum until 1998, after which it continued as an extensive website. The Museum was an outgrowth of a collection he started assembling when living in Europe. Finley worked in Germany as a graphic designer for the U.S. government and was researching print ad layouts. Among the print ads he acquired some documented Kotex and other menstrual products which piqued his interest. Finley built the Museum's collection through his own collecting efforts, and through purchasing materials and by writing to researchers and mentrual-product manufacturers.

Provenance:

Collection donated by Harry Finley, October 13, 2022.

Restrictions:

Collection is open for research. Reference copies for audio and moving images materials do not exist. Use of these materials requires special arrangement. Gloves must be worn when handling unprotected photographs and negatives.

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:

Advertising, magazine -- 20th century  Search this

Birth control  Search this

Contraceptives industry  Search this

Coupons (Retail trade)  Search this

Feminine hygiene products  Search this

Feminine hygiene products industry  Search this

Health education  Search this

Hygiene  Search this

Menstrual cycle  Search this

Menstruation  Search this

Patent medicines  Search this

Pregnancy  Search this

Sanitary napkins  Search this

Tampons  Search this

Sex  Search this

Sex instruction  Search this

Teenagers  Search this

Women -- Health and hygiene  Search this

Zines  Search this

Genre/Form:

Advertisements

CD-ROMs

Correspondence

Filmstrips

Fliers (printed matter)

Newspaper clippings

Pamphlets

Patents

Photographs

Postcards

Trade literature

Videocassettes

Citation:

Museum of Menstruation Collection, Archives Center, National Museum of American History

Identifier:

NMAH.AC.1586

See more items in:

Museum of Menstruation Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8288ee9dc-59d3-4419-9446-a7a7783bd76c

EDAN-URL:

ead_collection:sova-nmah-ac-1586

Collector:

Archives Center, National Museum of American History  Search this

Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

American Federation of Teachers  Search this

Department of Defense, Comprehensive Review Working Group  Search this

Gay Officers Action League. GOAL  Search this

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

ONE National Gay and Lesbian Archives  Search this

San Diego LGBT Pride  Search this

Servicemembers Legal Defense Network  Search this

Smith College  Search this

University of Connecticut  Search this

William Way Community Center  Search this

Biren, Joan E.  Search this

Bushnell, Megan  Search this

Davidson, James, Dr.  Search this

Dietrich, Joe  Search this

Exline, Gregory  Search this

Florence, Laura  Search this

Huebner, David  Search this

Jain, Shawn  Search this

Karazsia, Amy  Search this

Karazsia, William G.  Search this

Lombardi, Angela  Search this

Lynch, Patsy  Search this

Meinke, Mark  Search this

Nitz, Ryan  Search this

Reichard, Bradley  Search this

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

Ros, Silvia  Search this

Sabatino, Michael  Search this

Shannon, Michael A.  Search this

Sheets, Justin  Search this

Snodgrass, Adam  Search this

Voorheis, Robert  Search this

Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Other:

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

Names:

McWaine, Dwayne, Dr.  Search this

Extent:

66 Cubic feet (200 boxes, 22 map-folders)

67.1 Cubic feet (202 boxes, 22 map-folders)

Type:

Collection descriptions

Archival materials

Passports

Postcards

Photographs

Posters

Videocassettes

Advertising

Dvds

Songbooks

Periodicals

Place:

Canada -- Description and Travel

Germany -- description and travel

Amsterdam (Netherlands)

Washington, D.C. -- history

Los Angeles (Calif.)

New York, New York

Date:

1825-2023, undated

bulk 1960-2022

Summary:

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

Scope and Contents:

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

Arrangement:

The collection is divided into twenty-seven series.

Series 1: Periodicals, 1937-2023

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

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

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

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

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

Subseries 3.4: Subject Files, 1958-2019, undated

Subseries 3.5: Pride, 1976-2022, undated

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

Subseries 3.7: Gay Games, 1982-2018

Series 4: Advertising, Business, and Publications, 1943-2023, undated

Subseries 4.1: Advertising, 1970-2018, undated

Subseries 4.2: Business, 1986-2021, undated

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

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

Subseries 4.5: Publications, 1943-2021, undated

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

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

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

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

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

Subseries 7.1: Correspondence, 1952-1991, undated

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

Subseries 7.3: Organizational Information, 1942-1993, undated

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

Subseries 7.5: Conventions, 1953-1960, undated

Subseries 7.6: Publications, 1944-1996, undated

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

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

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

Series 11: Ros, Silvia, 2009-2011

Series 12: Huebner, David, 2009-2014

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

Series 14: Will & Grace, 1995-2006

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

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

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

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

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

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

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

Series 19: The Fosters, 2013

Series 20: Pride at Work, 1990-2015

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

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

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

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

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

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

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

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

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

Historical Note:

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

Related Materials:

Materials in the Archives Center

Michio and Aveline Kushi Macro-Biotics Collection (AC0619)

The Shamrock Bar: Photographs and Interviews (AC0857)

John-Manuel Andriote Victory Deferred Collection (AC1128)

Archives Center Wedding Documentation Collection (AC1131 )

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

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

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

World AIDS Institute (WAI) Collection (AC1266)

Servicemembers Legal Defense Network (SLDN) Records (AC1282)

Helping Persons with AIDS (HPA) Records (AC1283)

DC Cowboys Dance Company Records (AC1312)

Bil Browning and Jerame Davis Papers (AC1334)

David Hadley Rockwell New York Disco Ephemera Collection (AC1342)

Leonard P. Hirsch Federal Globe Records (AC1357)

Corbett Reynolds Papers (AC1390)

Mark Segal Papers (AC1422)

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

Academy of Washington Records (AC1458)

Matthew Shepard Papers (AC1463)

I'm From Driftwood Records (AC1503)

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

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

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

Provenance:

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

Restrictions:

The collection is open for research use.

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

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

Rights:

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

Topic:

Women's music  Search this

Transgender people -- Identity  Search this

Sexual orientation  Search this

Political activists  Search this

Lesbianism  Search this

Lesbian and gay experience  Search this

Gay activists  Search this

Homosexuality  Search this

HIV and AIDS  Search this

Feminism  Search this

Bisexuality  Search this

Bars (Drinking establishments)  Search this

Gay Pride  Search this

Genre/Form:

Passports

Postcards

Photographs -- 2000-2010

Posters

Videocassettes

Advertising

DVDs

Photographs -- 20th century

Songbooks

Periodicals

Citation:

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

Identifier:

NMAH.AC.1146

See more items in:

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

Archival Repository:

Archives Center, National Museum of American History

GUID:

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

EDAN-URL:

ead_collection:sova-nmah-ac-1146

Publisher:

Samuel Goldwyn Company  Search this

Names:

Davison, Bruce  Search this

Series Collector:

Archives Center, National Museum of American History  Search this

Series Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Series Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Extent:

1 Item (Ink on paper., 11.6" x 8.2".)

Type:

Archival materials

Books

Date:

1990

Local Numbers:

AC1146-0000042.tif (AC Scan No.)

Exhibitions Note:

Displayed in Archives Center exhibition, "Archiving the History of an Epdemic: HIV and AIDS, 1985-2009," June 3, 2011-October 3, 2011. Franklin A. Robinson, Jr., curator.

Series Restrictions:

The collection is open for research use.

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

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

Series Rights:

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

Topic:

HIV and AIDS  Search this

HIV Positive  Search this

Gay rights  Search this

LGBT  Search this

Homosexuality  Search this

Sexuality  Search this

Sexual minorities  Search this

Diseases  Search this

Motion pictures -- 20th century -- United States  Search this

Genre/Form:

Books -- 20th century

Series Citation:

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

See more items in:

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

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 4: Advertising, Business, and Publications / 4.3: Television, Theater, and Motion Pictures / Longtime Companion, photo book

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep82ec55c25-3996-4494-a35b-55114946ce5c

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref2742

Advertiser:

Samuel Goldwyn Company  Search this

Names:

Mulroney, Dermot  Search this

Series Collector:

Archives Center, National Museum of American History  Search this

Series Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Series Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Extent:

1 Item (Ink on paper., 14.4" x 10.8".)

Type:

Archival materials

Date:

1990

Scope and Contents:

"Academy award" campaign advertisement for the 1989 motion picture, "Longtime Companion," with Bruce Davison, Campbell Scott, Patrick Cassidy, and Mary-Louise Parker. The first wide-release theatrical film to deal with the subject of AIDS, the film takes its title from the words The New York Times used to describe the surviving same-sex partner of someone who had died of AIDS during the 1980s.

Local Numbers:

AC1146-0000043.tif (AC Scan No.)

Exhibitions Note:

Displayed in Archives Center exhibition, "Archiving the History of an Epdemic: HIV and AIDS, 1985-2009," June 3, 2011-October 3, 2011. Franklin A. Robinson, Jr., curator.

Series Restrictions:

The collection is open for research use.

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

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

Series Rights:

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

Topic:

Academy Awards (Motion pictures)  Search this

Motion pictures -- 20th century -- United States  Search this

HIV and AIDS  Search this

HIV Positive  Search this

Gay rights  Search this

LGBT  Search this

Homosexuality  Search this

Sexuality  Search this

Sexual minorities  Search this

Diseases  Search this

Series Citation:

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

See more items in:

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

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 4: Advertising, Business, and Publications / 4.3: Television, Theater, and Motion Pictures / Longtime Companion, "for your consideration" advertisement

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8012bde79-8f06-42a3-ab07-8a3953d4b927

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref2743

Collector:

Archives Center, National Museum of American History  Search this

Series Collector:

Archives Center, National Museum of American History  Search this

Series Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Series Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Extent:

1 Item (Ink on paper., 20" x 16".)

Type:

Archival materials

Posters

Place:

Baltimore (Md.) -- 20th century

Fells Point (Baltimore, Maryland)

Date:

circa 1978-1980

Arrangement:

Oversize folder.

Local Numbers:

AC1146-0000047m.tif(AC Scan No.)

Exhibitions Note:

Displayed in Archives Center exhibition, "Archiving the History of an Epdemic: HIV and AIDS, 1985-2009," June 3, 2011-October 3, 2011. Franklin A. Robinson, Jr., curator.

Series Restrictions:

The collection is open for research use.

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

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

Series Rights:

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

Topic:

HIV and AIDS  Search this

HIV Positive  Search this

Gay rights  Search this

LGBT  Search this

Homosexuality  Search this

Sexuality  Search this

Genre/Form:

Posters -- 1950-2000

Series Citation:

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

See more items in:

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

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 4: Advertising, Business, and Publications / 4.4: Bar, Restaurant Ephemera and Advertisement / The Brig, bar advertising poster (Baltimore, Maryland), circa 1979-1980

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8a512fda0-b62e-4913-a790-d0e0960bf504

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref2747

Collector:

Archives Center, National Museum of American History  Search this

Names:

TriStar Pictures  Search this

Hanks, Tom  Search this

Washington, Denzel  Search this

Series Collector:

Archives Center, National Museum of American History  Search this

Series Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Series Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Extent:

1 Item (Ink on paper., 39.67" x 26.76".)

Type:

Archival materials

Film posters

Posters

Motion pictures (visual works)

Place:

Philadelphia (Pa.)

Scope and Contents:

TriStar Pictures, 1993. Image includes stars Denzel Washington and Tom Hanks.

Local Numbers:

AC1146-0000048.tif (AC Scan No.)

Exhibitions Note:

Displayed in Archives Center exhibition, "Archiving the History of an Epdemic: HIV and AIDS, 1985-2009," June 3, 2011-October 3, 2011. Franklin A. Robinson, Jr., curator.

Series Restrictions:

The collection is open for research use.

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

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

Series Rights:

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

Occupation:

Lawyers  Search this

Topic:

HIV and AIDS  Search this

HIV Positive  Search this

Gay rights  Search this

LGBT  Search this

Homosexuality  Search this

Sexuality  Search this

Genre/Form:

Film posters -- 20th century

Posters -- 1950-2000

Motion pictures (visual works) -- 1990-2000

Series Citation:

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

See more items in:

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

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 4: Advertising, Business, and Publications / 4.3: Television, Theater, and Motion Pictures / Philadelphia, movie poster

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8fb7dde83-06f9-4d73-ac01-c2b5459bb80d

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref2748

Advertiser:

SALGA [South Asian Lesbian and Gay Association]  Search this

Collector:

Archives Center, National Museum of American History  Search this

Series Collector:

Archives Center, National Museum of American History  Search this

Series Donor:

Becker, John M.  Search this

Gay Officers Action League. GOAL  Search this

Heritage of Pride (HOP)  Search this

Rohrbaugh, Richard  Search this

Atlantic States Gay Rodeo Association (ASGRA)  Search this

Series Creator:

Hirsch, Leonard  Search this

Guest, Barbara  Search this

Barna, Joseph T.  Search this

Guest, Michael E.  Search this

Cruse, Howard, 1944-2019  Search this

Extent:

1 Item (Ink on paper., 10.9" x 8.4".)

Container:

Box 34

Culture:

Asian Americans  Search this

Type:

Archival materials

Posters

Place:

New York (N.Y.) -- 20th century

Date:

1998

Scope and Contents:

Text on yellow paper. Advertises SALGA benefit at the Cooler, with "star studded drag performances."

Local Numbers:

AC1146-0000073.tif (AC Scan No.)

Series Restrictions:

The collection is open for research use.

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

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

Series Rights:

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

Topic:

Transvestites  Search this

Benefit performances  Search this

Dance parties  Search this

Homosexuality  Search this

LGBT  Search this

Genre/Form:

Posters -- 20th century

Series Citation:

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

See more items in:

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

Archives Center Lesbian, Gay, Bisexual, Transgender (LGBT) Collection / Series 2: Agencies, Associations, and Organizations / South Asian Lesbian and Gay Association (SALGA), correspondence, press releases

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8aee912bc-7ad3-4df8-ad41-b96098d56dd3

EDAN-URL:

ead_component:sova-nmah-ac-1146-ref2771

Creator:

Granatelli, Andy, 1923-2013  Search this

Grancor Automotive Specialists  Search this

Hurricane Hot Rod Association  Search this

Studebaker Corporation  Search this

Donor:

Granatelli, Vincent  Search this

Names:

Indianapolis Speedway Race  Search this

Soldier Field (Chicago)  Search this

Studebaker Corporation. STP Division  Search this

Afrons, Arthur Eugene "Art", 1926-2007  Search this

Afrons, Walter Charles "Walt", 1916-2013  Search this

Agajanian, Joshua C. James , 1913-1984  Search this

Agnew, Spiro T., 1918-1996  Search this

Andretti, Mario, 1940-  Search this

Banks, Henry, 1913-1994  Search this

Bishop, Joey  Search this

Bridges, Lloyd  Search this

Carson, Johnny, 1925-2005  Search this

Carter, Jimmy, 1924-  Search this

Chapman, Anthony Colin Bruce , 1928-1982  Search this

Clark, Jim, 1936-1968  Search this

Cole, Hal, 1912-1970  Search this

Cooper, Earl, 1886-1965  Search this

Cooper, Leroy Gordan, 1927-2004  Search this

DePaolo, Peter, 1898-1980  Search this

Derr, Ernest Virgil "Ernie" , 1921-  Search this

Egbert, Sherwood, 1920-1965  Search this

Ford, Gerald R., 1913-2006  Search this

Foyt, A. J., 1935-  Search this

Gable, Clark, 1901-1960  Search this

Garagiola, Joe  Search this

Grissom, Virgil I.  Search this

Guerrero, Roberto, 1958-  Search this

Hartke, Vance, 1919-2003  Search this

Hill, Graham, 1929-1975  Search this

Holland, Willard, 1907-1984  Search this

Hurtubise, Jim, 1932-1989  Search this

Kennedy, Edward M. (Edward Moore), 1932-2009  Search this

Kladis, Danny, 1917-2009  Search this

LaMotta, Jake  Search this

Lasorda, Tommy  Search this

Leno, Jay (comedian)  Search this

Leonard, Joe, 1932-2017  Search this

Lorenzen, Fred, 1934-  Search this

Luyendyk, Arie  Search this

Malone, Art, 1936-2013  Search this

Marcenac, Jean  Search this

Marciano, Rocky  Search this

Mays, Rex Houston, 1913-1949  Search this

McCain, John  Search this

McElreath, Jimmy, 1928-2017  Search this

Miller, Chet, 1902-1953  Search this

Murphy, Paula, 1928-  Search this

Nixon, Richard M. (Richard Milhous), 1913-1994  Search this

Palin, Sarah, 1964-  Search this

Parsons, Johnnie, 1918-1984  Search this

Petty, Richard, 1937-  Search this

Pickens, T. Boone (Thomas Boone)  Search this

Pollard, Artle Lee, 1927-1973  Search this

Quayle, Dan, 1947-  Search this

Rathman, Royal Richard "Jim", 1928-2011  Search this

Reagan, Ronald  Search this

Robbins, Marty  Search this

Russo, Paul, 1914-1976  Search this

Tremulis, Alex S.  Search this

Unser, Bobby  Search this

Weld, Greg, 1944-2008  Search this

Williams, Carl, 1930-1973  Search this

Actor:

Anderson, Eddie "Rochester", 1905-1977  Search this

DeVito, Danny  Search this

Douglas, Kirk, 1916-2020  Search this

Goulet, Robert, 1933-2007  Search this

Extent:

66 Cubic feet (108 boxes, 16 map-folders)

Type:

Collection descriptions

Archival materials

Advertisements

Business records

Clippings

Correspondence

Design drawings

Drawings

Financial records

Legal records

Minutes

Photographs

Scrapbooks

Speeches

Date:

1932-2008

Scope and Contents:

The collection documents Granatelli's lifelong involvement with automobiles, from his youth through his career as an auto industry executive, and as a racing car owner, designer and promoter. The collection consists primarily of files, photographs, scrapbooks, and drawings. Some of the earliest files relate to Grancor, a company founded by Granatelli and his two brothers in 1945, which customized cars for clients. Other things contained in the files include meeting minutes, articles of association, business and financial records, legal records and profit and loss statements. Also included are papers relating to an organization he started called the Hurricane Hot Rod Association.

A large portion of the files relate to Granatelli's term as President of STP, a division of the Studebaker Corporation, from 1961-1974. These files detail the internal workings of the company during this period, and include papers relating to such things as strategic planning, sales, marketing, advertising and competitors' products. Additionally, this portion contains STP's Board of Directors' minutes, documents on policies and procedures, papers documenting advertising campaigns, comparative sales figures, sales manuals, and Granatelli's business correspondence. The largest part of the files relate to the Indianapolis 500 race. There are detailed files on the drivers and race teams he assembled for the annual race, but these files also include design drawings, specifications, test data, lap logs, performance statistics, and reports documenting the implementation of design changes. The scrapbooks in the collection contain clippings, biographical materials, and other documents relating to auto racing in America and especially the Indianapolis 500. Finally, the collection contains a large number of photographs covering all aspects of Granatelli's career.

Arrangement:

Collection is arranged into nine series.

Series 1: Biographical Materials, 1946-2006

Series 2: Granatelli Corporation, 1943-1975

Series 3: Studebaker Corporation, 1935-1991

Series 4: United States Auto Club (USAC)

Series 5: Novi Engine, 1949-1971

Series 6: Product Literature, 1949-1972

Series 7: Racing Programs, Publications, and Ephermera, 1940s-2007

Series 8: Photographs, 1932-2008

Series 9: Audiovisual Materials, 1960-2001

Biographical / Historical:

Andy Granatelli (1923-2013) was an automobile racing promoter, a race car engine designer and an automotive innovator. Two of his cars, a 1967 turbine engine race car and the 1969 Indianapolis 500 winner, are in National Museum of American History's Division of Work & Industry collection. More than any other racing figure, Granatelli bridged the realms of garage tinkerers and professional motorsports, and he stimulated public interest in auto racing on a national level. His STP Corporation became a high-profile sponsor of Indianapolis 500 and NASCAR race cars, with Granatelli appearing in ads and commercials. His larger-than-life personality and flair for the dramatic made him an American cultural phenomenon. His career is well summed up in the profile written for his 2003 induction into the Automotive Hall of Fame.

Racer, entrepreneur, engineer, promoter, business executive. This is how one begins to describe the career of Andy Granatelli. But the title Mister 500 is the one that befits him most, for it describes a lifelong dream to conquer the famous 500-mile race in Indianapolis.

It was a preposterous dream for the scrappy kid growing up in the slums of Chicago, whose mother had died when he was twelve, and two years later, at the age of fourteen, dropped out of school to help his father feed the family. Andy Granatelli began his quest for Indy 500 fame at the age of 20 in 1943, when he and his brother pooled their meager, hard-earned money and purchased a Texaco gas station on the north side of Chicago, which he called Andy's Super Service. Andy, always the promoter, needed a gimmick to set himself apart from other service stations. His gimmick? Granatelli initiated the first pit stop service station, utilizing four or five mechanics to work on a car at one time.

Customers appreciated the true super service experience and would often wait in line for this unique treatment. With this unique service and Andy's P.T. Barnum style it was no wonder that the station was prosperous, and just two years later, in 1945, he formed the Granatelli Corporation, known as Grancor Automotive Specialists. As the head of Grancor, Andy Granatelli pioneered the concept of mass merchandising performance products and power and speed equipment to a generation of Americans who were discovering the joys of hot rodding.

Andy quickly learned that if you give the customer what he needs, you can make a living; give him what he wants, and you can make a fortune! Granatelli's racing career began in 1946, when he built the first rocket-powered car to race on an oval track. That same year, he took his first car to the Indianapolis 500--a pre-war Harry Miller--designed Ford.

When Andy Granatelli wasn't burning up tracks, he was tearing up the business world. In 1958, Andy and his brother Joe purchased Paxton Products, a failing engineering firm that made superchargers. With Andy at the helm, Paxton Products became profitable in seven months. In 1961, Andy sold Paxton Products to Studebaker Corporation and stayed on as Paxton's CEO. Two years later, Studebaker management wanted Granatelli to work his magic on an under-performing division called Chemical Compounds Corporation. Chemical Compounds had only one, little known product . . . STP Oil Treatment. With virtually no advertising budget, Andy created a four-pronged approach to turn the company around: a recognizable corporate logo (the STP oval), a product (oil treatment), a product spokesman (himself) and a reason for existence (racing). The STP logo became one of the best recognized in history. STP could be found in virtually every venue of speed: on land, on the water or in the air. Andy Granatelli once said that in the 1960s, virtually every kid in America had an STP sticker on his bedroom door, his notebook or his lunchbox, and he was probably right!

Back at Indianapolis, Granatelli entered a revolutionary race car of his own design - one with a turbine engine in 1967 and 1968. Even though the car failed to finish both years due to mechanical failure, the cars demonstrated superior speed and performance. At the end of the 1968 season, the U.S. Auto Club revised engine specifications, effectively outlawing Granatelli's turbine car. Undeterred, Granatelli returned to Indy the following year with a conventional car and proceeded to win his first Indianapolis 500 with Mario Andretti at the wheel. Four years later, in 1973, Andy won his second and last Indy 500 with a car driven by Gordon Johncock. Andy Granatelli's childhood dream of conquering Indy was fulfilled, not once, but twice.

Source

Andy Granatelli Biography, Automotive Hall of Fame (last accessed January 29, 2020 https://www.automotivehalloffame.org/honoree/andy-granatelli/)

Related Materials:

Materials in the Archives Center

Warshaw Collection of Business American, Series: Automobile Industry (NMAH.AC.0060)

Winton-Anderson Scrapbook Collection (NMAH.AC.0122)

Sam DeVincent Collection of Illustrated American Sheet Music, Series 1: Transportation (NMAH.AC.0300)

Evan Rangeloff Collection of Punchboards and Liggett & Myers Tobacco Sales Materials (NMAH.AC.0716)

Materials at the National Museum of American History, Division of Work and Industry

The Divison holds artifacts related to STP and the STP-Paxton Turbo Car. Included are key chains, trophies, STP stickers, TuneUp Masters stickers, belt buckle, and patch. See accession 2017.3043.

STP-Paxton Turbocar, 1967. See accession 1978.0418.

Materials at the National Museum of American History, Division of Cultural and Community Life

Division holds artifacts related to Andy Grantelli's racing career such as helmets, goggles, trophies, and coveralls and vests with the STP logo. See accession 2017.0092.

Provenance:

Collection donated by Vincent J. Granatelli, 2017.

Restrictions:

Collection is open for research. Viewing film and audio portion of collection requires special appointment. See repository for details.

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:

Automobile driving  Search this

Automobile industry and trade  Search this

Automobile industry executives  Search this

Automobiles  Search this

Automobiles -- Design and construction  Search this

Automobiles, Racing  Search this

Engines, automobile  Search this

Hot rods  Search this

Publications  Search this

Slides  Search this

Genre/Form:

Advertisements -- 20th century

Business records -- 20th century

Clippings -- 20th century

Correspondence -- 20th century

Design drawings -- 20th century

Drawings

Financial records -- 20th century

Legal records -- 20th century

Minutes -- 20th century

Photographs -- 20th century

Scrapbooks

Speeches

Citation:

Andy Granatelli Collection, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.1403

See more items in:

Andy Granatelli Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8b8ed345f-7459-4956-9875-900f8585af74

EDAN-URL:

ead_collection:sova-nmah-ac-1403

Creator:

Landor Associates  Search this

Landor, Walter  Search this

Names:

Mair, Francis M., 1916-1991 (commercial artist)  Search this

Extent:

68 Cubic feet (198 boxes, 4 map folders)

Type:

Collection descriptions

Archival materials

Audiovisual materials

Business letters

Business records

Personal papers

Videotapes

Interviews

Oral history

Date:

circa 1862-2002, undated

Summary:

Collection consists of the business records and original art documenting the work of Walter Landor and his design firm Landor Associates located in San Francisco, California.

Scope and Contents:

Collection documents the career of designer Walter Landor and the significant body of commercial imagery and packaging produced by Landor Associates design firm. Contains corporate and business records of Landor Associates, Landor's personal papers, oral history interviews, films, videotapes, and other audiovisual resources.

Arrangement:

Collection is arranged into seven series.

Series 1: Landor Associates Business Records, 1862-1993, undated

Subseries 1.1: Historical Background and Project Administration Files, 1941-1993, undated

Subseries 1.2: Office Files, 1960-1993, undated

Subseries 1.3: Newsletters, 1978-1986

Subseries 1.4: Scrapbooks, 1940s-1990s, undated

Subseries 1.5: Memoranda, 1956-1979

Subseries 1.6: Magazine Articles, Newspaper Clippings, and Trade Journal Articles, 1926-1992, undated

Subseries 1.7: Press Releases and Miscellaneous Files, 1982-1987, undated

Subseries 1.8: Walter Landor Reading Files, 1948-1978 (bulk 1970-1978)

Subseries 1.9: New Brochure, 1978-1983, 1978-1985

Subseries 1.10: International Files, 1938-1993, undated

Subseries 1.11: Promotional Files, 1964-1991, undated

Subseries 1.12: Conventions, Seminars, and Conferences, 1955-1989, undated

Subseries 1.13: Awards, 1937-1989, undated

Subseries 1.14: Tours, Presentations, and Parties, 1951-1986, undated

Subseries 1.15: Communication Films, 1965-1969, undated

Subseries 1.16: Client Files, 1936-1992, undated

Subseries 1.16.1: Companies A-Z, 1936-1992, undated

Subseries 1.16.2: Montedison Group S.p.A., 1971-1980, undated

Subseries 1.17: Ferryboat Klamath and the Museum of Packaging Antiquities, 1924-1992, undated

Subseries 1.18: Labels, 1862-1986, undated

Subseries 1.19: Packaging, 1949, undated

Subseries 1.20: Original Artwork, 1976-1992, undated

Series 2: Walter Landor Papers, 1939-1996, undated

Subseries 2.1: Papers, 1939-1993, undated

Subseries 2.2: Trip Files, 1954-1988, undated

Subseries 2.3: Speeches, 1948-1992, undated

Subseries 2.4: Corporate Historical Reference, 1950-1996, undated

Series 3: Photographic Materials, 1930-1993, undated

Subseries 3.1: Photographic Prints, 1930-1993, undated

Subseries 3.2: Slides, 1940-1990, undated

Subseries 3.3: Publications, 1965-1992, undated

Series 4: Landor Archives Project, 1949-2002, undated

Subseries 4.1: Lillian Sader Files, 1950-1993, undated

Subseries 4.2: Ed Scubic Files, 1968-1990, undated

Subseries 4.3: Other Associates Files, 1949-1993, undated

Subseries 4.4: Oral Histories, 1969-1994

Subseries 4.5: Archives Project Reference Files, 1939-2002, undated

Series 5: Motion Picture Films, 1944-1977, undated

Subseries 5.1: Landor Associates, 1958-1972, undated

Subseries 5.2: Educational and Training Acquired by Landor Associates, 1944-1975, undated

Subseries 5.3: Promotional Films Acquired by Landor Associates, 1958-1977, undated

Subseries 5.4: Television Commercials, Advertising and Public Service Announcements, 1964-1975, undated

Subseries 5.5: Miscellaneous Films Acquired by Landor Associates, 1967-1970, undated

Series 6: Video Cassette Tapes, 1980-1993, undated

Series 7: Audio Cassette Tapes, 1971-1991, undated

Biographical / Historical:

Walter Landor (1913-1995), son of Jewish Bauhaus architect Fritz Landauer, came to the United States in 1938 with the design team for the British Pavilion at the 1939 World's Fair in New York City. He emigrated to the United States in 1941, launching a small design firm in San Francisco. Landor started out doing package design for a largely local and regional clientele (including many West Coast wineries and breweries), although he soon developed a client list that included some of the world's largest and most prestigious corporations. Corporate identity projects were an important specialization. In addition to his own considerable design abilities, Landor had a gift for inspiring and organizing the creativity of a group of associates, and for developing lasting and productive relationships with his clients. The firm developed particular strength in its portfolio of airlines, financial institutions and consumer goods, and prided itself on a network of international clients. From the beginning, Landor linked design to research in consumer behavior, developing increasingly sophisticated methods for evaluating the effectiveness of his designs. This collection documents Walter Landor's remarkable career, the significant body of corporate identity, packaging and other commercial imagery produced by Landor Associates, and the interplay between industrial design and American consumer culture.

German Historical Institute

Walter Landor in the Immigrant Entrepreneurship: German-American Business Biographies, 1720 to the Present.

The collaborative research project Immigrant Entrepreneurship: German-American Business Biographies, 1720 to the Present sheds new light on the entrepreneurial and economic capacity of immigrants by investigating the German-American example in the United States. It traces the lives, careers and business ventures of eminent German-American business people of roughly the last two hundred and ninety years, integrating the history of German-American immigration into the larger narrative of U.S. economic and business history.

Related Materials:

Archives Center, National Museum of American History

Francis M. Mair Papers NMAH.AC.0548

NW Ayer Advertising Agency Records NMAH.AC.0059

Hills Bros. Coffee Company, Incorporated Records NMAH.AC.0395

Emmett McBain Afro American Advertising Poster Collection NMAH.AC.0192

Warshaw Collection of Business Americana NMAH.AC.0060

Marilyn E. Jacklar Memorial Collection of Tobacco Advertisements NMAH.AC.1224

Marlboro Oral History and Documentation Project NMAH.AC.0198

Black and Decker Collection NMAH.AC.1441

Stag's Leap Wine Cellars Documentation Project NMAH.AC.0816

Frito-Lay, Incorporated Records NMAH.AC.1263

Smothers Brothers Collection, NMAH.AC.1437

Division of Work and Industry, National Museum of American History

The division holds artifacts related to the Walter Landor and his advertising work. See accession 1993.0393.

Provenance:

Personal papers donated to Archives Center in 1993 by Josephine Landor, widow of Walter Landor; business records donated to Archives Center in 1993 by Landor Associates.

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:

Industrial design  Search this

advertising  Search this

Industrial designers  Search this

Marketing  Search this

Genre/Form:

Audiovisual materials

Business letters

Business records -- 20th century

Personal papers -- 20th century

Videotapes

Interviews -- 1980-2000

Oral history

Citation:

Landor Design Collection, circa 1862-2002, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0500

See more items in:

Landor Design Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep85b2af5a7-7d92-4d6e-b7fe-f715312975d4

EDAN-URL:

ead_collection:sova-nmah-ac-0500

Collection:

Reid Drugstore  Search this

Maker:

Julius Schmid, Inc.  Search this

Measurements:

overall: 5 cm x 17.5 cm x 11 cm; 1 15/16 in x 6 7/8 in x 4 5/16 in

carton: 2 1/4 in x 4 1/2 in x 6 3/4 in; 5.715 cm x 11.43 cm x 17.145 cm

tins: 1 3/4 in x 2 1/8 in x 1/4 in; 4.445 cm x 5.3975 cm x .635 cm

Object Name:

Condom

contraceptive, condom

Other Terms:

?; Condom; Contraceptives; Drugs

Place made:

United States: New York, New York City

Date made:

ca 1931

Subject:

Birth Control/Contraception  Search this

Sexually Transmitted Diseases  Search this

Sex  Search this

Credit Line:

Gift of Blanche E. Reid

ID Number:

1984.0351.265

Accession number:

1984.0351

Catalog number:

1984.0351.265

See more items in:

Medicine and Science: Medicine

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a5-6b5f-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_737966

Maker:

W. H. Reed & Co., Inc.  Search this

Measurements:

overall: 3.1 cm x 11.6 cm x 26 cm; 1 1/4 in x 4 9/16 in x 10 1/4 in

overall: 1 1/4 in x 4 5/8 in x 10 1/4 in; 3.175 cm x 11.7475 cm x 26.035 cm

Object Name:

Box, Condom

contraceptive, condom

Place made:

United States: Georgia, Atlanta

Date made:

c. 1950s

1950s

Subject:

Birth Control/Contraception  Search this

Sexually Transmitted Diseases  Search this

Sex  Search this

ID Number:

2004.0129.10

Accession number:

2004.0129

Catalog number:

2004.0129.10

See more items in:

Medicine and Science: Medicine

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b3-9c85-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1273114

Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

5.11 Cubic feet (consisting of 11 boxes, 1 folder, 2 oversize folders, 1 map case folder, 1 flat box (partial.))

Type:

Collection descriptions

Archival materials

Publications

Business ephemera

Manuscripts for publication

Steel plate engravings

Technical reports

Letterheads

Business cards

Advertising mail

Advertising fliers

Sales letters

Printed ephemera

Sales records

Advertising cards

Advertisements

Trade cards

Periodicals

Commercial catalogs

Manufacturers' catalogs

Manuals

Legal documents

Receipts

Invoices

Print advertising

Advertising

Ephemera

Business letters

Sales catalogs

Printed materials

Illustrations

Trade catalogs

Trade literature

Catalogues

Commercial correspondence

Business records

Printed material

Correspondence

Legislation (legal concepts)

Reports

Technical manuals

Date:

1819-1985

Summary:

A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Accounting and Bookkeeping forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana

Scope and Contents:

The subject category Steel largely represents business records and advertisements created by steel manufacturers and distributors of steel-based goods or services. Additional materials include biographical writings about Andrew Carnegie, documentation about the effect of the steel industry on society, and educational material about the steel industry.

No complete set of business records are represented within the collection, however the United States Steel Corporation has notable representation within the business records.

Technical documentation about the production of steel-based products as well as background information about the United States Steel Industry and Andrew Carnegie are strong research strengths of this subject category.

Arrangement:

Steel is arranged in three subseries.

Business Records and Marketing Material

Genre

Subject

Forms Part Of:

Forms part of the Warshaw Collection of Business Americana.

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material

Provenance:

Steel is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.

Restrictions:

Collection is open for research. Some items may be restricted due to fragile condition.

Rights:

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

Topic:

Steel founding  Search this

Steel industry and trade -- 1930-2000  Search this

Stainless steel tableware  Search this

Steel alloys  Search this

Iron and steel bridges  Search this

Iron and steel industry  Search this

Manufacturing  Search this

Iron and steel workers -- 1920-1930 -- New York (State) -- New York  Search this

Steel industry and trade  Search this

Steel, Stainless -- 20th century  Search this

Structural steel workers -- 1920-1930 -- New York (State) -- New York  Search this

Women iron and steel workers  Search this

Manufacturing industries  Search this

Manufacturing processes  Search this

Trade associations  Search this

Genre/Form:

Publications -- Business

Business ephemera

Manuscripts for publication

Steel plate engravings

Technical reports

Letterheads

Business cards

Advertising mail

Advertising fliers

Sales letters

Printed ephemera

Sales records

Advertising cards

Advertisements

Trade cards

Periodicals

Commercial catalogs

Manufacturers' catalogs

Manuals

Legal documents

Receipts

Invoices

Print advertising

Advertising

Ephemera

Business letters

Sales catalogs

Printed materials

Illustrations

Trade catalogs

Trade literature

Catalogues

Commercial correspondence

Business records

Printed material

Correspondence

Legislation (legal concepts)

Reports

Technical manuals -- 20th century

Citation:

Warshaw Collection of Business Americana Subject Categories: Steel, Archives Center, National Museum of American History, Smithsonian Institution.

Sponsor:

Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).

Identifier:

NMAH.AC.0060.S01.01.Steel

See more items in:

Warshaw Collection of Business Americana Subject Categories: Steel

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8b94698eb-da99-4338-b74e-4b73fc712dc5

EDAN-URL:

ead_collection:sova-nmah-ac-0060-s01-01-steel

Creator:

Leonard, Herman, 1923-2010  Search this

Former owner:

National Museum of American History (U.S.). Division of Musical History  Search this

Names:

Armstrong, Louis, 1901-1971  Search this

Baker, Chet  Search this

Bennett, Tony, 1926-  Search this

Blakey, Art, 1919-1990  Search this

Brown, Clifford  Search this

Camero, Candido, 1921-  Search this

Cole, Nat King, 1917-1965  Search this

Cole, Nat King, 1917-1965  Search this

Davis, Miles  Search this

Davis, Miles  Search this

Eckstine, Billy  Search this

Ellington, Duke, 1899-1974  Search this

Fitzgerald, Ella, 1917-1996  Search this

Garner, Erroll  Search this

Getz, Stan, 1927-1991  Search this

Gillespie, Dizzy, 1917-  Search this

Gordon, Dexter, 1923-1990  Search this

Haig, Al, 1924-1982  Search this

Heath, Percy, 1923-2005  Search this

Holiday, Billie, 1915-1959  Search this

Horne, Lena  Search this

Marsalis, Wynton, 1961-  Search this

Monk, Thelonious  Search this

Mulligan, Gerry  Search this

Parker, Charlie, 1920-1955  Search this

Pettiford, Oscar, 1922-1960  Search this

Roach, Max, 1924-2007  Search this

Russell, Curly  Search this

Sims, Zoot  Search this

Sinatra, Frank, 1915-1998  Search this

Stitt, Sonny  Search this

Strayhorn, Billy (William Thomas), 1915-1967  Search this

Terry, Clark  Search this

Washington, Dinah, 1924-1963  Search this

Webster, Ben  Search this

Young, Lester, 1909-1959  Search this

Extent:

5.6 Cubic feet (10 boxes)

Type:

Collection descriptions

Archival materials

Photographs

Date:

1948-1993

Summary:

Jazz club photographs by noted Jazz photographer Herman Leonard.

Scope and Contents:

This collection consists of 110 black-and-white photographic prints depicting musicians performing at various American and European jazz clubs between 1948 and 1991. The collection contains mounted and unmounted 11" x 14" and 16" x 20" prints made by Leonard. Artists represented among these photographs are Billie Holiday, Charlie Parker, Dizzy Gillespie, Duke Ellington, Frank Sinatra, Lester Young, Louis Armstrong, Miles Davis, and Thelonious Monk. The photographs are organized into three series: Series 1: 11"x 14" prints, Series 2: 16" x 20" prints, and Series 3: Addenda. The series are arranged alphabetically by performer's last name. Unmatted 16" x 20" prints can be found in box 2 but are listed alphabetically by performer.

Biographical / Historical:

Herman Leonard (1923‑2010) was born in Allentown, Pennsylvania and served as a military photographer in Burma during World War II. He earned his Bachelor of Fine Arts Degree in photography from Ohio University and began working with Yousuf Karsh, a Canadian portraitist. Settling in New York in 1949, Leonard began photographing jazz musicians at various jazz clubs on Broadway and Fifty‑Second Streets, and in Harlem for such publications as Cosmopolitan, Esquire, Life, Look, Playboy, and Time. He later to Paris to begin a fashion and advertising business. He also continued photographing jazz musicians. In 1988 Leonard presented his first exhibition, "Images of Jazz," in London. This show established his reputation as a leading photographer of jazz and sparked further shows and publications.

Provenance:

The Herman Leonard Photographs were donated to the National Museum of American History by Mr. Leonard on December 17, 1991 and in 2006.

Restrictions:

Collection is open for research.

Rights:

The Archives Center does not own the rights to the Leonard photographs. All requests for permission to use these photographs for non‑museum purposes must be addressed to: Herman Leonard Photography, LLC, 530 South Lake Avenue #503, Pasadena, CA 91101 (818) 509-8987.

Topic:

Jazz musicians -- United States  Search this

Jazz  Search this

Music -- 20th century  Search this

Genre/Form:

Photographs -- Black-and-white photoprints -- Silver gelatin -- 19th-20th century

Citation:

Herman Leonard Photographic Collection, 1948-1993, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0445

See more items in:

Herman Leonard Photographic Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8e44f9017-2701-439c-ac51-9916f1092b09

EDAN-URL:

ead_collection:sova-nmah-ac-0445

Creator:

Garland, Ed  Search this

Armstrong, Louis, 1901-1971  Search this

Morton, Jelly Roll, 1890-1941  Search this

Darensbourg, Joe, 1906-1985  Search this

Davison, Bill  Search this

Blake, Eubie (James Herbert), 1883-1983  Search this

Wilson, Buster  Search this

Ellington, Duke, 1899-1974  Search this

Collector:

Levin, Floyd, 1922-2007  Search this

Donor:

Levin, Lucille  Search this

Extent:

42.5 Cubic feet (110 boxes, 12 oversize folders)

Type:

Collection descriptions

Archival materials

Newsletters

Posters

Obituaries

Correspondence

Photographs

Advertisements

Ephemera

Concert programs

Clippings

Business cards

Audiocassettes

Signatures (names)

Audiotapes

Interviews

Personal papers

Biography files

Awards

Writings

Date:

1880 - 2010

Summary:

Floyd Levin was a Los Angeles textile manufacturer who turned his passion for jazz into a second career as an influential jazz journalist and historian. The collection consists of research materials including biographical files. In addition, there are numerous photographs that were taken and collected by Levin.

Scope and Contents:

Research materials on jazz, jazz artists, jazz festivals and jazz organizations compiled by Levin over several decades. The richest portion is the series of biographical files on jazz artists, with emphasis on lesser known but influential artists, and includes such things as obituaries, memorial programs, press releases, concert programs, and newsletters. Photographs are also widely found in this series, many of them inscribed to, or taken with Levin and his wife Lucille, as well as posters, recordings, letters and other correspondence, awards and plaques, Levin's writings, business cards, newspaper articles, advertisements, and miscellaneous ephemeral items. Artists who are strongly represented include one-time Ellington Orchestra clarinetist "Barney" (Albany Leon) Bigard, who was a close personal friend of the Levins and whose personal papers are in the collection; Louis Armstrong; "Jelly Roll" (Ferdinand Lemott) Morton; "Wild" Bill Davison; "Duke" (Edward Kennedy) Ellington; Joe Darensbourg; Edward Bertram "Montudie" Garland; "Kid" (Edward) Ory; "Eubie" (James Herbert) Blake; and "Rosy" (James) McHargue.

Arrangement:

The collection is divided into ten series.

Series 1, Personal Papers, 1920-2010, undated

Series 2, Correspondence, 1948-2006, undated

Series 3, Research Materials, 1914-2006, undated

Series 4, Writings, 1949-2006, undated

Series 5, Artists Files, 1880-2010, undated

Subseries 5.1, General Materials, 1880-2010, undated

Subseries 5.2, Obituaries, 1941-2004

Subseries 5.3, Interviews, 1969-2001

Series 6, Subject Files, 1916-2004, undated

Series 7, General Materials, 1908-2006, undated

Series 8, Jazz Organizations and Publications, 1943-2010, undated

Series 9, Photographs, 1939-2001, undated

Series 10, Audiovisual Materials, 1964-1997, undated

Subseries 10.1, Audiocassettes, 1970-1997, undated

Subseries 10.2, Compact Discs, 1966-1994, undated

Subseries 10.3, Sound Tape Reels, 1964-1973, undated

Biographical / Historical:

Floyd Levin (1922 - 2007) was a Los Angeles textile manufacturer who turned his passion for jazz into a second, contemporaneous, career as an influential jazz journalist and historian. His numerous reviews, profiles, and articles were published in magazines such as Down Beat, Jazz Journal International, Metronome, and American Rag. He also authored Classic Jazz: A Personal View of the Music and the Musicians (University of California Press, 2000), which –like his articles – chronicled his first-hand encounters with countless jazz musicians. In 1949, he co-founded the Southern California Hot Jazz Society, the second-oldest jazz appreciation club in the country. Levin led the drive to create the Louis Armstrong Park and statue in New Orleans in the 1970s. During his career, he conducted scores of oral history interviews with jazz musicians, which he donated to NMAH and to Tulane University's jazz archive. He received several awards for his work, including the Leonard Feather Communicator Award, given annually by the Los Angeles Jazz Society. Levin died in 2007.

Provenance:

Donated to the Archives Center in 2011 by Floyd Levin's widow, Lucille Levin.

Restrictions:

The collection is open for research. Only reference copies of audiovisual materials may be used.

Rights:

Reproduction restricted due to copyright or trademark. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Jazz  Search this

Jazz musicians  Search this

Genre/Form:

Newsletters -- 20th century

Posters -- 20th century

Obituaries

Correspondence -- 20th century

Photographs -- 20th century

Advertisements -- 20th century

Ephemera -- 20th century

Concert programs -- 20th century

Clippings

Business cards

Audiocassettes

Signatures (names)

Audiotapes

Interviews

Personal papers -- 20th century

Biography files

Awards

Writings

Citation:

Floyd Levin Jazz Reference Collection, 1880-2010, 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.1222

See more items in:

Floyd Levin Jazz Reference Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8cff04d70-8d1e-4159-93fb-10a7bca49f70

EDAN-URL:

ead_collection:sova-nmah-ac-1222

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

Performer:

Basie, Count, 1904-1984  Search this

Webster, Ben  Search this

Armstrong, Louis, 1901-1971  Search this

Ellington, Duke, 1899-1974  Search this

Fitzgerald, Ella, 1917-1996  Search this

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

Jamal, Ahmad, 1930-  Search this

Robinson, Bill, 1878-1949  Search this

Davis, Miles  Search this

Collector:

Smith, Ernie  Search this

Names:

Apollo Theatre (New York, N.Y.)  Search this

Extent:

30 Cubic feet (352 film reels , 16 mm)

Type:

Collection descriptions

Archival materials

Motion pictures (visual works)

Place:

Harlem (New York, N.Y.) -- 20th century

Date:

1894-1979

Summary:

More than 300 reels of 16mm black and white and color film, silent and sound, fiction and documentary motion picture film documenting jazz and related musical performances, social and popular dance styles and performances, jazz musicians, performance locales, and documentation of African-American popular culture. A list of featured performers in the collection is shown below. The films are frequently compilations produced by Smith for lectures.

Scope and Contents:

The collection consists of 352 reels of 16mm motion picture film. Most of the film is 16mm black and white and sound (composite optical track print), although a few titles are silent or in color. The collection is comprised of compilation reels created by Ernie Smith to accompany his lectures, topical compilation reels created by Ernie Smith, compilation reels created by the Archives Center, and single title reels. The Archives Center produced master and reference video copies using a wet-gate telecine film-to-tape transfer system. Titles were often combined to allow for increased ease of handling, storage, and duplication.

The collection is strongest in the areas of jazz dance styles including Lindy Hop and tap, overviews of jazz musical performers and styles; specific jazz musicians and performers including Duke Ellington, Louis Armstrong, Cab Calloway, Woody Herman, Artie Shaw, Bob Crosby, Lionel Hampton, Count Basie, Jack Teagarden as well as a wide range of female vocalists; and documentation of the New York jazz and club scene. The collection includes feature films and excerpts from feature films, Soundies and other film shorts, television kinescopes, and documentary films.

Arrangement:

The collection is arranged into one series and is not arranged in accordance with standard archival procedures. The breadth of the collection and the existence of so many multiple topic and/or performer compilation reels made it impossible to impose traditional archival series order. Therefore, each reel is described at the item level in the container list.

Biographical:

Ernest (Ernie) Smith began collecting jazz and jazz dance films during the mid-1950s. An Art Director for a New York advertising agency, Smith had a long-standing interest in jazz and jazz dance that began during his youth in Pittsburgh, Pa. Early on, Smith discovered that jazz music was best appreciated while dancing. He became an accomplished Lindy Hopper, frequenting both white and African American ballrooms.

His job at the advertising agency supported Smith's two passions - painting and jazz dance and music. Smith was also a film enthusiast so, in 1954, after taking a jazz class at the New School taught by Marshall Stearns, a leading jazz scholar, he began collecting examples of jazz and jazz dance on film. In the process of creating his film collection, Smith became one of the leading authorities on jazz and jazz dance films. He collaborated with Stearns on the 1964 book Jazz Dance, compiling the book's jazz dance film listing. He also wrote the extensive entry on jazz film for the 1988 edition of New Grove Dictionary of Jazz .

Smith built his film collection by identifying films of potential interest and acquiring them through trade and purchase. He created lecture reels on specific topics -- the history of jazz, social dance, tap dance, Duke Ellington, Lindy Hop -- and presented lecture/screenings nationally and internationally. He also provided footage for numerous documentaries and maintained active relationships with filmmakers, other film collectors, jazz scholars, the swing dance community, and musicians.

Ernie Smith donated his film collection to the Archives Center in 1993. He continues to lecture and participate in swing dance activities, but he devotes the majority of his time to painting and related artistic pursuits.

Provenance:

The Archives Center acquired the collection from Ernie Smith in 1993.

Restrictions:

Collection is open for research but the films are 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 copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Tap dancing -- 1930-1970  Search this

Motion pictures and music -- 1930-1970  Search this

Dancing in motion pictures, television, etc. -- 1930-1970  Search this

Television and music -- 1930-1970  Search this

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

Jazz musicians -- 1930-1970  Search this

Jazz dance -- 1930-1970  Search this

African Americans in the performing arts -- 1930-1970  Search this

Genre/Form:

Motion pictures (visual works) -- 20th century

Citation:

Ernie Smith Jazz Film Collection, Archives Center, National Museum of American History.

Sponsor:

America's Jazz Heritage: A Partnership of the The Lila Wallace-Reader's Digest Fund and the Smithsonian Institution provided the funding to produce many of the video master and reference copies.

Identifier:

NMAH.AC.0491

See more items in:

Ernie Smith Jazz Film Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep85baeb0e0-8e94-4ce0-8c80-7f25800ee24a

EDAN-URL:

ead_collection:sova-nmah-ac-0491

Creator:

Mooney, Art  Search this

Morrow, Buddy  Search this

Stacy, Jess, 1904-1995  Search this

Timbrell, Tiny, 1917-1992  Search this

Wilson, Teddy, 1912-1986  Search this

Glen Gray Band  Search this

Gabler, Milt  Search this

Fields, Shep  Search this

Dick Jurgens  Search this

James, Harry  Search this

Horace Heidt  Search this

Lombardo, Guy, 1902-1977  Search this

Kay Kyser  Search this

Duchin, Eddy, 1909-1951  Search this

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

McIntyre, Hal, -1959  Search this

Krupa, Gene, 1909-1973  Search this

Barron, Blue, 1912-2005  Search this

Elman, Ziggy  Search this

Cohasco, Inc.  Search this

Cugat, Xavier, 1900-1990  Search this

Names:

Anthony, Ray, 1922-  Search this

Armstrong, Louis, 1901-1971  Search this

Barnet, Charlie, 1913-1991  Search this

Beneke, Tex  Search this

Brown, Les, 1912-2001  Search this

Brubeck, Dave  Search this

Calloway, Cab, 1907-1994  Search this

Christy, June, 1925-  Search this

Cole, Nat King, 1917-1965  Search this

Dorsey, Tommy, 1905-1956  Search this

Ellington, Duke, 1899-1974  Search this

Fitzgerald, Ella, 1917-1996  Search this

Frankie Laine  Search this

Garner, Erroll  Search this

Getz, Stan, 1927-1991  Search this

Gillespie, Dizzy, 1917-1993  Search this

Gray, Glen, 1906-1963  Search this

Henderson, Fletcher, 1897-1952  Search this

Herman, Woody, 1913-1987  Search this

Jordan, Louis, 1908-1975  Search this

Kaye, Sammy, 1910-1987  Search this

Kenton, Stan  Search this

Lee, Peggy  Search this

Lopez, Vincent, 1894-1975  Search this

Lunceford, Jimmie  Search this

MacRae, Gordon  Search this

Martin, Freddy, 1906-1983  Search this

May, Billy  Search this

Mercer, Johnny, 1909-1976  Search this

Miller, Glenn  Search this

Monroe, Vaughn, 1911-1973  Search this

Mulligan, Gerry  Search this

Norvo, Red, 1908-1999  Search this

Page, Patti  Search this

Ray McKinley  Search this

Rich, Buddy  Search this

Shaw, Artie, 1910-2004  Search this

Shore, Dinah, 1917-1994  Search this

Sinatra, Frank, 1915-1998  Search this

Spivak, Charlie  Search this

Vallée, Rudy, 1901-1986  Search this

Vaughan, Sarah, 1924-1990  Search this

Waring, Fred, 1900-1984  Search this

Webb, Chick, 1909-1939  Search this

Weems, Ted  Search this

Welk, Lawrence, 1903-1992  Search this

Whiteman, Paul, 1890-1967  Search this

Whiting, Margaret  Search this

Extent:

1.5 Cubic feet (3 boxes, 1 map folder)

Type:

Collection descriptions

Archival materials

Contracts

Handbills

Matchcovers

Magazines (periodicals)

Motion picture stills

Menus

Postcards

Posters

Programs

Publicity photographs

Sheet music

Signatures (names)

Tickets

Date:

1930-1975

Scope and Contents:

The collection consists of 235 pieces of music ephemera assembled by an anonymous California musicologist over several decades. The contents include such things as concert ticket stubs; show programs; handbills; publicity stills; record store posters; nightclub souvenirs; autographs; contracts, lobby cards; movie stills; postcards; fan and record industry magazines; sheet music; an oversize RKO theatre owners' advertising book for the 1942 sensation "Syncopation," starring Charlie Barnet, Benny Goodman, Harry James, Gene Krupa, et al; and miscellany such as matchbook covers and novelty promotional pieces. There are just a few letters in the collection. The collection contains materials representing both bands and band members, and individual artists. In many cases, there are only one or a few relevant items. Persons and acts represented include: Ray Anthony, Louis Armstrong, Charlie Barnet, Tex Beneke, Les Brown, Dave Brubeck, Cab Calloway, June Christy, Nat King Cole, Tommy Dorsey, Duke Ellington, Ella Fitzgerald, Erroll Garner, Stan Getz, Dizzy Gillespie, Benny Goodman, Glen Gray, Fletcher Henderson, Woody Herman, Harry James, Louis Jordan, Sammy Kaye, Stan Kenton, Gene Krupa, Kay Kyser, Frankie Laine, Peggy Lee, Guy Lombardo, Vincent Lopez, Jimmy Lunceford, Gordon MacRae, Freddy Martin, Billy May, Johnny Mercer, Glenn Miller, Vaughn Monroe, Gerry Mulligan, Red Norvo, Patti Page, Buddy Rich, Artie Shaw, Dinah Shore, Frank Sinatra, Charlie Spivak, Rudy Vallee, Sarah Vaughan, Fred Waring, Chick Webb, Ted Weems, Lawrence Welk, Paul Whiteman, Margaret Whiting, and Benny Goodman. In other cases, the collection contains an item or items (such as menus) that have been autographed. The collection contains autographs or autographed items for the following: Gene Krupa, Jess Stacy, Teddy Wilson, Blue Barron, Eddie Duchin, Shep Fields, Ziggy Elman, Glen Gray Band, Milt Gabler, Horace Heidt, Dick Jurgens, Kay Kyser, Guy Lombardo, Xavier Cugat, Hal McIntyre, Art Mooney, Buddy Morrow, Harry James and "Tiny" Timbrell.

Arrangement:

Collection is arranged into six series.

Series 1: Magazines, 1939-1950

Series 2: Programs, 1930-1975

Series 3: Publications, 1949-1965

Series 4: Sheet Music, 1935-1943

Series 5: Advertisements, 1932-1954

Series 6: Ephemera, 1938-1953

Provenance:

Purchased at auction by the Archives Center from Cohasco, Inc. in 2016.

Restrictions:

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

Collection 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:

Big band music  Search this

Jazz musicians -- United States  Search this

Jazz  Search this

Music -- 20th century  Search this

Musicians  Search this

Popular music  Search this

Genre/Form:

Contracts

Handbills

Matchcovers

Magazines (periodicals)

Motion picture stills

Menus

Postcards

Posters

Programs -- Concerts

Publicity photographs

Sheet music

Signatures (names)

Tickets

Citation:

Jazz and Big Band Collection, 1927-1966, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.1388

See more items in:

Jazz and Big Band Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8a3031d76-a023-419f-a408-0b38377fe826

EDAN-URL:

ead_collection:sova-nmah-ac-1388