Search Results

Collector:

Whitehead, Henry P. (Prenton), 1917-2002  Search this

Extent:

156.91 Linear feet (178 boxes)

Type:

Collection descriptions

Archival materials

Pamphlets

Sound recordings

Clippings

Memorabilia

Newspapers

Photographs

Books

Brochures

Date:

1843-2010

bulk 1940-1986

Summary:

The papers of historian Henry P. Whitehead measure 156.91 linear feet and date from 1843 to 2010 (bulk 1945-1986). The collection documents Whitehead's careers, as well as his family and personal life. The collection also includes the personal papers of Tomlinson D. Todd, Elizabeth B. Delaney and the Howard Theatre Foundation. The combined collection is comprised of black theatrical memorabilia; materials relating to civil rights activities in the District of Columbia; and the African American experience in general. Included are playbills, sheet music, admission tickets, newspapers, magazines, books, photographs, clippings, flyers, brochures, pamphlets, sound recordings, research files, and other material.

Scope and Contents note:

The papers of historian Henry P. Whitehead measure 156.91 linear feet and date from 1843 to 2010 (bulk 1945-1986). The collection includes the personal papers of Henry P. Whitehead, Tomlinson D. Todd, Elizabeth B. Delaney and the Howard Theatre Foundation. The collection is divided into four series.

Series I focuses on Whitehead and includes papers dating from 1843 to his death in 2011. This series includes biographical material including a large amount of appointment books, identification and membership cards, resumes, certificates, and personal and family material. There is a limited amount of correspondence, which focuses on his personal relationships with family, friends, and general correspondence relating primarily to his work as a local historian.

Also found within Whitehead's papers are countless records from his time employed by the Washington DC government. Materials include memoranda, notes, research material, handbooks, guides, manuals, affirmative action info and records, affirmative action plans, promotion recommendations, recruitment plans and summaries, personnel files (complaints), civil actions and reports related too Whitehead's 37 years of government employment. It reflects the activities of numerous departments, primarily in regards to employment and affirmative action.

There are also a number of files that document Whitehead's involvement in numerous community organizations. Among the organizations in which Whitehead was involved include U Street Festival, Lincoln Corporation, and the U Street Theater Foundation. The papers of the U Street Foundation document the production and establishment of the annual U Street Festival. The Lincoln Theater Foundation and the U Street Theater Foundation papers document the efforts to reopen the Lincoln Theater. Also included are Whitehead's research on the Lincoln as well as old Lincoln Theatre programs. Additionally found within this series are documents and clippings on the economic development within Washington DC particularly in the Shaw/U Street location.

The majority of this series consists of printed material. Printed material in this series includes books, clippings, magazines, newsletters, newspapers, press releases, sheet music, programs as well as promotional material for several Washington DC theaters and organizations. There is a large quantity of theater programs dating from 1900-1986. The majority of the clippings and magazines are theater related topics, coupled with a miscellaneous selection of clippings on topics that presumably captured Whitehead's attention.

Research, notes and writings include a large amount of scrapbooks compiled by Whitehead of mostly photocopied clippings documenting Washington DC history, African American theater history, and general African American history. Five scrapbooks were compiled by an unknown source and were previously housed in the New York Public Library collection. Two scrapbooks are about general theater history one about Frances Starr and one about Margaret Anglin. There is also one scrapbook pertaiing to Mae Hall. Also included are a large amount of research notes and notebooks along with general miscellaneous notes.

There are several photographs of African Americans in the performing arts as well as images of Washington DC and several unidentified men, women, and children.

Audio recordings include 23 cassette from the Alexandria Church of God.

The remainder of the collection consists of the papers of Tomlinson D. Todd, Elizabeth B. Delaney, and those about the Howard Theatre.

The Howard Theatre papers are arranged in Series II and include documents relating to the Washington DC historic Howard Theatre and date from 1910 to 1986. The papers in this series predominantly document the Howard Theatre Foundation's efforts to reestablish and run the Howard Theatre in which Whitehead was the vice president. Records include business correspondence, founding documents, photographs, memoranda, press releases, member lists, financial records, clippings, and scrapbooks of clippings pertaining to the organization and theatre.

The correspondence in the collection include a handful of letters from the Washington DC government along with individuals and organizations. Also included is a large amount of interoffice memoradums.

Administrative records include lawsuits, resolutions, meeting minutes, grant proposals, press releases, memoranda, member lists, studies and reports.

Financial records include check stubs, receipts, invoices, bank statements, expenses, and contribution lists. Printed material includes original and photocopied clippings relating to the history and coverage of the foundation activities. Mostly promotional material as flyers, brochures, and press releases along with programs. In particular two 1920 Howard Theatre programs.

The scrapbooks of original and photocopied clippings compiled by Whitehead chronicle the history of the theatre and coverage of the foundation activities.

There are three VHS cassette featuring Whitehead discussing the Howard Theatre. Also found in series 2 are numerous stock investment record books belonging to A.E. Lichtman one of the early managers of the Howard Theatre. In addition early correspondence between Lichtman and the Rex Amusement Company concerning operational management issues of the Howard Theatre.

The Tomlinson D. Todd papers are arranged in Series III and date from 1902-1986 they include organization files, collected printed materials, subject files, and personal papers.

The collection includes materials relating to organizations in which there was a relationship to Todd's work and in which he had an interest primarily during the 1940s and 1950s, organizations include the National Negro Congress (ca, 1946-1947); the Congress for Industrial Organizations (1943-1947); National Council of Negro Women (1947-1949); Committee for Racial Democracy in the Nation's Capital (1947-1948).

The subject files include documents from three of Todd's organizations; Institute on Race Relation, Club Internationale, and his radio program "Americans All". As well as printed material from Todd's alma mater Lincoln University.

The largest subject file is "Americans All" which includes radio scripts as well as audio recording of a few programs and public service announcements. Also found are several black and white photographs of Todd at the radio studio. Printed materials include newspapers, leaflets, convention proceedings, and flyers, There are a large amount of programs ranging from church worship to convention as well as performance. Also present is a small amount of personal papers, including resumes, certificates, admission tickets, family documents, and travel ephemera from his all expense paid trip to Nigeria.

There are a few photographs of Todd at functions and with notable individuals as well as some family, friends and travel.

Elizabeth's B. Delaney papers are arranged in Series IV and date from 1874-1973.

The papers primarily document her involvement in four organizations, the Grand Oder of Odd Fellow of Kentucky, the Order Eastern Star Kentucky, the State Federation of Colored Women's Clubs of Kentucky and the National Association of Colored Women. There is a small amount of printed material belonging to her son primarily the Alpha Phi Alpha material and Gospel Choral Sheet Music, and books.

The Scrapbook was complied by Whitehead consisting of photocopied clipping documenting the life of Elizabeth B. Delaney.

Arrangement note:

This collection is arranged into four series:

Series 1: Henry P. Whitehead papers Series 2: Howard Theatre Series 3: Tomlinson D. Todd Series 4. Elizabeth B. Delaney

Biographical/Historical note:

Henry Preston Whitehead Jr., was a native of Columbus Ohio. A graduate of Ohio State University, where he also attended law school and was a member of the Omega Psi Phi fraternity. Mr. Whitehead discovered Washington's "Black Broadway" in 1940, when he was a soldier in town on a weekend furlough. As he served in the Army in the South Pacific during World War II. Prior to moving to Washington DC Henry P. Whitehead worked for five years as a liquor inspector. Mr. Whitehead moved to Washington D.C. in 1949 and worked for the Post Office before working for the District of Columbia government where he stayed 21 years. He led several equal employment initiatives during the 1960s and 1970s, and was last employed as associate director of the District's Office of Human Rights. In 1980 after putting in 37 years of government service Mr. Whitehead retired. Mr. Whitehead was an historian who led efforts to restore Washington's U Street cultural corridor and achieved recognition as an authority on and collector of black theatrical memorabilia. Mr. Whitehead worked to promote and preserve the city's rich African American cultural heritage.

Mr. Whitehead, served as the chairman and president for 10 years of the Howard Theater Foundation Inc., which he helped establish. There he led the effort to include Howard Theatre in the National Register of Historic Places.

Similarly he was an active member of the U Street Festival Foundation. He was an adviser to the Kennedy Center, Anacostia Museum, and other Smithsonian Institution units and contributed materials to their exhibitions. He was also a consultant to historical documentaries broadcast on public television and radio, including PBS's "Duke Ellington's Washington." His writings included "Remembering U Street," a book used for annual festivals in the historic area.

Mr. Whitehead was also the founder and board member of the Lincoln Theatre Foundation.

Henry P. Whitehead Jr. died on January 8th 2002 at the age of 84.

Provenance:

The collection was donated to the Anacostia Community Museum on September 1, 2005 by Michael A. Watkins.

Restrictions:

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

Rights:

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

Topic:

Howard Theatre (Washington, D.C.)  Search this

African Americans  Search this

National Negro Congress (U.S.)  Search this

National Council of Negro Women  Search this

Radio broadcasting  Search this

African American neighborhoods  Search this

African American musicians  Search this

Genre/Form:

Pamphlets

Sound recordings

Clippings

Memorabilia -- 20th century

Newspapers

Photographs

Books

Brochures

Citation:

Henry P. Whitehead collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of Michael A. Watkins.

Identifier:

ACMA.06-042

See more items in:

Henry P. Whitehead collection

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa751389911-f3d5-474b-82b4-126047b9cc46

EDAN-URL:

ead_collection:sova-acma-06-042

Creator:

Druse, Kenneth  Search this

Extent:

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

Type:

Collection descriptions

Archival materials

Notes

Slides (photographs)

Articles

Transparencies

Date:

1978-2005

Summary:

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

Biographical Note:

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

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

Provenance:

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

Restrictions:

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

Rights:

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

Topic:

Gardens -- United States  Search this

Gardens -- Canada  Search this

Genre/Form:

Notes

Slides (photographs)

Articles

Transparencies -- 20th century

Citation:

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

Sponsor:

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

Identifier:

AAG.DRU

See more items in:

Ken Druse garden photography collection

Archival Repository:

Archives of American Gardens

GUID:

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

EDAN-URL:

ead_collection:sova-aag-dru

Artist:

Benton, Thomas Hart, 1889-1975  Search this

Collector:

Marx, Groucho (Julius Henry), 1890-1977 (comedian)  Search this

Names:

Four Nightingales  Search this

Marx Brothers  Search this

Paramount Pictures  Search this

RKO Pictures (studio)  Search this

Three Nightingales  Search this

United Artists  Search this

Warner Brothers  Search this

Marx, Chico  Search this

Marx, Harpo, 1888-1964  Search this

Palmer, Minnie  Search this

Extent:

12 Cubic feet (39 boxes)

Type:

Collection descriptions

Archival materials

Personal papers

Photographs

Motion pictures (visual works)

Photographic prints

Scrapbooks

Sheet music

Correspondence

Place:

Hollywood (Los Angeles, Calif.)

Date:

1911-1978, undated

Summary:

Papers, films, and collected materials of 20th century comedian Julius Henry "Groucho" Marx.

Scope and Contents:

Series 1: Correspondence, 1932-1977 is arranged alphabetically by correspondent. In 1965, Marx gave the Library of Congress a portion of his correspondence with well-known personages. The majority of the correspondence in this collection dates from the post World War II era (Marx's early correspondence is located at the Library of Congress.) This series includes correspondence from well-known persons, fans, admirers and friends. There is an extensive amount of correspondence with the screenwriter Nunnally Johnson. The series includes letters concerning public relations, Walt Disney caricatures of the Marx Brothers, The Grouchophile permission letters, unidentified correspondence and one letter from Chico Marx to Gummo Marx.

Series 2: Publications, Manuscripts and Print Articles by Marx, 1930-1958, undated is arranged chronologically with circa and undated material placed before the book manuscripts. This series contains written material by Groucho Marx excepting scripts and sketches. The series includes articles written by Marx for national magazines, various speeches and manuscripts for three of Marx's books.

Series 3: Scripts and Sketches, 1939-1959, undated, is arranged alphabetically with television scripts and sketches placed before full-length movie and theatre scripts. This series contains television, motion picture and theatre scripts and sketches, monologues, and related written material pertaining to works starring or featuring Marx. It also contains scripts for the one theatrical play written by Marx, A Time for Elizabeth.

Series 4: Scrapbooks, 1923-1978 is arranged chronologically and contains sixteen scrapbooks spanning Marx's career from his first Broadway success, I'll Say She Is to the year after his death. Of particular interest are the early scrapbooks for the Marx Brothers career, a scrapbook spanning the years 1934-1958 complied by Marx himself for his daughter Melinda, a photographic scrapbook compiled by the staff of Life magazine documenting a 1963 magazine layout of Marx and his then wife Eden Hartford Marx. There is also a scrapbook devoted to Chico Marx's brief career as a bandleader in the mid-late 1940s.

Series 5: Music,circa 1930-1975, undated is arranged alphabetically and includes original music manuscripts written by Marx and songs for Marx's shows and motion pictures and unidentified manuscripts perhaps written by Marx, his friends, his daughter Melinda or her music teacher. It also includes commercially produced sheet music purchased by Marx, copies of songs featured in Marx's motion pictures, music from "Minnie's Boys the theatrical production based on the Marx Brothers and their mother, an autographed copy of "Stay Down Here Where You Belong" by Irving Berlin, songs written by Marx published commercially, and Marx's copy of a collection of songs by Gilbert and Sullivan.

Series 6: Publicity, ca. 1911-1977 contains theatre programs, motion picture reviews, newspaper clippings both foreign and domestic, record album covers, a book cover and one poster of the Marx Brothers. There are items related specifically to Chico Marx. This series is arranged chronologically.

Series 7: Artwork and Photographs, 1911-1976, undatedis arranged according to subject matter and includes artwork, features cartoons and caricatures of the Marx Brothers by various artists including the Metro-Goldwyn-Mayer art department and Hirschfield, sketches of the Marx Brothers by Sheila Smith, Peggy Jacobs, Bridget Crowe and Mark E. Williams (all probably fans of the Marx Brothers), various candid photographs, publicity photographs and studio portraits of Marx, his brothers, his immediate family, correspondence and related images and photographic negatives and transparencies.

Series 8: Personal and Family Documents, 1925-1975, undated contains documents relating to Marx's personal life and his brothers Chico Marx, Harpo Marx, and his daughter Melinda. Of particular interest is Marx's copy of the transcript of his divorce deposition from Eden Hartford Marx, two proclamations from the City of Los Angeles and a portfolio cover made for him by his daughter Melinda. This series is arranged chronologically.

Series 9: Audiovisual, 1929-1970 includes home movies of Groucho, brothers Harpo and Chico, and Groucho's wife and children as well as film and kinescope copies of television programs featureing Groucho as the star or guest.

Arrangement:

The collection is organized into 9 series.

Series 1: Correspondence,1932-1977

Series 2: Publications, Manuscripts, and Print Articles by Groucho Marx, 1930-1958, undated

Series 3: Scripts and Sketches, 1939-1959, undated

Series 4: Scrapbooks, 1923-1978

Series 5: Music, circa 1930-1975, undated

Subseries 5.1: Original Music Manuscrpts

Subseries 5.2: Commercially Produced Sheet Music and Collections

Series 6: Publicity, circa 1911-1977

Series 7: Artwork and Photographs, 1911-1976, undated

Subseries 7.1: Artwork

Subseries 7.2: Photographs

Subseries 7.3: Photographic Negatives and Transparencies

Series 8: Personal and Family Documents, 1925-1978, undated

Series 9: Audiovisual

Subseries 9.1: Moving Images

Subseries 9.2: Sound Recordings

Biographical / Historical:

One of 20th century America's most enduring comics and cultural icons was Groucho Marx. Julius Henry Marx, better known as Groucho, was born in New York City on October 2, 1890. He was the third of five sons born to Minna and Samuel Marx. Minna's brother, Al Shean, was a part of the well-known vaudeville team, Gallagher and Shean.

The Marx family consisted of five boys: Leonard (Chico), Arthur (Harpo), Julius (Groucho), Milton (Gummo) and Herbert (Zeppo). The family lived in the Yorkville section of New York City. Groucho had a high soprano singing voice and his first job was singing in the choir of an Episcopal church. He joined Gus Hall and his vaudeville troupe when he was eleven. Groucho attended P.S. 86 but never went beyond the 7th grade. Minna organized the Three Nightingales with Groucho, Gummo and a girl singer. The girl was eventually replaced by a boy tenor and Harpo joined the troupe. The name of the group was changed to The Four Nightingales. Minnie acted as the group's manager. The group became known as the Marx Brothers with everyone except Gummo taking part in the act. The family moved to Chicago ca. 1904 where their grandfather lived.

The brothers toured the South and Midwest performing a vaudeville skit called, "Fun in Hiskule". It is noted that the comedy act began in Nacogdoches, Texas. The Marx Brothers first big success came in 1919 with their vaudeville act entitled "Home Again". In 1920, they were booked into the Palace Theatre in New York City and played there for thirteen months. They were later banished from the circuit due to a contract violation - they had accepted employment without Albee's permission. Groucho married Ruth Johnson on February 4th, 1920 and divorced her in July 1942. They had one daughter, Miriam and one son, Arthur born in 1921.

In 1923, they toured with the show, "I'll Say She Is", a collection of vaudeville routines that Groucho had written in collaboration. The show ran on Broadway for thirty-eight weeks. On December 8, 1925, the brothers (using their nicknames professionally for the first time) opened on Broadway in "The Cocoanuts". The play was written expressly for them by George S. Kaufman and Morris Ryskind with music by Irving Berlin. The brothers made a silent film circa 1924 called "Humor Risk" but it was never released. "Animal Crackers" opened on October 23, 1928. It was in this show that Groucho created one of his most famous characters, Captain Spaulding, the African explorer. Groucho was by this time paired with Margaret Dumont, stooge and foil, whom Groucho claimed never, really understood the Marx Brothers comedy.

On the strength of their success in "The Cocoanuts", they were signed to a film contract. In 1929, they made the film version of "The Cocoanuts" while performing "Animal Crackers" on the stage. Their mother, Minna Marx died the same year. The following year they starred in the film version of "Animal Crackers". Both films were made in New York City. In 1931, Groucho moved to Hollywood where The Marx Brothers made thirteen films. The brothers signed with Paramount Pictures and made "Monkey Business" (1931), "Horsefeathers" (1932) and "Duck Soup" (1933) while at the studio. In 1933, Zeppo left the troupe and Samuel Marx died.

In February 1934, Groucho and Chico teamed up in a radio program called, "Flywheel, Shyster and Flywheel", about characters who were comic lawyers. In March 1934, they replaced Ethel Waters on a weekly radio series sponsored by the American Oil Company. In 1935, the brothers starred in "A Night at the Opera" for Metro-Goldwyn-Mayer, a film produced by Irving Thalberg and a sequel, "A Day at the Races" (1937). In addition to working for MGM, the brothers starred in "Room Service" (1938) for the RKO studio.

The brothers discontinued the act in September 1941 but reunited for the film "A Night in Casablanca" (1946) and "Love Happy" (1949). Groucho found work as a solo artist making films for RKO, Warner Brothers and Paramount. In March 1943, the Pabst Blue Ribbon Brewery sponsored a half-hour variety show on CBS starring Groucho. Groucho married his second wife, Catherine "Kay" Gorcey in July 1945, they had one daughter Melinda. They divorced in 1951. Groucho continued to guest on many radio shows and continued to be at his peak when ad-libbing. John Guedel created "You Bet Your Life" for Groucho in October 1947. The show aired over the ABC radio network. It moved to CBS and in 1950 it was purchased by NBC and ran on television until 1961. The show ran for a total of four years on radio and eleven years on television. Groucho won radio's Peabody Award as best comedian on radio in 1948; an Emmy award in 1951; and the Motion Picture Daily Annual TV poll from 1951-1954.

Groucho was also musical. He played the guitar, but never as part of his shows. He was also an author and a playwright. He wrote the stage play, "A Time for Elizabeth", in 1948 with Norman Krasna. The play ran for eight days on Broadway but had longer runs in summer stock. In July 1954, Groucho married his third and final wife Eden Hartford. They divorced in December of 1969. In 1967, Simon and Schuster published excerpts from letters Groucho had donated to the Library of Congress in 1965. The book was entitled The Groucho Letters. Groucho authored other books, Groucho and Me (1959) his autobiography, The Secret Word is Groucho (1976) with Hector Arce and The Grouchophile (1976).

Groucho retired in 1961 but in 1972 with the help Erin Fleming, his companion and manager since 1969, he toured in a solo act. The show entitled, "An Evening with Groucho" played Carnegie Hall in New York City in May 1972. Groucho was made a Commander of the French Order of Arts and Letters at the Cannes Film Festival in 1972. In 1974, Groucho received an honorary Academy Award (Oscar) for the contribution of the Marx Brothers to the art of film. Marx died on August 19th, 1977.

Provenance:

Collection donated by Julius H. (Groucho) Marx, through the Estate of Groucho Marx, August 5, 1987.

Restrictions:

Collection is open for research but the films are stored off-site and special arrangements must be made to work with it. Reference copies of audiovisual materials must be used. 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:

Comedians -- 1920-1970  Search this

Entertainment  Search this

Radio comedies  Search this

Comedy  Search this

Theater  Search this

Radio programs  Search this

Vaudeville  Search this

Television programs  Search this

Genre/Form:

Personal papers

Photographs -- 20th century

Motion pictures (visual works)

Photographic prints

Scrapbooks

Sheet music

Correspondence -- 1930-1950

Citation:

Groucho Marx Collection, 1911-1978, Archives Center, National Museum of American History, Smithsonian Institution.

Identifier:

NMAH.AC.0269

See more items in:

Groucho Marx Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep845dd2cd0-46ee-4664-8bb1-93308c140f43

EDAN-URL:

ead_collection:sova-nmah-ac-0269

Landscape architect:

Briggs, Loutrel W.  Search this

Owner:

Chapman, Clarence  Search this

Provenance:

Little Garden Club of Rye  Search this

Creator:

Broughton, Thomas Col  Search this

Collection, John, Sir  Search this

Barker, Theodore G., Major  Search this

Chapman, Clarence  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Mulberry Plantation (Moncks Corner, South Carolina)

United States of America -- South Carolina -- Berkeley County -- Moncks Corner

Mulberry Plantation (Moncks Corner, South Carolina)

United States of America -- South Carolina -- Berkeley County -- Moncks Corner

Scope and Contents:

The folder includes worksheets, site plans, and photocopies of book excerpts and articles.

General:

The brick house at Mulberry Plantation was built on a bluff by the first owner, Thomas Broughton in 1714, the date inscribed in iron on the four weathervanes atop the four pavilions at the corners of the house. Situated along the Cooper River the current property comprises 805 acres and includes gardens on three levels: a formal boxwood parterre garden next to the house, a descending camellia walk, and a formal circle garden, all designed by Loutrel W. Briggs (b.1893-d.1977) circa 1930. Other features include a parterre kitchen garden, a Live oak allée, lagoon, rolling lawns and the oldest mulberry tree in the country. The plantation grew rice at various times in its history, as well as indigo and forest products. Another 19th century commercial project that did not succeed was breeding silk worms to produce domestic silk, with mulberry trees planted to house the worms. By the early 20th century the property was in decline and was sold out of the Broughton family to Mr. and Mrs. Clarence E. Chapman as a winter retreat. The Chapmans restored the house and brought in Briggs, known for developing the Charleston style for the many small gardens he designed in the city and at other Cooper River plantations.

Mulberry Plantation was listed in the National Register of Historic Places in 1966. The style of the house has been described as Jacobean and French, with a mansard roof, rather than a typical low-country wooden structure. The brick house may have been used as a fortress against attacks during the Yamesse War in 1715, between settlers and Native Americans. At one time there were many slave cabins on the property but now only one remains that has been used as a hunting lodge.

Persons associated with the garden include Thomas Broughton and descendents (former owners, 1714-1914); Mr. and Mrs. Clarence Chapman (former owners, 1915-1981); Historic Charleston Foundation (former owners, 1981-1987); Loutrel Winslow Briggs (December 12, 1893-May, 1977) (landscape designer, circa 1930)

Related Materials:

Mulberry Plantation related holdings consist of 2 folders (2 35mm slides (photographs) + 27 digital images)

Mulberry Plantation related holdings consist of 1 slide (photograph) (col., 35mm.)

Collection Restrictions:

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

Collection Rights:

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

Topic:

Gardens -- South Carolina -- Moncks Corner  Search this

Plantations  Search this

Spring  Search this

Box  Search this

Formal gardens  Search this

Sundials  Search this

Gardens -- South Carolina -- Moncks Corner  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File SC061

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / South Carolina

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb60ba6e02c-2caf-4c96-88a7-9520448a1b9b

EDAN-URL:

ead_component:sova-aag-gca-ref12489

Former owner:

Kugler family  Search this

Reed, George  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Longview Farm (Malvern, Pennsylvania)

United States of America -- Pennsylvania -- Chester County -- Malvern

Scope and Contents:

The folders include worksheets, a garden plan, and an extensive bibliography of writings about and published photographs of the garden.

General:

This 17-acre site has been under continuous development by the same individual since 1942. Immediately surrounding the farm's four buildings are a series of small garden rooms. Some of these are level, while others follow the natural slope of the land. A simple underlying architecture ties together the gardens and buildings. Plants soften the hard edges while grass paths and stone or brick steps connect the spaces. The continuation of these paths leads to and through a former vegetable garden and island beds. These larger areas are filled with mass plantings of perennials, both exotic and native. Shrubs, along with an occasional tree, build up the centers of the beds. Their fruits provide fall and winter color. The garden's perimeter is made up of a meadow and woods (part native, part planted to screen a highway). More paths lead into the woods, creating island spaces where shrubs, ground covers, and ferns have been added or natives encouraged. The bulk of the plants are perennials, chosen for hardiness and ease of culture. Many provide more than one season of interest. Bulbs are used throughout the beds and borders and are naturalized in the meadow and woods. Biennials are allowed to self seed throughout. It is a country garden with order and chaos in equal measure.

Persons associated with the garden include: the Kugler family (former owners, before 1780-early 20th century); and George Reed (former owner, 1942-1982).

Related Materials:

Longview Farm related holdings consist of 2 folders (15 35 mm. slides)

Collection Restrictions:

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

Collection Rights:

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

Topic:

Gardens -- Pennsylvania -- Malvern  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File PA469

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Pennsylvania

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb67b5f8908-e9bb-44a3-a042-a9c7b180e72a

EDAN-URL:

ead_component:sova-aag-gca-ref16487

Former owner:

Patterson, Malvern Courtney  Search this

Patterson, Malvern Courtney Mrs.  Search this

Willingham, William A.  Search this

Willingham, William A., Mrs.  Search this

Harrison, Robert  Search this

Harrison, Robert Mrs.  Search this

Rawles, James W.  Search this

Rawles, James W. Mrs.  Search this

Provenance:

James River Garden Club  Search this

Garden restoration:

Garden Graces  Search this

Terraforma  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Robin Hill (Richmond, Virginia)

United States of America -- Virginia -- Henrico -- Richmond

Scope and Contents:

The folder includes worksheets and other historical information.

General:

The brick walled formal garden rooms within the 4.5 acre property Robin Hill pay homage to the gardens created on this site by earlier owners - but not until the current owners undertook significant recovery and restoration. In 1915 there was a one hundred acre farm known as Hillcrest with a Tudor style mansion overlooking the James River and historic Kanawha Canal. The pleasure gardens were laid out on crossing axes with brick paths and statuary placed in niches, in the style of the country place movement of the early 20th century. Much of the land was sold to developers as the city of Richmond grew, and the property was reduced to seven acres. During a subsequent owners' forty year tenure the façade of the house was transformed to look like a farmhouse, using brick and white stucco. Brick walls, paths and edging were added as well as truckloads of enormous trees and new garden beds and borders, and another 2.5 acres were sold. But despite prodigious planting the gardens were not tended and many mature trees and shrubs were choked out by English ivy and other vines. It was left to the current owners to dig out the overgrowth, rediscovering the hardscape structure and features of the garden rooms, and to restore crumbling brick walls and arches. New plantings replaced old yews, hollies, camellias, magnolias and other trees and shrubs as necessary, and perennial and annual flowers, particularly white flowers, were added.

The garden rooms at Robin Hill lie to the south of the house and terrace with distinct lawns enclosed by mixed evergreen and deciduous borders and a hedge of mature camellia sasanqua. Alongside the largest upper lawn but separated from the lawn by a brick wall there are ten rectangular beds planted with perennial and annual flowers that spill over the irregular bluestone or basket weave brick walkways. A concrete birdbath sits in the center of these garden beds on the axis that crosses the upper central lawn and leads to a pavilion, approached via a brick walkway between hedges of hydrangea and camellia. To one side of this cross axis there is an American holly grove while on the other side there is a woodland and small pond. At the far end of the lower central lawn on the main axis there is a wall fountain and pool with a gazebo set to one side. The axial design and plant materials used in the gardens of Hillcrest and Robin Hill suggest that landscape architects Warren Manning and Charles Gillette may have worked on this property but no conclusive records have been found.

The James River Garden Club was established in 1915 during meetings at Hillcrest, and owner Juanita Massie Patterson served as its first president. The club dedicated their 1923 book Historic Gardens of Virginia to Mrs. Patterson.

Digital images include copies of lithographs from a 1940s book owned by Mrs. William A. Willingham.

Persons associated with the garden include: Mr. and Mrs. Malvern Courtney Patterson (former owners, 1905-circa 1930); Mr. and Mrs. William A. Willingham (former owners, circa 1930-1947); Mr. and Mrs. Robert Harrison (former owners, 1947-1989); Mr. and Mrs. James W. Rawles (former owners, 1989-1991); Garden Graces (garden restoration, 2011-2012); Terraforma (garden restoration, 2011-2012).

Related Materials:

Robin Hill related holdings consist of 1 folder (35 digital images)

Collection Restrictions:

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

Collection Rights:

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

Topic:

Gardens -- Virginia -- Richmond  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File VA450

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Virginia

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb6d5bd6e3d-2c51-45b2-afd0-c75f9c63ad14

EDAN-URL:

ead_component:sova-aag-gca-ref18900

Landscape architect:

Farrand, Beatrix, 1872-1959  Search this

Architect:

Notman, John, 1810-1865  Search this

Former owner:

Potter, John  Search this

Stuart, Robert L.  Search this

Stuart, Alexander  Search this

Names:

Princeton University  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Prospect (Princeton, New Jersey)

United States of America -- New Jersey -- Mercer County -- Princeton

Scope and Contents:

The folder includes a worksheet, photocopies of book excerpts and correspondence, and other information about the garden.

General:

Designed by John Notman around 1850 in an Italianate Victorian style, Prospect was the home of John Potter, a wealthy merchant originally from Charleston, South Carolina. At that time the property was not part of the Princeton University campus, but in 1878 it was bought by Robert L. and Alexander Stuart, who deeded it to the university. It served as the president's home until 1968, when it was converted to use as a faculty club and a glass addition was constructed. Prospect's gardens have seen many variations over the years, including design work by Beatrix Farrand around the time of the Princeton presidency of Woodrow Wilson (Farrand also served as a consulting landscape architect to the university from about 1913 to 1943). Part of Farrand's legacy was to create a design of paths and plantings in the shape of the university shield when viewed from above, which is maintained today via symmetrical boxwood hedges and arborvitae trees. Specimen trees of many varieties include an Atlas Cedar, Hawthorn, American Beech, and Tulip Poplar, as well as many varieties of conifers and evergreens, such as spruce, pine, and Canadian hemlock. Plantings are changed several times during the growing season; thousands of bulbs are a spring highlight. The images in this series are from the early 20th century, 1930 being an approximate date. Other images of Princeton University may be found in NJ110.

Persons associated with the site include Beatrix Farrand (landscape architect, ca. 1912), John Notman (architect, ca. 1850), John Potter (former owner, 1849-1878), and Robert L. and Alexander Stuart (former owners, ca. 1878).

Related Materials:

Prospect related holdings consist of 1 folder (2 lantern slides)

Collection Restrictions:

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

Collection Rights:

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

Topic:

Gardens -- New Jersey -- Princeton  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File NJ004

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / New Jersey

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb61f14bcb0-8c6b-4c95-82d1-6a027d09acca

EDAN-URL:

ead_component:sova-aag-gca-ref20180

Creator:

Ely, Helena Rutherfurd, -1920  Search this

Provenance:

Garden Club of Orange and Dutchess Counties  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Meadowburn (Warwick, New York)

Meadowburn (Vernon, New Jersey)

United States of America -- New York -- Orange County -- Warwick

Scope and Contents:

The folder includes worksheets; landscape plans; copies of photographs; copy of biography of Helena Rutherfurd Ely(October 1951); compilation of notes from oral history by Albert Furman, Jr. (1998-2000); and copies of articles and programs.

Former Title:

Ely Gardens [Middletown Daily Times-Press, 7 November 1925]

General:

Meadowburn was the summer home of Helena Rutherfurd Ely, a prominent gardening author who wrote three books at the beginning of the 20th century. Her first book, A Woman's Hardy Garden, is reflected throughout the five acres of gardens she designed at Meadowburn. She has been called the American Gertrude Jekyll, as they both advocated a casually abundant, hardy, no-fuss gardening style. Towards the end of her career as a designer/gardner, Mrs. Ely was more and more drawn to the use of evergreens.

Vernon, New Jersey, Warwick, New York's "sister town" across the state line, is also shown as Meadowburn's location. Meadowburn straddles the border between the two states. According to Helena Ely Rutherfurd Meade's biography of her mother written in 1951, "Meadowburn Farm is mainly in New Jersey, but there is still a good bit of it in the State of New York." Though it is listed in a registration form (1992) for the National Register of Historic Places as being located in Vernon Township, New Jersey, this designation only covered the "significant features of the house and gardens at Meadowburn Farm; five acres, more or less."

Persons and organizations associated with this garden include: Louisa and Mary Rutherfurd (former owners, 1853-1860); John and Charlotte Rutherfurd (former owners, 1860-1881); Helena Rutherfurd Ely (former owner, 1881-1920); Alfred Ely, Jr. (former owner); Charles H. Coster (former owner, 1930-1977); Albert Furman, Sr. (gardener, 1893-1948); Albert Furman, Jr. (gardener (1948-2004); and Kurt Seligman (frog sculpture and fountain pool).

Related Materials:

Meadowburn related holdings consist of 3 folders (26 35 mm. slides)

Collection Restrictions:

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

Collection Rights:

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

Topic:

Gardens -- New York -- Warwick  Search this

Gardens -- New Jersey -- Vernon  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File NY286

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / New York

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb64ebec3d4-4da0-4ca9-b047-593e01fcd9e1

EDAN-URL:

ead_component:sova-aag-gca-ref27161

Former owner:

Featherstone family  Search this

Ash, G. Baron  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Packwood House (Lapworth, Warwickshire, England)

United Kingdom -- England -- Warwickshire -- Lapworth

Scope and Contents:

The folder includes worksheets, photocopied book excerpts, and additional information about the house and garden.

General:

Packwood House is a timber-framed Tudor manor house initially constructed between 1556 and 1560, which has undergone considerable restoration and modification, especially by former 20th century owner G. Baron Ash. Donated to the National Trust (Great Britain) in 1941, the property is noted especially for its Yew Garden, containing over 100 trees. Originally laid out in the mid-17th century by John Fetherston (the Fetherston/Fetherstone family occupied the house from its construction until 1876), the clipped yews are supposed to represent the Biblical "Sermon on the Mount." Twelve large specimens are known as "The Apostles," while four others are "The Evangelists." A hummock called "The Mount" is topped by a single yew known as "The Master." Smaller yews called "The Multitude" were planted in the 19th century to replace an orchard.

Packwood House was visited during the Garden Club of America's June 1929 tour to England. A complete copy of the GCA tour itinerary was printed in the Bulletin of the Garden Club of America (Fourth Series, No. 5), September 1929, pp. 6-25.

Persons associated with the property include the Fetherstone family (former owners, 1556-1876) and G. Baron Ash (former owner, 1925-1941).

Related Materials:

Packwood House related holdings consist of 1 folder (6 lantern slides)

Collection Restrictions:

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

Collection Rights:

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

Topic:

Gardens -- England -- Warwickshire -- Lapworth  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File ENG032

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 2: International Garden Images / United Kingdom -- England

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb63d082a92-7245-4a03-a7d1-b07493dbc8f9

EDAN-URL:

ead_component:sova-aag-gca-ref4472

Architect:

Barry, Charles Sir, 1795-1860  Search this

Landscape architect:

Barry, Charles Sir, 1795-1860  Search this

Former owner:

Sutherland, George Granville Leveson-Gower Duke of, 1786-1861  Search this

Astor, Waldorf Astor Viscount, 1879-1952  Search this

Astor, Nancy Witcher Langhorne Astor Viscountess, 1879-1964  Search this

Gardener:

Fleming, John  Search this

Bridgeman, Charles  Search this

Garden designer:

Jellicoe, Geoffrey Sir, 1900-1996  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

Cliveden (Taplow, Maidenhead, Berkshire, England)

United Kingdom -- England -- Berkshire -- Maidenhead -- Taplow

Scope and Contents:

The folder includes worksheets, photocopied book excerpts, and additional information about the house and garden.

General:

Cliveden is an historically significant estate set on 130-foot high banks above the River Thames, with its grounds sloping down to the river. Comprising about 375 acres, the estate's current mansion was built in 1851 by architect Charles Barry for George Sutherland-Leveson-Gower, the 2nd Duke of Sutherland. Notable owners in the early 20th century included Waldorf and Nancy Astor. The estate's gardens include about 180 acres, while the rest of the property is woodland and paddocks. Highlights of the gardens include a formal four-acre parterre, topiary, a water garden, an herbaceous plant "Secret" garden (replacing an earlier rose garden designed by Geoffrey Jellicoe), a lime tree avenue, and a maze. Temples, pavilions, follies, and sculpture complement the plant material. The property is currently owned by the National Trust (Great Britain), which leases the mansion as a hotel. Cliveden was visited during the Garden Club of America's June 1929 tour to England. A complete copy of the GCA tour itinerary was printed in the Bulletin of the Garden Club of America (Fourth Series, No. 5), September 1929, pp. 6-25.

Persons associated with the property include Sir Charles Barry (architect and landscape architect, 1851); George Sutherland-Leveson-Gower, 2nd Duke of Sutherland (former owner, 1850-1861); John Fleming (gardener, ca. 1851); Charles Bridgeman (gardener, ca. 1720); Waldorf and Nancy Astor, Viscount and Viscountess Astor (former owners, 1906-1942); and Sir Geoffrey Jellicoe (garden designer, 1959).

Related Materials:

Cliveden related holdings consist of 1 folder (6 lantern slides)

Collection Restrictions:

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

Collection Rights:

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

Topic:

Gardens -- England -- Berkshire -- Maidenhead -- Taplow  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File ENG006

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 2: International Garden Images / United Kingdom -- England

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb66a91a432-2cf1-4cd8-92c2-00c88bdc5a48

EDAN-URL:

ead_component:sova-aag-gca-ref4476

Creator:

Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this

Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this

Subject:

Angel, John  Search this

Bacon, Peggy  Search this

Barye, Antoine-Louis  Search this

Beal, Gifford  Search this

Bierstadt, Albert  Search this

Billings, Henry  Search this

Bishop, Isabel  Search this

Blume, Peter  Search this

Bouché, Louis  Search this

Brooks, Van Wyck  Search this

Buller, Audrey  Search this

Cadmus, Paul  Search this

Calder, Alexander  Search this

Catherwood, Frederick  Search this

Congdon, William  Search this

Day, Horace Talmage  Search this

Dows, Olin  Search this

Duchamp, Marcel  Search this

Etting, Emlen  Search this

Evergood, Philip  Search this

Faulkner, Barry  Search this

Fiene, Ernest  Search this

Goff, Lloyd Lozés  Search this

Guys, Constantin  Search this

Hardy, Thomas  Search this

Harnett, William Michael  Search this

Hartl, Léon  Search this

Homer, Winslow  Search this

Hoyt, Whitney Ford  Search this

Inness, George  Search this

Ivins, William Mills  Search this

Johnson, Eastman  Search this

Kirstein, Lincoln  Search this

Kroll, Leon  Search this

Kuniyoshi, Yasuo  Search this

Laning, Edward  Search this

Lasker, Joe  Search this

Leighton, Clare  Search this

Locke, Charles  Search this

Low, Sanford B. D. (Sanford Ballard Dole)  Search this

Lucioni, Luigi  Search this

Marsh, Reginald  Search this

Miller, Kenneth Hayes  Search this

Parsons, Betty  Search this

Robus, Hugo  Search this

Saint-Gaudens, Homer  Search this

Savery, Rockland  Search this

Schmidt, Katherine  Search this

Shahn, Ben  Search this

Sheeler, Charles  Search this

Speicher, Eugene Edward  Search this

Stamos, Theodoros  Search this

Tait, Arthur Fitzwilliam  Search this

Watkins, Franklin Chenault  Search this

Watson, Forbes  Search this

Watson, Nan  Search this

Weisgard, Leonard  Search this

Artists Equity Association  Search this

American Academy of Arts and Letters  Search this

Topic:

Art, Prehistoric  Search this

Painting, Modern -- 20th century  Search this

Etching  Search this

Theme:

Diaries  Search this

Lives of American Artists  Search this

Record number:

(DSI-AAA_CollID)9102

(DSI-AAA_SIRISBib)211296

AAA_collcode_schnh

Theme:

Diaries

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211296

Creator:

Kent, Rockwell, 1882-1971  Search this

Kent, Rockwell, 1882-1971  Search this

Subject:

Wildenstein, Felix  Search this

Phillips, Duncan  Search this

Hays, Lee  Search this

Untermeyer, Louis  Search this

Zigrosser, Carl  Search this

Robeson, Paul  Search this

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

Roosevelt, Franklin D. (Franklin Delano)  Search this

Ruggles, Carl  Search this

Stefansson, Vilhjalmur  Search this

Nearing, Helen  Search this

Nearing, Scott  Search this

Pach, Walter  Search this

Rasmussen, Knud  Search this

Reeves, Ruth  Search this

Seeger, Pete  Search this

Daniel, Charles  Search this

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

Davies, Arthur B. (Arthur Bowen)  Search this

Chamberlain, J. E.  Search this

Boyesen, Bayard  Search this

Chase, William Merritt  Search this

Freuchen, Peter  Search this

Gellert, Hugo  Search this

Gottlieb, Harry  Search this

Hartley, Marsden  Search this

Fitzgerald, James  Search this

Keller, Charles  Search this

Miller, Kenneth Hayes  Search this

Henri, Robert  Search this

Jones, Dan Burne  Search this

United American Artists  Search this

United Office and Professional Workers of America  Search this

United Scenic Artists  Search this

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

National Maritime Union of America  Search this

American Artists' Congress  Search this

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

Artists League of America  Search this

Citizens' Committee for Government Arts Projects  Search this

Farmers Union of the New York Milk Shed  Search this

Federal Art Project  Search this

Federal Writers' Project  Search this

Macbeth Gallery  Search this

International Workers Order  Search this

Type:

Poems

Sketches

Business records

Photographs

Drawings

Topic:

Designers -- New York (State)  Search this

Mural painting and decoration  Search this

Politics and culture  Search this

Authors -- New York  Search this

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

Dairy farms  Search this

Federal aid to the arts  Search this

Illustrators -- New York (State)  Search this

Illustration of books  Search this

Works of art  Search this

Art and war  Search this

Commercial art  Search this

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

Theme:

Lives of American Artists  Search this

Record number:

(DSI-AAA_CollID)9557

(DSI-AAA_SIRISBib)211757

AAA_collcode_kentrock

Theme:

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211757

Creator:

Frank K. M. Rehn Galleries  Search this

Names:

Bartlett, Frederic Clay, 1873-1953  Search this

Bellows, George, 1882-1925  Search this

Brook, Alexander, 1898-1980  Search this

Burchfield, Charles Ephraim, 1893-1967  Search this

Chappell, Warren, 1904-  Search this

Clancy, John C., 1897-1981  Search this

Coleman, Glenn O., 1887-1932  Search this

Cook, Howard Norton, 1901-1980  Search this

Cuthbert, Virginia, 1908-2001  Search this

Dasburg, Andrew, 1887-1979  Search this

Gellatly, John, 1853-1931  Search this

Hawthorne, Charles Webster, 1872-1930  Search this

Henri, Robert, 1865-1929  Search this

Hopper, Edward, 1882-1967  Search this

Hopper, Jo N. (Josephine Nivison), 1883-1968  Search this

James, Alexander, 1890-1946  Search this

Kroll, Leon, 1884-1974  Search this

Luks, George Benjamin, 1867-1933  Search this

Mangravite, Peppino, 1896-  Search this

Marsh, Felicia Meyer, 1912-1978  Search this

Marsh, Reginald, 1898-1954  Search this

McFee, Henry Lee, 1886-1953  Search this

Melchers, Gari, 1860-1932  Search this

Orton, J. Robert  Search this

Pepper, Charles Hovey, 1864-1950  Search this

Phillips, Duncan, 1886-1966  Search this

Poor, Henry Varnum, 1887-1970  Search this

Russo, Alexander  Search this

Spalding, John T.  Search this

Sparhawk-Jones, Elizabeth, 1885-1968  Search this

Speicher, Eugene Edward, 1883-1962  Search this

Spruance, Benton, 1904-1967  Search this

Strater, Henry, 1896-  Search this

Tucker, Allen, 1866-1939  Search this

Tucker, Richard Derby, 1903-  Search this

Winters, Denny Sonke, 1907-1985  Search this

Young, Mahonri Mackintosh, 1877-1957  Search this

Extent:

21.8 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Sketchbooks

Photographs

Date:

1858-1969

bulk 1919-1968

Summary:

The Frank K. M. Rehn Galleries records measure 21.8 linear feet and are dated 1858-1969 (bulk 1919-1968). The records consist mainly of business correspondence with collectors, artists, museums and arts organizations, colleagues, and others. A small amount of Frank K. M. Rehns personal correspondence and a few stray personal papers of individual artists are interfiled. Also included are financial records, scrapbooks, printed matter, miscellaneous records, and photographs documenting most of the history of a highly regarded New York City art gallery devoted to American painting.

Scope and Content Note:

The Frank K. M. Rehn Galleries records measure 21.8 linear feet and are dated 1858-1969 (bulk 1919-1968). The records consist mainly of business correspondence with collectors, artists, museums and arts organizations, colleagues, and others. A small amount of Frank K. M. Rehn's personal correspondence and a few stray personal papers of individual artists are interfiled. Also included are financial records, scrapbooks, printed matter, miscellaneous records, and photographs documenting most of the history of a highly regarded New York art gallery devoted to American painting.

Series 1: Correspondence contains correspondence with artists, museums and arts organizations, collectors, colleagues, and others documents the workings of Rehn Galleries from its earliest days through 1968. A small amount of Frank K. M. Rehn's personal correspondence and a few scattered personal papers of individual artists are interfiled with the business correspondence.

Series 2: Financial Records includes banking, insurance, and investment records, tax returns and related documentation, miscellaneous financial records and paid bills. Among the insurance records are detailed monthly schedules listing paintings with titles, artists, and insurance values. Miscellaneous financial records include inventories of gallery stock, notes regarding business expenses and income, and receipt books recording incoming paintings. Also included are a small number of items concerning the personal business of Frank Rehn and John Clancy.

Five volumes of Scrapbooks (Series 3) contain clippings and a small number of exhibition catalogs documenting the activities of Rehn Galleries and many of its associated artists. Additional Printed Matter in Series 4 includes material relating to Rehn Galleries and its artists, as well as publications produced by Rehn Galleries. General, art-related printed matter consists of articles, auction catalogs, advertisements, and publications of various museums, arts organizations, and schools. There is also material about artists not affiliated with Rehn Galleries. Additional printed items concern miscellaneous subjects that are not art-related.

Series 5: Miscellaneous Records, includes artwork, lists and notes, and writings. Photographs in Series 6 are of people including artists represented by Rehn as well as several not affiliated with the gallery. Noticeably absent are likenesses of Frank Rehn and John Clancy. Photographs of works of art are by Rehn Galleries' artists and others. Reginald Marsh's photographs consist of family and personal photographs that were either given to Rehn Galleries or perhaps loaned for research use, and include views of Marsh from early childhood through later life, photographs of family and friends, and a small family album. Also included are photographs are of Marsh's childhood drawings.

Arrangement:

Series 1: Correspondence is arranged alphabetically and Series 3: Scrapbooks is in rough chronological order. Series 2, and 4-6 are arranged in categories, as indicated in the Series Descriptions/Container Listing. Unless otherwise noted, items within each folder are arranged chronologically.

The collection is arranged into 6 series:

Missing Title

Series 1: Correspondence, 1858-1969, undated (Boxes 1-15; 14.4 linear ft.; Reels 5849-5869)

Series 2: Financial Records, 1919-1968, undated (Boxes 15-17; 2.6 linear ft; Reel 5869)

Series 3: Scrapbooks, 1919-1940 (Boxes 23-24; 0.6 linear ft.; Reels 5869-5870)

Series 4: Printed Matter, 1882-1969, undated (Boxes 18-20; 2.4 linear ft.; Reels 5870-5872)

Series 5: Miscellaneous Records, circa 1920-1968 (Boxes 20-21; 0.7 linear ft; Reel 5872)

Series 6: Photographs, 1871-1966, undated (Boxes 22, 24, OV 25; 1.0 linear ft.; Reel 5872)

Historical Note:

Frank K. M. Rehn (1886-1956), son of the marine painter Frank Knox Morton Rehn, after several years' experience as an employee of the Milch Galleries and as exhibition manager for the Salmagundi Club, opened his own art gallery in 1918. In its earliest years, the gallery operated as the Galleries of Frank K. M. Rehn. From the mid 1920s through the mid 1940s, the name used was Frank K. M. Rehn Galleries. As early as 1946, the gallery was referred to simply as Rehn Galleries. The gallery closed in 1981.

Throughout its existence, Rehn Galleries specialized in representing American painters. During the first five years Rehn's operation was a private gallery at 6 West 50th Street, New York City. Among the artists he first represented were older, established men such as J. Alden Weir, George Inness, Alexander Wyant, Theodore Robinson, Thomas Dewing, and John H. Twachtman. Occasionally, Rehn handled works by such luminaries of the period as Robert Henri, George Luks, and John Singer Sargent. Among the living artists affiliated with the gallery in its first years were Daniel Garber, Walter Griffin, Dodge MacKnight, and Robert Spencer. Rehn's most popular artist during this time was Childe Hassam, who sued for recovery of a painting that, although acquired by Rehn through a reputable dealer, had been stolen from Hassam's studio many years earlier.

Despite the newspaper publicity surrounding Hassam's lawsuit, the business was a successful venture almost immediately. Very early, a number of important collectors including Duncan Phillips, John Gellatly, John T. Spaulding, Albert McVitty, E. W. Root, and C. Vanderbilt Barton displayed confidence in Rehn's judgment and integrity, which enhanced his gallery's reputation and stature among both collectors and artists. In 1923, the gallery moved to 693 Fifth Avenue and began operating as Rehn Galleries, a commercial gallery in the same building that housed in a building that housed Kennedy and Company and the Bourgeois Galleries. At this time, Rehn hired an assistant, John C. Clancy (1897-1981), who had formerly been with Henry Reinhardt and Son and M. Knoedler.

The Rehn Galleries soon enjoyed a regular following among museum curators and collectors visiting from out of town. The gallery's roster of artists grew along with its reputation. Rehn focused almost exclusively on American painters, occasionally showing drawings and prints by artists who were primarily painters; notable exceptions were sculptor Mahonri Young and Henry Varnum Poor who, in addition to being a painter, was known for his work in ceramics. Among the painters eventually represented were: Peggy Bacon, George Bellows, Alexander Brook, Charles Burchfield, John F. Carlson, John Carroll, Howard Cook, Jon Corbino, Virginia Cuthbert, Andrew Dasberg, Sidney Gross, Edward Hopper, Alexander James, Irving Kaufmann, Yeffe Kimball, Leon Kroll, Peppino Mangravite, Reginald and Felicia Meyer Marsh, Henry Mattson, Henry Lee McFee, Kenneth Hayes Miller, Charles Rosen, Robert Riggs, Alexander Russo, Elizabeth Sparhawk-Jones, Eugene Speicher, Henry Strater, Richard Derby Tucker, Franklin C. Watkins, and Denny Winters.

In 1930, Rehn Galleries moved one block south to the Air France Building at 683 Fifth Avenue, and remained there for thirty years. John C. Clancy, Rehn's long-time assistant, became Gallery Director in 1953 after a stroke prevented Rehn from continuing to run his business in an active capacity. Eventually, Rehn's widow sold Clancy the gallery, which he continued to operate under varying names, including Rehn Gallery, Frank K. M. Rehn Galleries, Frank Rehn Gallery, and Rehn Galleries. From 1960 until 1966, The Rehn Galleries were at 36 East 61st Street from 1960 until 1966, when the gallery moved to a space formerly occupied by Kootz Gallery at 855 Madison Avenue, where it remained in business for another fifteen years.

Related Material:

John Clancy interview by Paul Cummings, July 10, 1970. Oral History Program, Archives of American Art, Smithsonian Institution.

Samuel Adler Papers, 1902-1979. Archives of American Art, Smithsonian Institution. Contains a recording (1 cassette; untranscribed) of Beverly Chesler interviewing John Clancy about the history of Rehn Galleries, 1973; Samuel Adler is present and participates briefly in the interview.

Provenance:

The Frank K. M. Rehn Galleries records were loaned by John Clancy for microfilming in 1959; in 1966, this same material was donated to the Archives. Mr. Clancy made subsequent gifts of additional gallery records in 1978 and 1981. In 1985, the Whitney Museum of American Art donated to the Archives correspondence with Edward Hopper that John Clancy had loaned the museum many years earlier. A death mask of George Luks received with the collection is on extended loan to the National Portrait Gallery, Smithsonian Institution.

Restrictions:

The collection has been digitized and is available online via AAA's website.

Rights:

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

Topic:

Art, Modern -- 20th century -- New York (State) -- New York  Search this

Works of art  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Scrapbooks

Sketchbooks

Photographs

Citation:

Frank K. M. Rehn Galleries records, 1858-1969 (bulk 1919-1968). Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of the microfilm of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.franrehg

See more items in:

Frank K. M. Rehn Galleries records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b5275f6d-e2b7-4f51-a515-53b316671902

EDAN-URL:

ead_collection:sova-aaa-franrehg

Creator:

Underwood & Underwood  Search this

Publisher:

American Stereoscopic Co.  Search this

H. C. White Co.  Search this

Killela, J.J.  Search this

Underwood, Bert, 1862-1943  Search this

Underwood, Elmer, 1859-1947  Search this

Photographer:

Ponting, Herbert George, 1870-1935  Search this

Underwood, Bert, 1862-1943  Search this

Underwood, Elmer, 1859-1947  Search this

White, Clarence W.  Search this

Extent:

160 Cubic feet

Type:

Collection descriptions

Archival materials

Stereographs

Photographs

Stereoscopic photographs

Lantern slides

Date:

1895-1921

Summary:

A collection of approximately 28,000 glass plate negatives showing views of a variety of subjects.

Scope and Contents:

The major part of the collection, series 1-4, contains nearly 28,000 glass plates, including original stereoscopic negatives, interpositives, and both negative and positive non-stereoscopic plates used to produce lantern slides and paper prints. The photographs were taken all over the world. The majority are from the Underwood & Underwood active files, but plates from other publishers are also included. Series 5 is a small collection of paper stereographs. Series 6 contains 4 Underwood & Underwood descriptive sales catalogs and 1 H. C. White & Co. catalog (numbers on the Underwood plates correspond to the numbers on catalog captions). Series 7 is apparatus--four stereoscopes.

The approximately 28,000 glass plates in this collection have not been completely inspected at this point due to handling problems associated with asbestos contamination of the collection. A preliminary survey, however, indicated that the selections of images cover the full range of subject matter encompassed by the "Underwood Travel System." The subject matter is most easily comprehended by consulting one of the Underwood sales catalogs which accompany the collection. The catalog captions are arranged geographically, for the most part, and generally represent an organized "tour" which could be purchased as a boxed set, complete with maps and guide book, although individual images could be purchased separately. The catalogs indicate that the Underwood files were continually updated, for extensive modifications in some of the sets can be seen from edition to edition, and actual inspection of published stereographs shows that alternate views with identical Underwood catalog numbers were substituted from time to time, and that new subjects (with new catalog numbers) were sometimes introduced into the sets and old subjects were retired. There are glass plate negatives as well as positives in this collection. The positive images were probably interpositives used for the production of duplicate negatives. Some of the original stereo negatives were cut apart and the images transposed; they were then bound with an additional glass support (in many cases the tape has deteriorated). Half stereo positives also appear in the collection: these probably were intended for use in lantern slide production. Frequently a drawer of plates contains several incarnations of a single image, including the original negative, a copy negative, an interpositive, and a positive lantern slide. In other cases a drawer may contain only a single mode, e.g., original negatives, while corresponding positives and/or lantern slides appear in separate drawers.

A small quantity of the Underwood & Underwood plates are not from the Travel System, but represent humorous and genre subjects which were cataloged and marketed separately. The work of several other publishers, usually without Underwood catalog numbers, is also represented, including H. C. White, American Stereoscopic Company, and J. J. Killela.

The arrangement of the collection seems to reflect a combination of permanent reference storage as well as active use files. The apparent anomalies or inconsistencies probably indicate the pulling of plates from permanent files into temporary work files, and the collection may consist of a combination of permanent storage and temporary working files. As the drawers do not appear to have been renumbered according to any easily discernible pattern, they have become intermixed and rearranged in storage. The contents of each drawer usually have been found in good order, however, and the plates were nearly always arranged numerically,usually with the low numbers at the rear of the drawer and the highest number at the front. As the plates have been rehoused, the reverse numerical order has been corrected. When all the plates have been rehoused and inventoried, consideration will be given to general collection rearrangement and renumbering of the containers, either strictly in numerical order or topically and/or geographically with a numerical sequence within each group.

The collection is in good condition for the most part, although conservation attention will be required. There is a certain amount of emulsion peeling or frilling at the edges of some plates, but this is a condition to which emulsions on glass frequently are prone. A few plates, bound in a sandwich arrangement between cover glass and acetate facing the emulsion, have suffered severe damage, peeling, and image losses through the apparent ferrotyping and sticking of emulsion to the plastic, probably under conditions of high humidity at some stage. There is surprisingly little glass breakage within the collection.

Most of the stereoscopic negatives and many of the positives are defaced with a double "XI' scratched into the emulsion of either the left or right side, as described above in the historical note. Of particular interest and presumed rarity are cards found interfiled with plates in many of the drawers. These cards, filed by Underwood (i.e., catalog) numbers, bear printing'or production dates and notes, along with the unique, chronological accession numbers which the company assigned to each plate, regardless of the "active" number which it might eventually receive. A check mark on a card usually refers to a plate actually in the collection and with which the card is found physically associated; additional accession numbers without check marks listed on the cards possibly refer to variant views which were discarded or may in fact be in the Keystone Mast Collection (pending further research). For ease of handling and in the interest of conservation, the cards have been separated from the plates within each drawer and are arranged as a group at the rear, but can still be located easily. Frequently when a plate and/or its original envelope does not bear both the "active" and accession numbers, the missing number can be located on one of these cards.

Photographers represented include Herbert G. Ponting and Clarence W. White. A photographer and/or publisher named J. J. Killela is also represented.

Arrangement:

This collection is arranged in seven series. Series 1, 2, and 3 are each divided into negative and positive subseries. Plates are arranged numerically in groups based on geographical and subject content. Controlled at the series level in the finding aid and at the item level in a computer database.

Series 1, H. C. White glass plates

Series 2, American Stereoscpopic Co. glass plates

Series 3, Underwood & Underwood glass plates

Series 4, Broken glass plates

Series 5, Original company catalogs

Series 6, Paper stereographs

Series 7, stereoscopes (viewers)

Biographical / Historical:

Underwood & Underwood was established at Ottawa, Kansas, by the young brothers Elmer and Bert Underwood in 1882. They initially operated as distributors for eastern photographers' stereographs to new markets in the West. Their activities included door to door canvassing with views by Charles Bierstadt, J. F. Jarvis, and Littleton View Co.(1) Underwood & Underwood, Publishers, opened a branch office in Baltimore in 1887.(2)

Soon Underwood & Underwood and other large stereograph publishers began recruiting college students to work as salesmen during summer months (1890). Underwood and Underwood claimed that their organization alone sent out as many as 3,000 college students in one Summer [sic]. With the other ... big companies each employing more than 1,000, it is easy to understand how the countryside of the Nation literally swarmed with stereograph salesmen throughout the summer months! ... The competition between the salesmen themselves was likewise aggressive, with no holds barred. Many successful business and professional men of today relate with considerable pride that they got their start on their careers in this practical and very effective school of salesmanship.(3)

The company moved its main office from Ottawa, Kansas to New York City (1891),(4) and gradually began to publish its own stereographs. Bert Underwood finally took photography lessons from M. Abel in Mentone, France during the same year.(5) B. L. Singley, erstwhile salesman for the Underwood & Underwood and James M. Davis & Co. firms, in 1892 formed the Keystone View Company of Meadville, Pennsylvania, which was to become Underwood & Underwood's chief competitor and imitator.(6)

Underwood & Underwood entered the education market (1895) by producing packaged sets of 100 or more stereographs with descriptive texts.(7) From 1897 the firm employed full time staff photographers as well as free lancers. By 1901 the Underwoods were publishing 25,000 stereographs per day (i.e.,total number of cards). Increasing production levels led them to gain control of the Jarvis, Bierstadt, and William H. Rau photoprinting facilities in 1897 1898.(8)

The Keystone view Company created its own Educational Department in 1898. This division sustained the Keystone View Company past the period of the stereograph's popularity. In this year Underwood & Underwood reprinted Oliver Wendell Holmes's series on the stereograph and stereoscope which originally appeared in The Atlantic Monthly between 1859 and 1863. This eighty page booklet included testimonials from eminent scholars on the value of the stereograph in education. The company had been test marketing what itlater called "The Underwood Travel System." This consisted of a boxed set of stereo views of a country or region, a guide book describing the significance of the places shown, and a map showing their location and the viewpoints from which the stereographs were taken. Captions on the backs of the stereographs were sometimes printed in six languages.(9) As stereographs began to be used in schools as visual aids, the firm promoted its Travel System with endorsements from prominent educators, citing the usage of the system by various schools and universities.(10)

The H. C. White Company, which had manufactured stereoscopes for several decades, entered the stereo publication field in 1899.(11) Much of its production seemed to imitate Underwood & Underwood cards, including typography and the color of mount stock. Underwood & Underwood expanded into news photography by 1910 and gradually decreased its stereographic work. Few new stereo negatives were added to the file after 1912 except for a flurry of activity during the early war years, 1914 1916. The total number of Underwood & Underwood "titles" in stereo were from 30,000 to 40,000 (there might be a substantially larger number of actual negatives, since the files frequently were updated with newer views for old catalog numbers).(12)

Underwood & Underwood sold a portion of its negative file to the educational division of Keystone View Company in 1912,(13) and between 1921 1923 conveyed to this competitor their remaining stereo stock (presumably both cards and negatives) and rights.(14) In addition to its involvement as a news photographic agency, the company eventually opened portrait studios which flourished during the World war II years. A former Smithsonian employee, Vince Connolly, worked for Underwood & Underwood, which competed with Harris & Ewing in general portrait work during that period: he did portraiture and other photography, but says he was unaware of his employer's earlier stereo publishing activities.

Underwood & Underwood donated approximately 6000 negatives to the Section of Photography of the Division of Graphic Arts (1964). These photographs are primarily 4" x 5", captioned glass plate and film negatives. The subjects are news events and theatrical, sports, and political subjects of the early 20th century. In a letter to the Smithsonian of March 25, 1966 (in accession number 270586), Mrs. John M. Stratton described another collection of Underwood & Underwood photographs, stating that her husband had been a partner in Underwood & Underwood Illustrations and owned Underwood & Underwood News Photos. In November of the same year Mr. and Mrs. Stratton donated this collection of glass plates by Underwood & Underwood and other publishers to the Division of Photographic History (then the Section of Photography of the Division of Graphic Arts) . This material consists of both negative and positive stereographic plates, as well as non stereoscopic plates, chiefly copies made from the stereographs, with some catalogs, stereoscopes, and other material. The donor estimated 12,900 plates, but in 1983 the Smithsonian Institution inventory yielded a total of approximately 28,000 plates.

The Keystone View Company's stereoscopic production continued much later than Underwood & Underwood's. It was not until 1939 when declining interest in stereography led the firm to discontinue stereograph production and enter the field of visual optometrics. The stereoscopic negative collection, including material obtained from Underwood & Underwood and other firms, was placed in storage in concrete vaults. The Mast family of Davenport, Iowa, eventually purchased the collection in 1963, and in 1977 donated the collection to the University of California for its California Museum of Photography in Riverside. The University took physical possession of this vast collection in 1979.(15)

Many of the Underwood & Underwood plates donated by the Strattons (which were transferred to the Archives Center in 1983), in effect have been cancelled by having diagonal lines (double "X" marks) scratched into the emulsion of either the left or right image of each stereo pair (never both sides). These cancellation marks do not appear on the Underwood & Underwood plates in the Keystone Mast Collection in Riverside. This leads to several theories: (a) that these cancellations were in fact the reason that the Smithsonian plates were not purchased by Keystone in either 1912 or 1921, since Keystone clearly intended to use the Underwood material for stereograph production and the defaced plates would be of no value to them for this purpose; or (b), as stereo collector John Waldsmith suggests, that the cancellations were part of an agreement between Underwood & Underwood and Keystone: Keystone may have asked Underwood & Underwood to cancel one side of each stereoscopic plate not being sold to Keystone so that Underwood & Underwood would no longer be able to compete with Keystone in the stereo market. The defaced plates, as well as other material which Keystone did not purchase, apparently remained in Underwood custody and eventually were acquired by Mr. and Mrs. Stratton. The cancellation marks in the Smithsonian's collection are the subject of further conjecture. Edward Earle at Riverside feels that, since Underwood & Underwood sought to abandonded stereograph production much earlier than Keystone's departure from the field in order to enter the non stereoscopic lantern slide market, the cancellation may have served to indicate which side of each sterescopic pair should be converted to lantern slide production use; the existence of the 4" x 5" copy negatives and positives from stereographs in this collection seem to corroborate this. The Underwood & Underwood conversion from stereograph to lantern slide materials seems to coincide with the ascendance of lantern slide projection as visual aids in schools. The company apparently modified the type of photographic product which they published at least partially in recognition of this new educational trend.

NOTES

1. edward W. Earle, ed., Points of View: The Stereograph in America A Cultural @ Visual 'g . E!Ltory, Rochester, F.Y., Th Studies Workshop ress, 1979, p. 60; William Culp Darrah, The World of Stereographs, Gettysburg, Pa., 1979, p. 46.

2. Tbid., p. 62.

3. George E. Hamilton, Oliver Wendell Holmes, His Pioneer SLtuereoscope and Later Industry, New York, New )men Society, 1949, p. 17, quoted in Points of 1=e w:, 6 4 . P.

4. Points of View., p. 66.

5. Darrah, p. 47.

6. points of View, p. 66.

7. Ibid., p. 68.

8. Darrah, p. 47.

9. Points of View, p. 70.

10. Howard S. Becker, "Steteographs: Local, National, and International Art Worlds," in Points of View, p. 95. 11. points of View, p. 72.

12. Darrah, p. 48.

13. Darrah, p. 48, quoted in Points of View, P. 82.

14. Darrah, p. 48.

15. Chris J. Kenney, introduction to "Perspective and the Past: The Keystone Mast Collection," CMP Bulletin, Vol. 1, No. 2, 1982.

Related Materials:

California Museum of Photography, University of California--Riverside, Riverside, California 92521.

Underwood & Underwood stereographs in this collection and the Smithsonian Underwood & Underwood Collection originally were components of the same company file.

Provenance:

Collection donated by June Stratton (Mrs. John M.) on December 19, 1966.

Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. 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:

Traveling sales personnel  Search this

Travel photography -- 1890-1930  Search this

Genre/Form:

Stereographs -- 1890-1930

Photographs -- Interpositives -- Glass -- 1890-1930

Photographs -- Black-and-white negatives -- Glass -- 1890-1930

Photographs -- 1900-1950

Stereoscopic photographs -- Glass -- 1890-1930

Lantern slides

Photographs -- 1890-1900

Citation:

Underwood &Underwood Glass Stereograph Collection, Archives Center, National Museum of American History.

Identifier:

NMAH.AC.0143

See more items in:

Underwood & Underwood Glass Stereograph Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep86e358e26-e305-49a6-bf9b-f2d38d995ae0

EDAN-URL:

ead_collection:sova-nmah-ac-0143

Publisher:

Underwood & Underwood  Search this

Collection Creator:

Underwood & Underwood  Search this

Extent:

1 Item (4" x 5".)

Type:

Archival materials

Photographs

Local Numbers:

RSN 18368

General:

Currently stored in box 3.1.70 [227A]. Orig. no. A-907.

Collection Restrictions:

Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Collection Rights:

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

Topic:

Books and reading  Search this

Desks  Search this

Students  Search this

telephone  Search this

Genre/Form:

Photographs -- 19th-20th century -- Black-and-white negatives -- Nitrate

Photographs -- Black-and-white negatives -- Nitrate film.

Collection Citation:

Underwood &Underwood Glass Stereograph Collection, Archives Center, National Museum of American History.

See more items in:

Underwood & Underwood Glass Stereograph Collection

Underwood & Underwood Glass Stereograph Collection / Series 3: Underwood & Underwood glass plates / 3.1: Underwood and Underwood Negatives / RSN Numbers 18289-18412

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep898f5b2a6-8432-4a02-acdd-ce3db978bc05

EDAN-URL:

ead_component:sova-nmah-ac-0143-ref14795

Creator:

Hadzi, Dimitri, 1921-2006  Search this

Names:

Harvard University -- Faculty  Search this

Foundry, Nicci  Search this

Extent:

37.2 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Interviews

Sound recordings

Video recordings

Diaries

Motion picture film

Date:

1910s-2007

Summary:

The papers of Greek American sculptor and educator Dimitri Hadzi measure 37.2 linear feet and date from 1910s-2007, with the bulk of records dating 1936-2007. The collection documents Hadzi's career through biographical material such as education records, World War II files, and some interviews; correspondence with family, artists, art historians, architects, and professional organizations; diaries, notebooks, and other writings; exhibition, gallery and museum, teaching, and project files; personal business records; clippings, exhibition ephemera, invitations, and other printed material; photographs of Hadzi, events and exhibitions, installations, foundries, and studios; some artwork; and audio recordings and motion picture films.

Scope and Contents:

The papers of Greek American sculptor and educator Dimitri Hadzi measure 37.2 linear feet and date from 1910s-2007, with the bulk of records dating 1936-2007. The collection documents Hadzi's career through biographical material; correspondence; diaries, notebooks, and other writings; exhibition, gallery and museum, teaching, and project files; personal business records; printed material; photographs, some artwork, audio recordings, and motion picture films.

Biographical material includes files pertaining to Hadzi's education at Cooper Union (1946-1950) and Polytechnion in Athens, Greece (1950-1951) as well as his high school years at Brooklyn Technical High School (1936-1940); years enlisted in the Army Air Force (1942-1946); and his hobbies of music, mineral collecting, and geology. Also found are address books, honors and awards, interviews, and resumes. Hadzi's professional correspondents include artists, art historians, architects, and professional organizations. Also found is personal correspondence with family, friends, and acquaintances, most extensively during his years in the military.

Diaries and notebooks consist of memoranda books, travel logs, and annotated calendars. Writings include drafts, correspondence, and some printed material from Dimitri Hadzi (1996) by Peter Selz. Material gathered for his incomplete memoir, artist statements, and writings about Hadzi are also present.

Exhibition files shed light on various group and solo exhibitions of Hadzi's work. The files mostly consist of shipping records, correspondence, press releases and other printed matter, photographs, and loan documents. Gallery and museum files include loan and sale agreements, price lists, clippings, newsletters, shipping information, and some papers related to exhibitions.

Project files include sketches and blueprints, correspondence, legal documents, shipping information, and some audiovisual material regarding the installation of Hadzi's sculptures. The files also pertain to recasted sculptures, small-scale projects, and unexecuted commissions. Teaching Files include administrative correspondence, clippings, lecture and discussion notes, course descriptions, and correspondence from Hadzi's tenure as Visual and Environmental Studies professor at Harvard University. Papers related to instructor positions, employment opportunities, and lectures outside of Harvard are also present. Personal business records include sales, inventories, and other financial material; correspondence, shipping information, and price lists from foundries and material distributors; studio logs, correspondence, and notes.

Printed materials consist of exhibition invitations, announcements, post cards, and books; news clippings and articles; printed matter from special events, exhibitions of other artists, press releases, and newsletters. Photographs include portraits and snapshots of Hadzi, depicting him working in studios and foundries, at installation sites and events, and with his family. Also included are photographs of other artists, Hadzi's travel in Japan, and his artwork. Artwork found in this collection consists of six sketchbooks, several small drawings, and one woodblock.

Audiovisual material is extensive and includes documentation of the creation, installation, and exhibition of some of Hadzi's work. The majority of the footage centers on the creation and installation of the Thermopylae sculpture in front of the JFK Federal Building in Boston, Massachusetts in 1968.

Arrangement:

The collection is arranged as 13 series.

Series 1: Biographical Material, 1910s, bulk 1936-2004 (Box 1-3, 33; 2.7 linear feet)

Series 2: Correspondence, 1943-2007 (Box 3-6; 3 linear feet)

Series 3: Diaries and Notebooks, 1939-2006 (Box 6-9; 3 linear feet)

Series 4: Writing Files, 1945-2003 (Box 9; 10 folders)

Series 5: Exhibition Files, 1958-2002 (Box 9-10; 1.2 linear feet)

Series 6: Project Files, 1957-2002 (Box 11-15, 33; 4.7 linear feet)

Series 7: Teaching Files, 1955-2000 (Box 15-16; 12 folders)

Series 8: Museum and Gallery Files, 1947-2008 (Box 16-17; 1.8 linear feet)

Series 9: Personal Business Records, 1949-2007 (Box 17-20; 2.5 linear feet)

Series 10: Printed Material, 1949-2007 (Box 20-24, 33; 3.7 linear feet)

Series 11: Photographs, circa 1930s-2006 (Box 24-25, 33; 1.5 linear feet)

Series 12: Artwork, circa 1939-1998 (Box 25; 11 folders)

Series 13: Audiovisual Material (Box 26-40; 11.1 linear feet)

Biographical / Historical:

Dimitri Hadzi (1921-2006) was an Greek American sculptor who lived and worked in Rome from the 1950s to 1975, and then in Cambridge, Massachusetts from 1975 to 2006. Born to Greek immigrants, Hadzi attended Brooklyn Technical High School before enlisting in the Army Air Force in 1942. After the World War II, Hadzi studied painting and sculpture at Cooper Union and graduated with honors in 1950. He was awarded a Fulbright fellowship to study at the Polytechnion, Athens, Greece, and subsequently moved to Rome where he remained until the mid-1970s. Hadzi worked mostly with stone and bronze, from which he created semi-abstract shapes and structures drawn from his Greek heritage. His work was selected for the Venice Biennale in 1956, and and his first solo-exhibition came two years later at the Galeria Schneider, Rome, Italy. Throughout his career, Hadzi held solo exhibitions at the Massachusetts Institute of Technology, The Philips Collection, Athens Gallery in Greece, Rikugie Gallery in Japan, and many others. His group exhibitions include Recent Sculptor USA (1959), Museum of Modern Art, New York; Annual Exhibition, The Whitney Museum (1961); Seven Sculptors at Harvard, Harvard University (1983); and American Academy of Arts & Letters Centennial Portfolio, Pace Prints, New York (1998). Hadzi's public commissions include those at the Massachusetts Institute of Technology (1963), St. Paul's Church, Rome, Italy (1966-1976), Dallas Center, Texas (1980). His artwork is held in permanent collections of the Hirshhorn Museum and Scultpure Garden, Solomon R. Guggenheim Museum, Hakone Museum of Sculpture in Japan, and the Montreal Museum of Art, among others. Hadzi was professor of Visual and Environmental Studies at Harvard University from 1975-1989, and was named Professor Emeritus in 1989.

Provenance:

Donated 1989 and 1998 by Dimitri Hadzi and in 2008 and 2011 by Cynthia Hadzi, Dimitri Hadzi's widow.

Restrictions:

The collection is open for research. Archival audiovisual recordings must be digitized for research access. Researchers may access digitized audiovisual materials in the Archives' Washington, D.C. or New York, N.Y. Research Centers by appointment. Contact Reference Services for more information.

Rights:

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

Occupation:

Educators -- Massachusetts -- Cambridge  Search this

Sculptors -- Italy -- Rome  Search this

Sculptors -- Massachusetts -- Cambridge  Search this

Topic:

Sculpture, Modern -- 20th century  Search this

World War, 1939-1945  Search this

Genre/Form:

Drawings

Interviews

Sound recordings

Video recordings

Diaries

Motion picture film

Citation:

Dimitri Hadzi papers, 1910s-2003. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.hadzdimi

See more items in:

Dimitri Hadzi papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9cee20746-bba7-4f55-9b4d-68aa26f19cc0

EDAN-URL:

ead_collection:sova-aaa-hadzdimi

Creator:

Hamilton, West A., Colonel  Search this

Names:

District of Columbia. Board of Trustees of Public Schools  Search this

Dunbar High School (Washington, D.C.)  Search this

Public Schools of the District of Columbia  Search this

Hamilton, West A., Colonel  Search this

Extent:

4.5 Linear feet (9 boxes; 1 folder oversize)

Type:

Collection descriptions

Archival materials

Certificates

Minutes

Yearbooks

Photographic prints

Ledgers (account books)

Correspondence

Reports

Awards

Photographs

Books

Diaries

Magazines (periodicals)

Greeting cards

Place:

Washington (D.C.)

Date:

1887-1991

bulk 1937-1978

Summary:

The Col. West A. Hamilton papers, which dates from 1887 to 1991 and measures 4.50 linear feet, are the personal papers of West A. Hamilton most noted for his service on the Board of Education for Washington, D.C. The papers comprise books, certificates, correspondence, photographs, and scrapbooks.

Scope and Contents note:

The papers which date from 1887-1991, bulk dates 1937-1978, document the personal and public life of Col. West A. Hamilton. The majority of material relates to Col. Hamilton's involvement with Washington D.C.'s educational system, both as a teacher and civic activist. A series of letters in particular highlight his efforts to help Dunbar High School, which he was an alum. There are also documents and photographs from his long serving military career and printing business.

Arrangement note:

The papers are arranged into six series. Folders are arranged alphabetically within series, while documents are organized chronologically. Four series contain oversized material and include: Biographical Files, Career, Photographs, and Printed material. Non archival materials associated with the papers are housed in the Collections Department.

Series 1: Biographical files

Sub-series 1.1: Correspondence

Sub-series 1.2: Education

Sub-series 1.3: General

Series 2: Books

Sub-series 2.1: Club Books

Sub-series 2.2: Fiction

Sub-series 2.3: Religious Books

Sub-series 2.4: Text Books

Series 3: Career

Sub-series 3.1: Committee Work

Sub-series 3.2: Correspondence

Sub-series 3.3: General

Series 4: Financial Records

Series 5: Photographs

Series 6: Printed Materials

Biographical/Historical note:

Col. West A. Hamilton was born in 1886 to John A. Hamilton, a missionary and social worker, and Julia West Hamilton, a prominent club woman and activist in the Washington D.C. area. Mrs. Hamilton socialized with some of the most well known African American intellectuals of her time, including Mary McLeod Bethune. It was the early experiences of his parents' work with their community that would influence Hamilton later in life.

Throughout his life Col. Hamilton's activities could be divided into three areas: the military, public service, and private business. As a child Hamilton earned his education through Washington's public school system. He graduated from Dunbar High School and went on to receive his teaching degree from Minor Teachers College. After working as a teacher for ten years, Hamilton enlisted with the National Guard for the first time in 1905. It would be the first of many reenlistments and would include World War I, riding with the 10th Cavalry Regiment Buffalo Soldiers near the Mexican border, and commanding the 366th Infantry in North Africa and Italy during World War II. In 1983 Col. Hamilton became an honorary Brigadier General at the age of 96 for his long and distinguished service with the U.S. Armed Forces.

While working as a teacher and joining the military, Hamilton was also an entrepreneur. Joining forces with his brother Percival Y. Hamilton, the Hamilton brothers went into the publishing business and produced their own newspaper called the Sentinel. They established the Hamilton Printing Company in 1910 and worked from two previous locations before permanently locating on the corner of 14th and U St from 1922 to the 1970s.

Outside his many careers Hamilton carried on his mother's altruistic pursuits and involved himself heavily in club work and civic organizations. He served on Washington D.C.'s Board of Education, the Board of Elections, the recreation board, as well as, the American Legion and the Masons. For many years his mother, Julia West Hamilton, served as President of the Phyllis Wheatley YWCA and Col. Hamilton continued her work with the organization.

Col. Hamilton married twice but never had children. He died in 1985 just shy one year from his 100th birthday.

Restrictions:

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

Rights:

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

Topic:

African American educators  Search this

African American military personnel  Search this

Genre/Form:

Certificates

Minutes

Yearbooks -- 1940-1950

Photographic prints

Ledgers (account books)

Correspondence

Reports

Awards

Photographs

Books

Diaries

Magazines (periodicals) -- 20th century

Greeting cards

Citation:

The Col. West A. Hamilton papers, Anacostia Community Museum, Smithsonian Institution, gift of Col. West A. Hamilton estate.

Identifier:

ACMA.06-006

See more items in:

Col. West A. Hamilton papers

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa7880dca83-83af-4639-8c63-32625cd479f8

EDAN-URL:

ead_collection:sova-acma-06-006

Artist:

Edward Estlin Cummings, 14 Oct 1894 - 2 Sep 1962  Search this

Sitter:

Edward Estlin Cummings, 14 Oct 1894 - 2 Sep 1962  Search this

Medium:

Oil on canvas

Dimensions:

Stretcher: 50.8 x 38.1 x 2.5cm (20 x 15 x 1")

Frame: 67.9 x 55.2 x 6.4cm (26 3/4 x 21 3/4 x 2 1/2")

Type:

Painting

Date:

1958

Topic:

Interior  Search this

Container\Vase  Search this

Artist's Effects\Paintbrush  Search this

Nature & Environment\Plant\Flower\Rose  Search this

Costume\Headgear\Hat\Cap\Beret  Search this

Self-portrait  Search this

Costume\Dress Accessory\Tie\Necktie  Search this

Edward Estlin Cummings: Visual Arts\Artist  Search this

Edward Estlin Cummings: Male  Search this

Edward Estlin Cummings: Literature\Writer\Poet  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.73.26

Restrictions & Rights:

Usage conditions apply

Copyright:

© Estate of e. e. cummings

See more items in:

National Portrait Gallery Collection

Exhibition:

20th Century Americans: 1900-1930 (re-installation 2012)

On View:

NPG, South Gallery 322

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm47e0c6a4c-3afe-4a23-8e7c-77fb5c323a83

EDAN-URL:

edanmdm:npg_NPG.73.26

Author:

Naoi, Nozomi  Search this

Author:

Takehisa, Yumeji 1884-1934  Search this

Physical description:

xiii, 286 pages illustrations (some color) 27 cm

Type:

Books

Criticism, interpretation, etc

History

Place:

Japan

Japon

Date:

2020

20th century

20e siècle

Topic:

Art and society--History  Search this

Art and society  Search this

Druckgrafik  Search this

Art--Aspect social  Search this

Call number:

N7359.T34945 N36 2020

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1145244

Creator:

Kermin, A  Search this

Extent:

1 Book

Type:

Collection descriptions

Archival materials

Books

Photographs

Place:

Iraq

Date:

circa 1920s

Scope and Contents:

One snakeskin boumd photography album containing 73 photomechanical reproductions of landscapes, mosque architecture, family portraits, street scenes, and bazaar snapshots. There are a limited number of aerial photographs, credited to the RAF.

Arrangement:

One book in one flat box.

Biographical / Historical:

This book is a rare example of early 20th century scenic photographs of Iraq. Camera Studies in Iraq also had a farily limited print run. This photo album is an apparent mock-antique album from the 1920's with an attempt to darken and spot the pages to appear older. The front cover reads in gold lettering, "Camera Studies in Iraq" with the photographer and publisher listed at the bottom: "A. Kerim/Bagdad," and "Hasso Bros./Baghdad."

Local Numbers:

FSA A2011.02

Restrictions:

Collection is open for research.

Rights:

Permission to publish, quote, or reproduce must be secured from the repository.

Genre/Form:

Photographs

Identifier:

FSA.A2011.02

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc37421786b-3f39-40d7-8914-547a4e6fc506

EDAN-URL:

ead_collection:sova-fsa-a2011-02