Search Results

Collector:

Whitehead, Henry Preston, 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:

Black, Julian, Mrs.  Search this

Black, Julian (boxing manager)  Search this

Names:

Jacobs, Mike  Search this

Louis, Joe, 1914-1981  Search this

Roxborough, John  Search this

Extent:

109 Volumes

Type:

Collection descriptions

Archival materials

Volumes

Scrapbooks

Clippings

Date:

1935-1944

Summary:

The collection consists of 109 scrapbooks of newspaper clippings assembled by Julian Black, manager of Joe Louis, heavyweight boxing champion from 1937 to 1949. They document Louis's career from 1935 to 1944.

Scope and Contents:

The collection consists of 109 scrapbooks of newspaper clippings assembled by Julian Black, manager of Joe Louis, heavyweight boxing champion from 1937 to 1949. They document Louis's career from 1935 to 1944. Louis became one of America's most celebrated sports figures both for his extraordinary boxing skills and for his role as a symbol of national pride, especially in his bouts with the German champion Max Schmeling. His national respect and international prominence stood in ironic contrast to the nation's legal and social practices of racial segregation.

Joe Louis's manager, Julian Black, assembled three sets of scrapbooks to document Louis's career. This collection consists of ninety-two volumes from Black's set, sixteen volumes from a similar but not identical set of scrapbooks assembled for Louis, and one oversize miscellaneous volume.

The third set of scrapbooks belonged to John W. Roxborough, Joe's manager or co-manager from 1933 to 1948. It is held by the Bentley Historical Library at the University of Michigan. This set contains ninety-four volumes covering the period 1935 to November 1941. Part of this collection has been microfilmed. Although the numbering of the volumes in each of the three sets is different it appears that each set has the same information.

The scrapbooks contain newspaper clippings from throughout the United States and Canada from 1935 to 1944 and articles from Ring magazine. This collection documents Joe Louis's fights from June 25, 1935, through 1944, including championship fights from June 22, 1937, through September 29, 1941. (The Steve Ketchel fight on January 11, 1937, in Buffalo is not represented. See the scrapbook volume listing at the end of this guide.)

The scrapbooks were assembled with great care using high-quality binding and paper. The clippings are neatly mounted and show great attention to detail. All clippings are identified by the name of the paper; the day of the week and the date; and the author, artist, or photographer. Clippings include full-length articles and brief sketches, cartoons, photographs, and records and statistics of the boxers. The clippings are grouped in volumes by each of Louis's fights and then arranged chronologically.

Hundreds of major and minor newspapers throughout the United States and Canada are represented in the scrapbooks. Coverage extends from very large metropolitan dailies to small-town newspapers. Among the newspapers represented are titles as diverse as: Akron Beacon Journal; Daily Colonist, Victoria, British Columbia; Shreveport Times; Tribune Tulsa; and the Worchester Daily Telegraph.

While these scrapbooks are about the Joe Louis fights, there is a wealth of material on many other people connected with boxing in this period, including all of Joe Louis's opponents, his trainer, his managers, his promoter Mike Jacobs, and most of the sports reporters and writers of the time. Anyone of any importance connected with boxing during this period can be found in the pages of these volumes. There are also retrospective articles on earlier boxers and historical fights.

The two sets of scrapbooks in this collection are numbered separately: the Julian Black Scrapbooks, Volumes 1-92; and the Joe Louis Scrapbooks, Volumes 17-20, 52-58, 61-63, and 71 and 72. Although much of the same material is found in both sets, there are sufficient differences in content and in physical condition of the volumes. The container list indicates the relationship between the two sets. The 109th volume consists of an oversize miscellaneous scrapbook of random news clippings, 1941-1944, of later Louis matches.

Arrangement:

The collection is divided into two series. Clippings arranged chronologically in scrapbooks, grouped in volumes.

Series 1: Julian Black Volumes, 1935-1941

Series 2: Joe Louis Volumes, 1936-1940

Biographical note:

Joe Louis Barrow, the seventh child of Monroe and Lily Barrow, was born May 13, 1914 in a cabin in the cotton fields of Lexington, Alabama. While Joe was still a young boy, his father suffered a mental breakdown and later died in the Searcy State Hospital near mobile, Alabama. His mother later married Pat Brooks, a widower with many children of his own, and the combined family moved to Detroit when Joe was ten.

After an introduction to boxing and lessons by his friend Thurston McKinney, Joe tried his luck at competition. The Brewster East Side Gymnasium became a second home for him. At sixteen he entered his first amateur tournament.

Joe Louis was an outstanding amateur. He lost only four decisions in fifty-four fights, and forty-one of his wins were by a knockout. Joe fought his last amateur fight on April 13, 1934, in St. Louis.

John Roxborough had encouraged Louis as an amateur and became his manager when Joe turned pro. Roxborough hired Jack Blackburn, a boxer himself, to coach and train the young Joe Louis. At this time Roxborough also teamed up with Julian Black of Chicago in a business venture that carried over into the management of Joe Louis.

Joe's professional debut took place in Bacon's Arena in Chicago on July 4, 1934. He decisively defeated Jack Kracken for a fifty-dollar purse. Only four of his first twenty-seven foes lasted all fifteen rounds.

As Joe Louis worked his way up the ladder as a contender for the heavyweight championship he acquired the nickname the "Brown Bomber." On May 14, 1935, one day after his twenty-first birthday, the young pugilist signed a ten-year contract with Julian Black. The contract stipulated that fifty percent of Joe Louis's gross earnings from boxing contests, exhibitions, movies, and radio would go to Julian Black. Jack Blackburn, the trainer, was paid from Joe's portion of the money. John Roxborough, the other manager, claimed "to have a contract for twenty-five percent of Louis's gross earnings for an indefinite period."

The newly organized 20th Century Sporting Club, with Mike Jacobs as promoter, operated in competition with Madison Square Garden. The club signed the promising young boxer to an exclusive contract. Joe's first appearance in a New York ring took place at Yankee Stadium on June 25, 1935, against Primo Carnera. Joe KO'd Carnera in the sixth round. On September 24, 1935, also at Yankee Stadium, Joe knocked out Max Baer in the fourth round.

After winning twenty-seven straight fights, including twenty-three KO's, Louis was the heir apparent to James J. Braddock's heavyweight title. On June 19, 1936 he battled max Schmeling, the former champ who was considered washed up. Schmeling surprised everyone by punishing and then finishing Louis off with a twelfth-round knockout.

A year later, in his thirty-sixth professional fight, Joe Louis won the heavyweight crown at twenty three years of age by defeating Jim Braddock in Chicago in eight rounds. Braddock fought Louis to avoid a fight with Max Schmeling and the possible loss of the title to a German. Braddock, however, insisted on a percentage of Louis's future purses. It is generally believed he received ten percent of all Joe's earnings over a period of fifteen years.

After defeating two easy opponents, Louis met max Schmeling in a dramatic rematch on June 22, 1938. Like Jesse Owens in the Berlin Olympic Games, Louis symbolized American democracy versus an increasingly menacing Nazi Germany. The irony of a black hero representing a racially segregated society in a symbolic battle between freedom and oppression was not lost on all Americans and, although Louis himself was not a political activist, his example added fuel to the movement for racial equality and civil rights. Louis defeated Schmeling in two minutes and four seconds of the first round.

In the following years promoter Jacobs searched for opponents for Louis. After defeating five former champions - Carnera, Baer, Sharkey, Braddock, and Schmeling-the pickings were slim. on January 25, 1939, Joe "squared-off" with the first Black to fight him professionally -- John Henry Lewis (great-great nephew of Tom Molineaux, the first of America's Black heavyweight champions). Lewis was the light-heavyweight champion of the world and a natural 175 "pounder." He and Joe were close personal friends outside of the ring. Nevertheless, Joe totally outclassed Lewis in the ring.

Joe Louis defended his title twenty times before World War II interrupted his career. He was eventually classified 1-A and inducted into the Army. During the winter of 1941-1942 he staged bouts for the Navy and Army. The service relief fund received $75,000 from the purse of each fight. While in the service the Brown Bomber traveled extensively, giving boxing exhibitions and refereeing bouts. For his service on behalf of the armed forces, he received a citation from the United States government.

Louis retired an undefeated champion March 1, 1949. He came out of retirement and lost a fifteen-round decision to Ezzard Charles on September 27, 1950 at Yankee Stadium. He won eight more fights from the end of 1950 until the fall of 1951. However, on October 26, 1951, Louis lost by a knockout in the eighth round to Rocky Marciano. He retired for good after this comeback attempt. For many years after he retired, Joe had income tax problems and other financial problem. He also underwent a brief stay in a Denver psychiatric hospital. Joe Louis died in 1981.

Joe Louis Heavyweight Championship Fights, 1937-1950:

1937 June 22 -- Joe Louis knocked out James J. Braddock, 8 rounds, Chicago.

1937 August 30 -- Joe Louis defeated TOUT Farr, 15 rounds, decision, New York City.

1937 August 30 -- Joe Louis defeated TOUT Farr, 15 rounds, decision, New York City.

1938 February 23 -- Joe Louis knocked Out Nathan Mann, 3 rounds, New York City.

1938 April 1 -- Joe Louis knocked out Harry Thomas, 5 rounds, New York city.

1938 June 22 -- Joe Louis knocked out Max Schmeling, one round,, New York City.

1939 January 25 -- Joe Louis knocked out John H. Lewis, one round, New York City.

1939 April 17 -- Joe Louis knocked out Jack Roper, one round, Los Angeles.

1939 June 28 -- Joe Louis knocked out Tony Galento, 4 rounds, New York city.

1939 September 30 -- Joe Louis knocked out Bob Pastor, 11 rounds, Detroit, Michigan.

1940 February 9 -- Joe Louis defeated Arturo Godoy, 15 rounds,decision, New York City.

1940 March 29 -- Joe Louis knocked out John Paychek, 2 rounds, New York city.

1940 June 20 -- Joe Louis knocked out Arturo Godoy, 8 rounds, New York city.

1940 Decenber 16 -- Joe Louis knocked out Al McCoy, 6 rounds, Boston.

1941 January 31 -- Joe Louis knocked Out Red Burman, 5 rounds, New York city.

1941 February 17 -- Joe Louis knocked out Gus Dorazio, 2 rounds, Philadelphia.

1941 March 21 -- Joe Louis knocked out Abe Simon, 13 rounds, Detroit, Michigan.

1941 April 8 -- Joe Louis knocked out Tony musto, 9 rounds, St. Louis, Misssouri.

1941 May 23 -- Joe Louis beat Buddy Baer, 7 rounds, Washington, D.C., on a disqualification.

1941 June 18 -- Joe Louis knocked out Billy Conn, 13 rounds, New York city.

1941 September 29 -- Joe Louis knocked out Lou Nova, 6 rounds, New York city.

1942 January 9 -- Joe Louis knocked out Buddy Baer, one round,, New York City.

1942 March 27 -- Joe Louis knocked out Abe Simon, 6 rounds, New York city.

1946 June 19 -- Joe Louis knocked out Billy Conn, 8 rounds, New York city.

1946 September 13 -- Joe Louis knocked out Tami Mauriello, one round, New York City.

1947 December 5 -- Joe Louis defeated Joe Walcott in a 15-round bout by a split decision, New York city.

1948 June 25 -- Joe Louis knocked out Joe Walcott 11 rounds, New York city.

1950 September 27 -- Ezzard Charles defeated Joe Louis in latter's attempted comeback, 15 rounds, New York City.

Provenance:

This collection was donated by Mrs. Julian Black in two installments to the Division of Community Life (now the Division of Home and Community Life), National Museum of American History: twenty-two volumes in 1976 and eighty-seven volumes in 1977.

Restrictions:

Due to fragility of the scrapbook volumes, researchers must use the microfiche version located in the Smithsonian Libraries, American History branch. Request call number mfc 000887. See repository for more details.

Rights:

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

Topic:

African American athletes  Search this

Boxers (Sports) -- 1930-1950  Search this

Sports -- 1930-1950  Search this

Boxing  Search this

Genre/Form:

Scrapbooks -- 20th century

Clippings -- 1930-1950

Citation:

Julian Black Scrapbooks of Joe Louis, Archives Center, National Museum of American History, Smithsonian Institution

Identifier:

NMAH.AC.0002

See more items in:

Julian Black Scrapbooks of Joe Louis

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8ead88d28-e45e-4ed0-b6a0-d67c4571230c

EDAN-URL:

ead_collection:sova-nmah-ac-0002

Collector:

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

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

Creator:

White, John H., 1933-  Search this

Extent:

31.33 Cubic feet (94 boxes)

Type:

Collection descriptions

Archival materials

Articles

Color slides

Correspondence

Ephemera

Magazines (periodicals)

Manuscripts

Negatives

Newsclippings

Patents

Photocopies

Photographs

Research

Writings

Date:

1880s-1990

Scope and Contents:

The archivist has arranged the collection into five series. The collections consists of orginal photographs, brochures, advertisements, correspondence, and trade literature as wells as photcopies of same and assembled by John White for many of his books about railroads.

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

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

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

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

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

Series 6: Freight Cars

Series 7: Passenger Cars

Arrangement:

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

Series 1: Car Builders

Series 2: Equipment--Rolling Stock

Subseries 2.1: Articles in progress

Subseries 2.2: Research Files for Books in Progress

Series 3: Locomotives

Series 4: Railroad Companies and Lines

Series 5: Publications

Series 6: Freights Cars

Series 7; Passenger Cars

Historical:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Provenance:

Collection materials donated by Jack White in 1995.

Restrictions:

Collection is open for research.

Rights:

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

Topic:

Freight cars  Search this

Locomotives  Search this

Railroads -- History  Search this

Railroad passenger cars  Search this

Transportation  Search this

Genre/Form:

Articles

Color slides

Correspondence

Ephemera

Magazines (periodicals)

Manuscripts

Negatives

Newsclippings

Patents

Photocopies

Photographs -- 19th century

Photographs -- 20th century

Research

Writings

Citation:

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

Identifier:

NMAH.AC.0523

See more items in:

Division of Transportation Railroad Reference Files

Archival Repository:

Archives Center, National Museum of American History

GUID:

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

EDAN-URL:

ead_collection:sova-nmah-ac-0523

Author:

Bajorek, Jennifer  Search this

Physical description:

xxi, 328 pages illustrations, facsimiles, portraits 26 cm

Type:

Books

History

Place:

Africa, French-speaking West

French-speaking Western Africa

Westafrika

West

Date:

2020

20th century

Topic:

Photography--Political aspects--History  Search this

Photography--Social aspects--History  Search this

Benin  Search this

Senegal  Search this

West Africa  Search this

French-speaking Africa  Search this

decolonization  Search this

democratization  Search this

pictorial works (form)  Search this

Photography--Political aspects  Search this

Photography--Social aspects  Search this

Berichterstattung  Search this

Entkolonialisierung  Search this

Fotografie  Search this

Politik  Search this

Porträtfotografie  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1116422

Author:

Saaze, Vivian van 1975-  Search this

Physical description:

1 online resource (225 pages) illustrations (chiefly color)

Type:

Electronic resources

Electronic books

Date:

2013

20th century

21st century

Topic:

Installations (Art)--Conservation and restoration  Search this

Art, Modern--Conservation and restoration  Search this

Museum exhibits  Search this

Art museums  Search this

History of art--art and design styles  Search this

The arts  Search this

ART--History--General  Search this

Art conservation  Search this

Call number:

N410 .S33 2013 (Internet)

N6494.I56 S23 2013 ONLINE (Internet)

Restrictions & Rights:

OAPEN (Open Access Publishing in European Networks). All rights reserved

1-user

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1147320

Author:

Olson, Charles 1910-1970  Search this

Subject:

Olson, Charles 1910-1970 Family  Search this

Physical description:

x, 55 pages, 2 unnumbered leaves of plates illustrations 21 cm

Type:

Books

Biography

collective biographies

Biographies

Memoirs (form)

Date:

1975

20th century

20e siècle

Topic:

Poets, American--Family relationships  Search this

Poètes américains--Relations familiales  Search this

18.06 Anglo-American literature  Search this

Families  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1160700

Creator:

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

Citation:

Henry Ernest Schnakenberg papers, 1905-1969. Archives of American Art, Smithsonian Institution.

Topic:

Art, Prehistoric  Search this

Painting, Modern -- 20th century  Search this

Etching  Search this

Theme:

Diaries  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9102

(DSI-AAA_SIRISBib)211296

AAA_collcode_schnh

Theme:

Diaries

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211296

Creator:

Yunkers, Adja, 1900-1983  Search this

Names:

Alice Simsar Gallery  Search this

Impressions Gallery of Photography  Search this

Smith Andersen Gallery  Search this

Bjornstjerna, Mikael  Search this

Grossman, Morton, 1926-  Search this

Haley, Donna  Search this

Olsen, Cheryl  Search this

Wood, Denis  Search this

Extent:

2.32 Linear feet ((partially microfilmed on 3 reels))

Type:

Collection descriptions

Archival materials

Date:

1939-1983

Scope and Contents:

REEL N70-16: A typescript (42 p.) address delivered at the Corcoran Museum of Art, 1967, by Yunkers describing his student years in Russia, and later years in Germany, France, and Mexico, ca. 1917-1928, and relating political, social, and cultural events to the development of modern art. He describes Russia before and during the Revolution and Germany during the Weimar Republic. Also included are a resume; a critical bibliography of Yunkers work; typescripts of 2 articles; and clippings.

REEL D251: Printed material, 1941-1965, including newspaper clippings, magazine articles, reviews, exhibition catalogs and announcements, and press releases.

REEL 1023: "Prints in the Desert: New Mexico," 1950, a limited edition book of prints and poetry produced by a collaboration of artists under the leadership of Yunkers.

UNMICROFILMED: Biographical material, including naturalization papers and a passport; files of letters from Mikael Bjornstjerna (1977-1983), Cheryl Bowers (1978-1983), Morton and Chris Grossman (1979-1982), Donna Haley (1982-1983), Denis Wood (1978-1983), Yunker's daughters, including Nina (1979-1983); business and personal correspondence, 1960-1983; files on galleries handling Yunkers' work, including Smith Andersen Gallery (Palo Alto, Calif.), Alice Simsar Gallery (Ann Arbor, Mich.), and Impressions Gallery (Boston, Mass.) containing correspondence, price lists and receipts; a few sketches and a collage; 2 portfolios, "Creation" (1941) and "Ars: Tidskrift for Konst Litterature Och Veteskap" (1942) containing original prints and collages by Yunkers; 2 appointment books, 1980-1983; notes and writings; photographs of Yunkers, Yunkers at work, his family, friends, studio, and art work; photograph albums, including 2 of Yunkers' studios in Stockholm, Sweden, New Mexico, and New York City (1942-1980) and one of exhibition installations, undated; photographs by Denis Hare of the making of Octavio Paz's book BLANCO, illustrated by Yunkers, and slides of prints included in BLANCO; and printed material, including exhibition announcements, clippings and miscellany.

Biographical / Historical:

Abstract painter and printmaker, collagist, and art instructor; New York, N.Y. Died 1983. Born in Riga, Latvia. Studied in Leningrad, Paris, Berlin, and London. He moved to the United States in 1947. Faculty member of the New School for Social Research, 1947-1956; Cooper Union, 1956-1967.

Related Materials:

Adja Yunker papers also at Syracuse University.

Provenance:

Materials on reels D251, N70-16, and 1023 donated by Adja Yunkers, 1966-1970, and transferred to NMAA-NPG Library vertical files after microfilming, except "Prints in the Desert: New Mexico" (REEL 1023). Unmicrofilmed material donated 1984 by Marina and Alexandra Yunkers, Yunkers' daughters.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm.

Unmicrofilmed: ACCESS RESTRICTED; written permission required.

Occupation:

Art teachers -- New York (State) -- New York  Search this

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

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

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

Topic:

Abstract expressionism  Search this

Painting, Abstract -- New York (State) -- New York  Search this

Prints, Abstract -- New York (State) -- New York  Search this

Artists' illustrated books  Search this

Prints -- 20th century  Search this

Identifier:

AAA.yunkadja

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ddbf2fbb-ff0e-4910-8bf2-70c282edc073

EDAN-URL:

ead_collection:sova-aaa-yunkadja

Creator:

Ellington, Duke, 1899-1974  Search this

Names:

Duke Ellington Orchestra  Search this

Washingtonians, The.  Search this

Ellington, Mercer Kennedy, 1919-1996 (musician)  Search this

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

Collector:

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

Extent:

400 Cubic feet

Type:

Collection descriptions

Archival materials

Phonograph records

Papers

Photographic prints

Posters

Sound recordings

Scrapbooks

Music

Clippings

Awards

Audiotapes

Place:

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

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

Washington (D.C.) -- 20th century

Date:

1903 - 1989

Summary:

The collection documents Duke Ellington's career primarily through orchestrations (scores and parts), music manuscripts, lead sheets, transcriptions, and sheet music. It also includes concert posters, concert programs, television, radio, motion picture and musical theater scripts, business records, correspondence, awards, as well as audiotapes, audiodiscs, photographs, tour itineraries, newspaper clippings, magazines, caricatures, paintings, and scrapbooks.

Scope and Contents:

Dating approximately from the time Duke Ellington permanently moved to New York City in 1923 to the time the material was transferred to the Smithsonian Institution in 1988, the bulk of the material in the Duke Ellington Collection is dated from 1934-1974 and comprises sound recordings, original music manuscripts and published sheet music, hand-written notes, correspondence, business records, photographs, scrapbooks, news clippings, concert programs, posters, pamphlets, books and other ephemera. These materials document Ellington's contributions as composer, musician, orchestra leader, and an ambassador of American music and culture abroad. In addition, the materials paint a picture of the life of a big band maintained for fifty years and open a unique window through which to view an evolving American society.

The approximate four hundred cubic feet of archival materials have been processed and organized into sixteen series arranged by type of material. Several of the series have been divided into subseries allowing additional organization to describe the content of the material. For example, Series 6, Sound Recordings, is divided into four subseries: Radio and Television Interviews, Concert Performances, Studio Dates and Non-Ellington Recordings. Each series has its own scope and content note describing the material and arrangement (for example; Series 10, Magazines and Newspaper Articles, is organized into two groups, foreign and domestic, and arranged chronologically within each group). A container list provides folder titles and box numbers.

The bulk of the material is located in Series 1, Music Manuscripts, and consists of compositions and arrangements by Duke Ellington, Billy Strayhorn and other composers. Series 6, Sound Recordings also provides a record of the performance of many of these compositions. The materials in Series 2, Performances and Programs, Series 3, Business Records, Series 8, Scrapbooks, Series 9, Newspaper Clippings, Series 11, Publicity and Series 12, Posters provide documentation of specific performances by Duke Ellington and His Orchestra. Ellington was a spontaneous and prolific composer as evidenced by music, lyrical thoughts, and themes for extended works and plays captured on letterhead stationery in Series 3, Business Records, in the margin notes of individual books and pamphlets in Series 14, Religious Materials and Series 15, Books, and in the hand-written notes in Series 5, Personal Correspondence and Notes.

During its fifty-year lifespan, Duke Ellington and His Orchestra were billed under various names including The Washingtonians, The Harlem Footwarmers and The Jungle Band. The soloists were informally called "the band", and Series 3 includes salary statements, IOU's, receipts and ephemera relating to individual band members. Series 1, Music Manuscripts contains the soloists' parts and includes "band books" of several soloists (for example; Harry Carney and Johnny Hodges) and numerous music manuscripts of Billy Strayhorn. The changing role of Strayhorn from arranger hired in 1938 to Ellington's main collaborator and composer of many well-known titles for Duke Ellington and His Orchestra including "Take The A' Train" and "Satin Doll" can be traced in these music manuscripts. Series 7, Photographs and Series 2, Performances and Programs contain many images of the band members and Strayhorn. This Collection also documents the business history of Duke Ellington and His Orchestra. Series 3, Business Records contains correspondence on letterhead stationery and Series 11, Publicity contains promotional material from the various booking agencies, professional companies, and public relations firms that managed the Orchestra.

The materials in the Duke Ellington Collection provide insight into public and institutional attitudes towards African Americans in mid-twentieth-century America. The business records in Series 3 beginning in 1938 and published sheet music in Series 1 depict Duke Ellington's progression from an African-American musician who needed "legitimization" by a white publisher, Irving Mills, to a businessmen who established his own companies including Tempo Music and Duke Ellington, Incorporated to control his copyright and financial affairs. Programs from the segregated Cotton Club in Series 2, Performances And Programs and contracts with no-segregation clauses in Series 3: Business Records further illustrate racial policies and practices in this time period. The public shift in perception of Duke Ellington from a leader of an exotic "Jungle Band" in the 1930s to a recipient of the Congressional Medal Of Freedom in 1970 is evidenced in Series 2, Performances And Programs, Series 12, Posters, Series 7, Photographs and Series 13, Awards. Reviews and articles reflecting Ellington's evolving status are also documented in Series 8, Newspaper Clippings, Series 9, Scrapbooks, Series 10, Newspaper and Magazine Articles.

The materials in the Duke Ellington Collection reflect rapid technological changes in American society from 1923-1982. Sound recordings in Series 6 range from 78 phonograph records of three minutes duration manufactured for play on Victrolas in monaural sound to long-playing (LP) phonograph records produced for stereo record players. Television scripts in Series 4, programs in Series 2 and music manuscripts (for example, Drum Is A Woman) in Series 1 demonstrate how the development of television as a means of mass communication spread the Orchestra's sound to a wider audience. The availability of commercial air travel enabled the Ellington Orchestra to extend their international performances from Europe to other continents including tours to Asia, Africa, South America and Australia and archival material from these tours is included in every series.

Series 4, Scripts and Transcripts and Series 6, Audio Recordings contain scripts and radio performances promoting the sale of United States War bonds during World War II, and Series 7, Photographs includes many images of Duke Ellington and His Orchestra's performances for military personnel revealing the impact of historic events on Duke Ellington and His Orchestra. Series 2: Programs and Performances, Series 9, Newspaper clippings and Series 8, Scrapbooks document the 1963 Far East tour aborted as a result of President John F. Kennedy's assassination.

The Duke Ellington Collection contains works by numerous twentieth-century music, literature, and art luminaries. Series 1, Music Manuscripts contains original music manuscripts of William Grant Still, Eubie Blake, Mary Lou Williams, and others. Series 4, Scripts and Transcripts contains a play by Langston Hughes, and Series 12, Posters contains many original artworks.

Arrangement:

Series 1: Music Manuscripts, circa 1930-1981, undated

Series 2: Performances and Programs, 1933-1973, undated

Series 3: Business Records, 1938-1988

Series 4: Scripts and Transcripts, 1937-1970

Series 5: Personal Correspondence and Notes, 1941-1974, undated

Series 6: Sound Recordings, 1927-1974

Series 7: Photographs, 1924-1972, undated

Series 8: Scrapbooks, 1931-1973

Series 9: Newspaper Clippings, 1939-1973, undated

Series 10: Magazine Articles and Newspaper Clippings, 1940-1974

Series 11: Publicity, 1935-1988

Series 12: Posters and Oversize Graphics, 1933-1989, undated

Series 13: Awards, 1939-1982

Series 14: Religious Material, 1928-1974

Series 15: Books, 1903-1980

Series 16: Miscellaneous, 1940-1974

Biographical / Historical:

A native of Washington, DC, Edward Kennedy Ellington was born on April 29, 1899. Edward was raised in a middle-class home in the Northwest section of Washington described by his sister Ruth--younger by sixteen years--as a "house full of love." Ellington himself wrote that his father J.E. (James Edward) raised his family "as though he were a millionaire" but Edward was especially devoted to his mother, Daisy Kennedy Ellington. In 1969, thirty-four years after his mother's death, Ellington accepted the Presidential Medal of Freedom with these words, "There is nowhere else I would rather be tonight but in my mother's arms." Both his parents played the piano and Ellington began piano lessons at the age of seven, but like many boys he was easily distracted by baseball.

In his early teens, Ellington sneaked into Washington clubs and performance halls where he was exposed to ragtime musicians, including James P. Johnson, and where he met people from all walks of life. He returned in earnest to his piano studies, and at age fourteen wrote his first composition, "Soda Fountain Rag" also known as "Poodle Dog Rag." Ellington was earning income from playing music at seventeen years of age, and around this time he earned the sobriquet "Duke" for his sartorial splendor and regal air. On July 2, 1918, he married a high school sweetheart, Edna Thompson; their only child, Mercer Kennedy Ellington, was born on March 11, 1919. Duke Ellington spent the first twenty-four years of his life in Washington's culturally thriving Negro community. In this vibrant atmosphere he was inspired to be a composer and learned to take pride in his African-American heritage.

Ellington moved to New York City in 1923 to join and eventually lead a small group of transplanted Washington musicians called "The Washingtonians," which included future Ellington band members, Sonny Greer, Otto Hardwicke and "Bubber" Miley. Between 1923 and 1927, the group played at the Club Kentucky on Broadway and the ensemble increased from a quintet to a ten-piece orchestra. With stride pianist Willie "The Lion" Smith as his unofficial guide, Ellington soon became part of New York's music scene; Smith proved to be a long-lasting influence on Duke's composing and arranging direction. At the Club Kentucky, Ellington came under the tutelage of another legendary stride pianist, "Fats" Waller. Waller, a protege of Johnson and Smith, played solos during the band's breaks and also tutored Ellington who began to show progress in his compositions. In November 1924, Duke made his publishing and recording debut with "Choo Choo (I Got To Hurry Home)" released on the Blu-Disc label. In 1925, he contributed two songs to Chocolate Kiddies, an all-black revue which introduced European audiences to black American styles and performers. By this time Ellington's family, Edna and Mercer, had joined him in New York City. The couple separated in the late 1920's, but they never divorced or reconciled.

Ellington's achievements as a composer and bandleader began to attract national attention while he worked at the Cotton Club in Harlem, New York City, from 1927 to 1932. The orchestra developed a distinctive sound that displayed the non-traditional voicings of Ellington's arrangements and featured the unique talents of the individual soloists. Ellington integrated his soloists' exotic-sounding trombone growls and wah-wahs, their high-squealed trumpets, their sultry saxophone blues licks and Harlem's street rhythms into his arrangements. In the promotional material of the Cotton Club, the band was often billed as "Duke Ellington and His Jungle Band." With the success of compositions like "Mood Indigo," and an increasing number of recordings and national radio broadcasts from the Cotton Club, the band's reputation soared.

The ten years from 1932 to 1942 are considered by some major critics to represent the "golden age" for the Ellington Orchestra, but it represents just one of their creative peaks. These years did bring an influx of extraordinary new talent to the band including Jimmy Blanton on double bass, Ben Webster on tenor saxophone, and Ray Nance on trumpet, violin and vocals. During this ten year span Ellington composed several of his best known short works, including "Concerto For Cootie," "Ko-Ko," "Cotton Tail," "In A Sentimental Mood," and Jump For Joy, his first full-length musical stage revue.

Most notably, 1938 marked the arrival of Billy Strayhorn. While a teenager in Pittsburgh, Pennsylvania, Strayhorn had already written "Lush Life," "Something To Live For" and a musical, Fantastic Rhythm. Ellington was initially impressed with Strayhorn's lyrics but realized long before Billy's composition "Take the A' Train" became the band's theme song in 1942 that Strayhorn's talents were not limited to penning clever lyrics. By 1942, "Swee' Pea" had become arranger, composer, second pianist, collaborator, and as Duke described him, "my right arm, my left arm, all the eyes in the back of my head, my brain waves in his head, and his in mine." Many Ellington/Strayhorn songs have entered the jazz canon, and their extended works are still being discovered and studied today. Strayhorn remained with the Ellington Organization until his death on May 30, 1967.

Ellington had often hinted of a work in progress depicting the struggle of blacks in America. The original script, Boola, debuted in Carnegie Hall in November of 1943, retitled Black, Brown and Beige. The performance met with mixed reviews, and although Ellington often returned to Carnegie Hall the piece was never recorded in a studio, and after 1944 was never performed in entirety again by the Ellington Orchestra. Nonetheless, it is now considered a milestone in jazz composition.

After World War II the mood and musical tastes of the country shifted and hard times befell big bands, but Ellington kept his band together. The band was not always financially self-sufficient and during the lean times Ellington used his songwriting royalties to meet the soloists' salaries. One could assign to Ellington the altruistic motive of loyalty to his sidemen, but another motivation may have been his compositional style which was rooted in hearing his music in the formative stage come alive in rehearsal. "The band was his instrument," Billy Strayhorn said, and no Ellington composition was complete until he heard the orchestra play it. Then he could fine tune his compositions, omit and augment passages, or weave a soloist's contribution into the structure of the tune.

In 1956, the American public rediscovered Duke and the band at the Newport Jazz Festival in Rhode Island. The searing performances of tenor saxophonist Paul Gonsalves on "Diminuendo and Crescendo In Blue," his premiere soloist, alto saxophonist Johnny Hodges on "Jeep's Blues", and the crowd's ecstatic reaction have become jazz legend. Later that year Duke landed on the cover of Time magazine. Although Ellington had previously written music for film and television (including the short film, Black and Tan Fantasy in 1929) it wasn't until 1959 that Otto Preminger asked him to score music for his mainstream film, Anatomy of a Murder, starring Jimmy Stewart. Paris Blues in 1961, featuring box-office stars Paul Newman and Sidney Poitier in roles as American jazz musicians in Paris, followed.

Ellington's first performance overseas was in England in 1933, but the 1960s brought extensive overseas tours including diplomatic tours sponsored by the State Department. Ellington and Strayhorn composed exquisite extended works reflecting the sights and sounds of their travels, including the Far East Suite, 1966. They wrote homages to their classical influences; in 1963, they adapted Tchaikovsky's Nutcracker Suite and celebrated Shakespeare's works with the suite Such Sweet Thunder in 1957. With Ella Fitzgerald, they continued the Norman Granz Songbook Series. Ellington also began to flex his considerable pianist skills and recorded albums with John Coltrane (1963), Coleman Hawkins (1963), Frank Sinatra, and Money Jungle (1963) with Charles Mingus and Max Roach. The First Sacred Concert debuted in San Francisco's Grace Cathedral in 1965. In his final years, Ellington's thoughts turned to spiritual themes and he added a Second (1968) and Third (1973) Concert of Sacred Music to his compositions.

In his lifetime, Duke received numerous awards and honors including the highest honor bestowed on an American civilian, the Congressional Medal Of Freedom. In 1965, Ellington was recommended for a Pulitzer Prize to honor his forty years of contribution to music but the recommendation was rejected by the board. Most likely he was disappointed, but his response at the age of sixty-six was, "Fate is being kind to me. Fate doesn't want me to be famous too young."

Ellington never rested on his laurels or stopped composing. Whenever he was asked to name his favorite compositions his characteristic reply was "the next five coming up," but to please his loyal fans Ellington always featured some of his standards in every performance. Even on his deathbed, he was composing the opera buffo called Queenie Pie.

Duke Ellington died on May 24, 1974 at seventy-five years of age. His funeral was held in New York's Cathedral of St. John The Divine; he was buried in Woodlawn Cemetery. His long-time companion Beatrice "Evie" Ellis was buried beside him after her death in 1976. He was survived by his only child, Mercer Kennedy Ellington, who not only took up the baton to lead the Duke Ellington Orchestra but assumed the task of caring for his father's papers and his legacy to the nation. Mercer Ellington died in Copenhagan, Denmark on February 8, 1996, at the age of seventy-six. Ruth Ellington Boatwright died in New York on March 6, 2004, at the age of eighty-eight. Both Mercer and Ruth were responsible for shepherding the documents and artifacts that celebrate Duke Ellington's genius and creative life to their current home in the Smithsonian Institution's National Museum of American History.

Related Materials:

Materials in the Archives Center

William H. Quealy Collection of Duke Ellington Recordings (AC0296)

Rutgers University Collection of Radio Interviews about Duke Ellington (AC0328)

Duke Ellington Oral History Project (AC0368)

Duke Ellington Collection of Ephemera and realated Audiovisual Materials (AC0386)

Annual International Conference of the Duke Ellington Study Group Proceedings (AC0385)

Robert Udkoff Collection of Duke Ellington Ephemera (AC0388)

Frank Driggs Collection of Duke Ellington Photographic Prints (AC0389)

New York Chapter of the Duke Ellington Society Collection (AC390)

Earl Okin Collection of Duke Ellington Ephemera (AC0391)

William Russo Transcription and Arrangement of Duke Ellington's First Concert of Sacred Music (AC0406)

Ruth Ellington Collection of Duke Ellington Materials (AC0415)

Music manuscripts in the Ruth Ellington Collection complement the music manuscripts found in the Duke Ellington Collection.

Carter Harman Collection of Interviews with Duke Ellington (AC0422)

Betty McGettigan Collection of Duke Ellington Memorabilia (AC0494)

Dr. Theodore Shell Collection of Duke Ellington Ephemera (AC0502)

Edward and Gaye Ellington Collection of Duke Ellington Materials (AC0704)

Andrew Homzy Collection of Duke Ellington Stock Music Arrangements (AC0740)

John Gensel Collection of Duke Ellington Materials (AC0763)

Al Celley Collection of Duke Ellington Materials (AC1240)

Materials at Other Organizations

Institute of Jazz Studies

Separated Materials:

Artifacts related to this collection are in the Division of Culture and the Arts (now Division of Cultural and Community Life) and include trophies, plaques, and medals. See accessions: 1989.0369; 1991.0808; 1993.0032; and 1999.0148.

"

Provenance:

The collection was purchased through an appropriation of Congress in 1988.

Restrictions:

Collection is open for research but the original and master audiovisual materials are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

Rights:

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

Copyright restrictions. Consult the Archives Center at archivescenter@si.edu or 202-633-3270.

Paul Ellington, executor, is represented by:

Richard J.J. Scarola, Scarola Ellis LLP, 888 Seventh Avenue, 45th Floor, New York, New York 10106. Telephone (212) 757-0007 x 235; Fax (212) 757-0469; email: rjjs@selaw.com; www.selaw.com; www.ourlawfirm.com.

Occupation:

Composers -- 20th century  Search this

Topic:

Big bands  Search this

Pianists  Search this

Bandsmen -- 20th century  Search this

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

Musicians -- 20th century  Search this

Music -- Performance  Search this

African American entertainers -- 20th century  Search this

African Americans -- History  Search this

Popular music -- 20th century -- United States  Search this

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

African American musicians  Search this

Genre/Form:

Phonograph records

Papers

Photographic prints

Posters

Sound recordings

Scrapbooks -- 20th century

Music -- Manuscripts

Clippings

Awards

Audiotapes

Citation:

Duke Ellington Collection, Archives Center, National Museum of American History

Sponsor:

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

Identifier:

NMAH.AC.0301

See more items in:

Duke Ellington Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep850a376a1-6b6d-48bc-9076-cffef76fea2c

EDAN-URL:

ead_collection:sova-nmah-ac-0301

Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

0.23 Cubic feet (consisting of .5 box.)

Type:

Collection descriptions

Archival materials

Business ephemera

Ephemera

Date:

circa 1916-1977

Summary:

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

Scope and Contents:

This subject category- Social Services- contains materials from social service agencies in New York and Washington, D.C. The bulk of the materials are from the mid 20th century. Researchers interested in the work of social service agencies during the early to mid 20th century will find this information useful.

Series 1, Agencies, circa 1916-1977, consists of materials from social service agencies. Items include a rally announcement from the Congress of Senior Citizens of Greater New York, a pamphlet from the Social Security Administration on the Social Security Amendments of 1965, a book from the American Institute of Social Service "Discussions, Plans of Organization and Programs of Work – Constitution and By-Laws" (1916), and a book from the Social Security Administration "General Agreement Between Social Security Administration Headquarters Bureaus and Offices in Baltimore (DHEW) and SSA Local 1923 American Federation of Government Employees, AFL-CIO" (1977). Materials are arranged alphabetically by agency.

Series 2, Publications, circa 1935, contains the informational brochure "Community Study, Social Work & Books" published in 1935 by the Columbia University Press in New York.

Materials in the Archives Center:

Archives Center Collection of Business Americana (AC0404)

Forms Part Of:

Forms part of the Warshaw Collection of Business Americana.

Missing Title

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material

Provenance:

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

Restrictions:

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

Rights:

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

Genre/Form:

Business ephemera

Ephemera

Citation:

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

Identifier:

NMAH.AC.0060.S01.01.Social

See more items in:

Warshaw Collection of Business Americana Subject Categories: Social Services

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep850bedd6c-a76f-4135-9d6b-55bcc386a4c6

EDAN-URL:

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

Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

0.23 Cubic feet (consisting of .5 box. )

Type:

Collection descriptions

Archival materials

Ephemera

Business ephemera

Date:

circa 1879-1965

Summary:

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

Scope and Contents:

This subject category- Socialism-consists of materials dealing with Socialism. It is primarily lecture notices, campaign information, and booklets on Socialism. The bulk of the materials are from the early 20th century and from the New York and Philadelphia area. Researchers looking for information on Socialism, particularly from the early 20th century will find this information useful.

Series 1, Organizations, circa 1894-1965; undated, consists of materials from various Socialist organizations. Most of the materials are from the Socialist Labor Party. There are notices of lectures and campaign rally speeches, booklets and articles on Socialism, applications for party membership with a quote from Eugene V. Debs, a party membership card for Rufus Suits, and party propaganda articles from the Socialist Labor Party of New York. There is also some campaign information. Most of the organizations are from either Philadelphia or New York City but there is one from St. Louis, Missouri. The bulk of the materials are from the early 20th century. Researchers might find the materials in folder 4 particularly interesting. There is an article on the New York state party platform from 1946, an article called "The Union Label: Twice a Fraud", and a ca.1965 article called "Angry… Frustrated… Over Vietnam?" Materials are arranged alphabetically according to the organization.

Series 2, Publications, circa 1896-1956, consists of publications about Socialism.

Subseries 2a, Periodicals, circa 1897-1901, contain two periodicals. One is called "Railroading in the United States" from the Socialist Library (1901) and the other is called "Socialism" from the Labor Library (1897). Materials are arranged alphabetically according to article title.

Subseries 2b, General, circa 1896-1956, contains other publications, mostly booklets, concerning Socialism. Materials are arranged alphabetically according to booklet title with a foreign publication in the last folder of the series.

Series 3, Related Information, circa 1879-1913; undated, consists of miscellaneous materials on Socialism. There is a lecture notice from 1913 printed in German with the lecture to be held in Philadelphia. There is also a notice with "Opinions of the Press" on three books by Rev. M. Kaufmann, an undated excerpt from "The Penny Magazine" and an undated lyrics sheet for "The Marsellaise" and "The March of the Workers". All of these materials are in one folder.

Materials in the Archives Center:

Archives Center Collection of Business Americana (AC0404)

Forms Part Of:

Forms part of the Warshaw Collection of Business Americana.

Missing Title

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material

Provenance:

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

Restrictions:

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

Rights:

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

Genre/Form:

Ephemera

Business ephemera

Citation:

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

Identifier:

NMAH.AC.0060.S01.01.Socialism

See more items in:

Warshaw Collection of Business Americana Subject Categories: Socialism

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep86ca89344-2f2f-49f1-9323-170467894f7f

EDAN-URL:

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

Creator:

Mundel, Marvin Everett, 1916-1996 (industrial engineer)  Search this

Names:

A.O. Smith Company  Search this

Aji-no-moto Corporation  Search this

Albert Trostel and Sons  Search this

Aluminum Goods Manufacturing Comp  Search this

American Colortype Company  Search this

American Institute of Industrial Engineers  Search this

Asian Productivity organization  Search this

Barbar and Coleman  Search this

Bridgestone  Search this

Briggs & Stratton Corporation  Search this

Buffalo China Company  Search this

Cindahy Brothers Company  Search this

College of Technology Birmingham, England  Search this

E.I. du Pont de Nemours & Company  Search this

Gardner Board and Carton Company  Search this

Hamilton Manufacturing Company  Search this

Herbst Shoe Manufacturing Company  Search this

Japan Productivity Center  Search this

Japanese Management Association  Search this

Kanaki Gear Plant  Search this

Kanebo Spinning Co.  Search this

Kawasake Dockyard  Search this

Lockheed Shipbuilding and Construction Comp  Search this

Milwaukee Dental Research Group  Search this

Milwaukee Gas Company  Search this

Mitsubishi Heavy Industries Ltd.  Search this

Nihon Denso  Search this

Nippon Electric Company  Search this

Nippon Kokan Tsurumi  Search this

Pillsbury Mills  Search this

Purdue University  Search this

S.C. Johnson and Son  Search this

Society for the Advancement of Management  Search this

Stephan A. Young Company  Search this

Sumitomo  Search this

Walgreen's  Search this

Western Printing and Lithography Corp  Search this

Westover Engineers  Search this

Yanmar Diesel Engine Company  Search this

Deming, Edwards  Search this

Gambrell, C.B.  Search this

Extent:

15 Cubic feet (36 boxes)

75 Motion picture films

Type:

Collection descriptions

Archival materials

Motion picture films

Photographs

Field notes

Motion photographs

Diagrams

Loop films

Motion pictures (visual works)

Transparencies

Correspondence

Charts

Place:

United States Navy Long Beach Naval Shipyard

United States Rock Island Arsenal

Date:

1937-1996

Summary:

The Marvin E. Mundel Industrial Engineering Collection contains correspondence, reports, data, notes, publications, books, charts, certificates, awards, writings, photographs, films and videos that document the life and career of Marvin Mundel, a well-known expert in the field of work management and productivity enhancement.

Scope and Contents:

The Marvin E. Mundel Industrial Engineering Collection contains correspondence, reports, data, notes, publications, books, charts, certificates, awards, writings, photographs, films and videos that document the life and career of Marvin Mundel and demonstrate his work practices and teaching techniques.

The collection is organized chronologically into eleven series: Biographical Materials, Writings, Industrial Engineering, Work Methods, Purdue University, Time and Motion Study, Government Work, Japanese Consulting, Asian Productivity Organization, Dupont Case Study, and Films and Videos. While the years in each series may overlap, the separation of series demonstrates the evolution of Mundel's work and teachings. Photographs can be found throughout the collection. Information about the film and video series is located in Appendix A.

Series 1, Biographical Materials, 1953-1996, consists of documentation about Mundel and his career. The series contains bibliographies and curriculum vitae, correspondence, documentation on his memberships in Industrial Engineering groups, photographs, and certificates.

Series 2, Writings, 1937-1994, brings together Mundel's papers, speeches, books, and publications. When possible, the writings are arranged chronologically. The remaining writings are arranged by topic. This series should not be considered a definitive bibliography of Mundel's writings.

Series 3, Industrial Engineering, 1954-1995, combines Mundel's research with correspondence to and from other Industrial Engineers. It also includes Mundel's contributions to the Encyclopedia Britannica on "Industrial Engineering," "Work Measurement," and "Memomotion."

Series 4, Work Methods, undated, contains documents such as forms, office procedure manuals, visual aids, and printed matter about office equipment that offer insight into Mundel's work methods and innovative methods of making his own office more efficient.

Series 5, Purdue University, 1951-1957, documents his teaching career at the Industrial Engineering Department as well correspondence from his trip to England where he taught classes on industrial engineering.

Series 6, Time and Motion Study, 1952-1984, includes notes, data, printed matter, correspondence, charts, and photographs from his consultant work for various companies. This series contains seven subseries: Subseries 1, Consulting Work, 1954-1966; Subseries 2, Correspondence, 1956-1960; Subseries 3, Course work, undated; Subseries 4, Equipment, undated; Subseries 5, Film, 1952-1984; Subseries 6, Memberships, 1970-1977; and Subseries 7, Research, 1957.

Subseries 1, Consulting work, 1954-1966, contains correspondence and data from the corporations that hired Mundel as a consultant. Subseries 2, Correspondence, 1956-1960, the contains letters to and from people with diverse interests in time and motion study. Many people wrote to Mundel asking for advice with projects. Visual aids and handouts make up Subseries 3, Course work. In order to create memomotion, Mundel needed to refine certain electrical and motor parts on the cameras and projectors with which he worked. Subseries 4, Equipment, undated, have brochures on many different kinds of motors and switches. Subseries 5, Film, 1952-1984, contains most of the documentation that relates directly to films and video cassettes in this collection. Mundel was active in many organizations related to industrial engineering that shared his interests in time and motion study. Finally, copies and clippings make up the research subseries, 1957.

Series 7, Government Work, 1952-1971, documents Mundel's work for the government, from his work at Rock Island Arsenal to seminars for NASA. This series contains correspondence, data, reports, course work, visual aids, and photographs. The consulting work is arranged in a chronological manner and, in some instances, alphabetically.

Series 8, Japanese Consulting, 1959-1987, documents Mundel's consulting work for Japanese corporations. The files are arranged alphabetically by company and contain research, data, charts, notes, reports, and correspondence about each manufacturing firm. His notebooks and trip files give insight into his cultural understanding of Japanese firms and his teaching practices. Of special interest are the notebooks that contain photographs and firsthand experiences of adapting to Japanese culture and understanding Japanese work practices.

Series 9, Asian Productivity Organization, 1973-1994, consists of year and country files of Mundel's seminars throughout the Far East. The course work, notes, visual aids, reports, and photographs demonstrate Mundel's shift in emphasis from work measurement to managerial organization. This series also contains books published by the Asian Productivity Organization (APO) that give a context to Mundel's work and writings.

Series 10, Dupont Case Study, 1978-1984, contains correspondence, data, notes, reports, research, and visual aids concerning one of the many American companies where Mundel consulted. Dupont was selected because of its prominence in the American business world.

Series 11, Films and Videos, circa 1939-1973, is comprised of 16mm films and 1⁄2" VHS videocassette tapes. The bulk of the series is 16mm films. The films relate to the documents in Series 6: Time and Motion Studies. There are six subseries: Rating Films, 1939-1973; Memomotion Films, circa 1948-1959; Multi-Image Loops, circa, 1956-1958; Instructional Films, circa 1939-1962; Travel Films, circa 1955-1958 and Papers, undated.

Films are labeled either OF, RF, OV, or RV, for Original Film, Reference Film, Original Video, and Reference Video, respectively. [Example: For "676.24 OF Roll Edge on Sheet Metal Disc, circa 1960 (REF. FILM 676.24 and REF. VIDEO 676.70)," 676 is the collection number; 24 is the item number; OF means original film; "Roll Edge on Sheet Metal Disc" is the title; 1960 is the date followed by any reference copies. In this case there are both a reference film and a reference video. The Archives Center will eventually have reference copies for all of the films. for researchers to view.

Subseries 1, Rating Films, circa 1939-1973, represents Mundel's work with rating or pace films. This technique films a worker doing a repetitive work unit and allows trained motion study analysts to establish time standards. These films show a wide variety of jobs held by both men and women, American workers and Japanese workers. There are three groups of films:

Demonstration Rating Films: These films have the same format as titles with 10 scenes of workers doing a work unit at different paces. The films are arranged according to Mundel's numerical system and retain the original titles. These films should be projected at 1000 frames per minute.

Poultry Rating Films: These are rating films that Mundel did for the USDA and the Consumer Protection Programs.

Miscellaneous Films: These are Mundel's rating films for Tung Sol, ASF, Woods Veterans Hospital, and Montfort. There is also a rating film taken by an English company.

Subseries 2, Memomotion Films, circa 1948-1959, includes memomotion examples that were incorporated into instructional films. Memomotion is a filming technique created by Mundel. Time and motion analysts film a non-repetitive or extended crew activity at one frame per second and then project the film at normal speed. In this manner, the analyst can record a longer work period at a fraction of the cost and be able to analyze the film much more quickly. Memomotion is often used in conjunction with work flow diagrams.

Subseries 3, Multi-Image Loops, circa 1956-1958, combines seven of Mundel's multi-image loops onto one film core. The films display twelve images of rating films at the same time. The worker in each image is working at a different pace (fastest in the top left-hand corner and the slowest in the bottom right-hand corner). Time and motion study analysts could watch the loops for as long as they needed to get an idea of what the range of paces for a certain job could be. The loops were disassembled and spliced together for preservation and viewing purposes.

Subseries 4, Instructional Films, circa 1939-1962, includes Mundel's attempts to educate others about his filming techniques and overall industrial engineering themes. The films teach ways to improve productivity through motion studies, how to make memomotion films, and the College of Technology, Birmingham, England's method of making microscope slides.

Subseries 5, Travel Films, circa 1955-1958, includes films that combine Mundel's love for travel and different cultures with film documentation of Japanese seminars.

Subseries 6, Papers, undated, contains papers directly related to the films. Of importance are the rating sheets which associate different percentages of efficiency to the paces in the film.

Arrangement:

This collection is divided into eleven series.

Series 1, Biographical Materials, 1953-1996

Series 2, Writings, 1937-1994

Subseries 1, Books, 1942-1994

Subseries 2, Papers, 1959-1989, undated

Subseries 3, Publications, 1937-1993, undated

Subseries 4, Speeches, undated

Subseries 5, University of Iowa Studies, 1938-1940

Series 3, Industrial Engineering, 1954-1995

Series 4, Work Methods, undated

Series 5, Purdue University, 1951-1957

Series 6, Time and Motion Study, 1952-1984

Subseries 1, Consulting Work, 1954-1966

Subseries 2, Correspondence, 1956-1960

Subseries 3, Course Work, undated

Subseries 4, Equipment, undated

Subseries 5, Film, 1952-1984

Subseries 6, Memberships-Industrial Management Society, 1970-1977

Subseries 7, Research, 1957

Series 7, Government Work, 1952-1971

Subseries 1, General, 1955-1967, undated

Subseries 2, Rock Island Arsenal, 1952-1958

Subseries 3, Consulting, 1959-1971

Subseries 4, Seminars, 1963-1969

Series 8, Japanese Consulting, 1959-1987

Subseries 1, Consulting, 1961-1980

Subseries 2, Correspondence, 1959-1980

Subseries 3, Keio University, 1960-1961

Subseries 4, Memberships, 1959-1987

Subseries 5, Notes, undated

Subseries 6, Photographs, undated

Subseries 7, Scrapbooks, 1960-1965

Subseries 8, Seminars, 1959-1967

Series 9, Asian Productivity Organization, 1973-1994

Subseries 1, Annual Reports, 1973-1994

Subseries 2, Books, 1985-1989

Subseries 3, General, 1976-1995, undated

Subseries 4, Seminars, 1973-1989

Subseries 5, Presentation Album of Jakarta Seminar, 1973

Series 10, DuPont Case Study, 1978-1984

Series 11, Films and Videos, circa 1939-1973

Subseries 1, Rating Films, circa 1939-1973

Subseries 2, Memomotion Films, circa 1948-1959

Subseries 3, Multi-Image Loops, circa 1956-1958

Subseries 4, Instructional Films, circa 1939-1962

Subseries 5, Travel Films, circa 1955-1958

Subseries 6, Papers, undated

Biographical / Historical:

Marvin Everett Mundel, born April 20, 1916, was a major figure in the fields of industrial engineering and time and motion studies. He is known particularly for his consulting work, seminars and teaching, as well as numerous publications based on his expertise in work management and productivity enhancement. He began his engineering career in 1936 with a B.S. in Mechanical Engineering from New York University (1936), followed by an M.S. and Ph.D. in Industrial Engineering earned in 1938 and 1939, respectively, from the State University of Iowa.

In the late 1930s and 1940s, work measurement studies were considered the state-of-the-art method for improving industrial production. Mundel continued and built upon the achievements of pioneers Frank and Lillian Gilbreth during his teaching career at both Bradley and Purdue Universities. He also conducted seminars at Marquette University Management Center and the University of Wisconsin's Extension Center in Milwaukee. In addition to his American teaching career, Mundel was a visiting professor at both the University of Birmingham in England and Keio University in Tokyo, Japan.

In 1952, Mundel started a consulting firm which aided corporations and governments in either work measurement consulting or, later in his career, industrial engineering consulting. His first clients were United States government agencies that wanted to gain control over lost revenue or manpower. His position from 1952 to 1953 at the Rock Island Arsenal in Illinois, as the first Director of the Army Management Engineering Training Program, transformed management techniques in the Army.

After his employment at Rock Island, Mundel began a series of consultant roles with corporations eager to standardize labor practices and make production more efficient. From 1953 to 1963, Mundel conducted time and motion studies at various manufacturing companies and developed techniques to measure work units. His most important contribution to the field of time and motion study was the development of memomotion, a stop-action filming technique used to determine time standards for work tasks.

Following his refinements of time and motion study, Mundel took his expertise to Japan where he offered his consultant services to various Japanese manufacturing firms during the 1960s. His interests evolved from time and motion studies to include work management and overall management organization consulting. During the 1960s and 1970s, Mundel also returned to government consulting in the United States with these new techniques, in offices such as the Bureau of the Budget and United States Department of Agriculture. This period marked an important evolution in Mundel's career, from time and motion study to work measurement and then to industrial consulting. Mundel was among the first consultants to export American management techniques to Japan, and, in his later career, to other Asian countries. He became an integral part of the Asian Productivity Organization, a group that helped developing Asian countries learn how to increase productivity. His seminars sought to provide corporations and governments with efficient management techniques so that Asia would become a strong economic center. Mundel was sensitive to cultural differences as well as varied methods of management and standards of productivity.

Mundel won the Gilbreth Award in 1982. He continued conducting seminars and writing books and articles well into the 1980s, until failing health prevented him from traveling. When Mundel died in 1996, he was well respected in the field of industrial engineering for his many contributions.

Provenance:

This collection was donated to the Archives Center at the National Museum of American History by Marvin Mundel's wife, Takako Mundel, in January, 1999.

Restrictions:

The collection is open for research use.

Rights:

Copyright held by the Smithsonian Institution. Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Hospitals -- Materials management  Search this

Food processing plants  Search this

Industrial productivity -- measurements  Search this

Industrial films  Search this

Government consultants -- Asia -- Japan  Search this

Government productivity -- Japan  Search this

Machine shops  Search this

Slaughtering and slaughter-houses  Search this

Machinery industry  Search this

Punched card systems -- Machinery  Search this

Steel founding  Search this

Steel industry and trade  Search this

Plant layout  Search this

Diesel motor industry  Search this

Meat -- Packing  Search this

Shipbuilding industry  Search this

Meat inspection  Search this

Meat industry and trade  Search this

Pharmaceutical industry  Search this

Materials handling  Search this

Poultry -- Inspection  Search this

Dental offices  Search this

Box making  Search this

Greeting cards industry  Search this

United States Department of Agriculture  Search this

Refuse collection  Search this

Poultry industry  Search this

Shoe industry  Search this

Dental instruments and apparatus  Search this

Methods engineering  Search this

Industrial engineering -- 1930-2000  Search this

Chronophotography  Search this

Drafting table  Search this

Organizational effectiveness  Search this

Industrial management  Search this

Work measurement  Search this

Motion study  Search this

Genre/Form:

Photographs -- 20th century

Field notes

Motion photographs

Diagrams

Loop films

Motion pictures (visual works)

Transparencies

Correspondence -- 1930-1950

Charts

Citation:

Marvin E. Mundel Industrial Engineering Collection, 1937-1996, Archives Center, National Museum of American History, Smithsonian Institution.

Identifier:

NMAH.AC.0676

See more items in:

Marvin E. Mundel Industrial Engineering Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep885139741-4c32-4460-bb06-8cfb024e15c3

EDAN-URL:

ead_collection:sova-nmah-ac-0676

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2012-06-08T16:43:30.000Z

YouTube Category:

Music  Search this

Topic:

Cultural property  Search this

See more by:

smithsonianfolkways

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolkways

EDAN-URL:

edanmdm:yt_UFUyjFTzi2U

Creator:

Smithsonian Institution  Search this

Type:

YouTube Videos

Uploaded:

2012-03-09T22:52:56.000Z

YouTube Category:

Education  Search this

See more by:

SmithsonianVideos

Data Source:

Smithsonian Institution

YouTube Channel:

SmithsonianVideos

EDAN-URL:

edanmdm:yt_f2oyU0RusiA

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2021-09-15T05:21:57.000Z

YouTube Category:

Entertainment  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_QKA8kyT0_xA

Creator:

Kent, Rockwell, 1882-1971  Search this

Subject:

Wildenstein, Felix  Search this

Phillips, Duncan  Search this

Hays, Lee  Search this

Untermeyer, Louis  Search this

Zigrosser, Carl  Search this

Robeson, Paul  Search this

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

Roosevelt, Franklin D. (Franklin Delano)  Search this

Ruggles, Carl  Search this

Stefansson, Vilhjalmur  Search this

Nearing, Helen  Search this

Nearing, Scott  Search this

Pach, Walter  Search this

Rasmussen, Knud  Search this

Reeves, Ruth  Search this

Seeger, Pete  Search this

Daniel, Charles  Search this

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

Davies, Arthur B. (Arthur Bowen)  Search this

Chamberlain, J. E.  Search this

Boyesen, Bayard  Search this

Chase, William Merritt  Search this

Freuchen, Peter  Search this

Gellert, Hugo  Search this

Gottlieb, Harry  Search this

Hartley, Marsden  Search this

Fitzgerald, James  Search this

Keller, Charles  Search this

Miller, Kenneth Hayes  Search this

Henri, Robert  Search this

Jones, Dan Burne  Search this

United American Artists  Search this

United Office and Professional Workers of America  Search this

United Scenic Artists  Search this

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

National Maritime Union of America  Search this

American Artists' Congress  Search this

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

Artists League of America  Search this

Citizens' Committee for Government Arts Projects  Search this

Farmers Union of the New York Milk Shed  Search this

Federal Art Project  Search this

Federal Writers' Project  Search this

Macbeth Gallery  Search this

International Workers Order  Search this

Type:

Poems

Sketches

Business records

Photographs

Drawings

Citation:

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

Topic:

Designers -- New York (State)  Search this

Mural painting and decoration  Search this

Politics and culture  Search this

Authors -- New York  Search this

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

Dairy farms  Search this

Federal aid to the arts  Search this

Illustrators -- New York (State)  Search this

Illustration of books  Search this

Works of art  Search this

Art and war  Search this

Commercial art  Search this

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

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9557

(DSI-AAA_SIRISBib)211757

AAA_collcode_kentrock

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211757

Creator:

National Museum of African Art  Search this

Type:

YouTube Videos

Uploaded:

2019-11-04T20:06:42.000Z

YouTube Category:

Education  Search this

Topic:

Art, African  Search this

See more by:

SmithsonianAfricanAr

Data Source:

National Museum of African Art

YouTube Channel:

SmithsonianAfricanAr

EDAN-URL:

edanmdm:yt_wwj1rtQl_38

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

Creator:

Manske, Nathan  Search this

Names:

I'm From Driftwood  Search this

Chatterton, Troy  Search this

Dinh, Summer Z.  Search this

Garza, Santiago  Search this

Lee, Marquise  Search this

Manske, Nicholas  Search this

Vester, Desiree  Search this

Extent:

2 Cubic feet (5 boxes)

Type:

Collection descriptions

Archival materials

Oral history

Love letters

Sketches

Transcripts

Date:

2009-2019, undated

Summary:

Oral histories (transcripts) taken from LGBTQ identifying persons over a fifty state I'm From Driftwood story tour. Records include oral histories, photographs, tour records, correspondence, and ephemera from the tour crew and tour inteviewees.

Content Description:

Records documenting the I'm From Driftwood project, transcripts of oral histories collected from persons identifying as LGBTQ. Histories were taken from persons in all fifty U.S. states over the course of a five month (September 2010-January 2011) story tour. Oral histories are arranged in the order in which the state was visited. The records include transcripts of interviews with the Driftwood story crew focusing on their memories of the joys and challenges of the tour state by state. There are photographs taken in each state of the tour of persons, places, and the story tour's signature pink cowboy boots. These boots were used for donation recepticles during fundraising visits to local LGBTQ community centers, bars, and student unions.

The records document an amazing oydessy of the Driftwood crew. Not only do the transcripts of persons interviewed include the sometimes poignant history of that particular person, but interviews with the Driftwood crew themselves illustrate the sometimes emotional, frustrating, yet rewarding, journey they were taking to capture these interviews. The records include pen and ink, hand drawn postcards by artist Nicholas Manske, driver for the tour, to his then fiance, Summer Dinh. The postcards feature Manske's drawing of a signature site within any given state. The postcards give yet one more human story to the many documented in these records.

Files from some states only include the crew transcripts, there were either no stories gathered in that state or for privacy various reasons they are not included in these records.

Arrangement:

These records are arranged in three series.

Series 1, Oral Histories, Transcriptions, and Notes, 2010 September 11-2011 January 9

Series 2, Project Records and Ephemera, 2010-2011, undated

Series 3, Photographs and Hand Drawn Postcards, 2010-2011, undated

Biographical / Historical:

From the book jacket, i'm from driftwood; True Lesbian, Gay, Bisexual, Transgender and Queer Stories from All Over the World, edited by Nathan Manske. "Since March 2009, ImFromDrifwood.com has collected true lesbian, gay, bisexual and tansgender stories from every corner of the globe to help LGBT youth realize they're not alone. The hundreds of written stories range from the furtive life of a gay man living in Indiana during the ultra conservative and unforgiving 1950s, to clandestine underground gay-straight alliance in present day Indonesia. While some stories recount bitter memories of violence, hatred, and introlerance, most are a testament to the most common of human emotions-optimism, love, honesty and hope. Together, these stories offer rare insight and lend an indisputable humanity to the lives of LGBT people everywhere, giving people young and old the world over a sense of community and a reassurance that they are not alone."

The crew for the story tour consisted of: Nathan Manske, founder of I'm From Driftwood organization; Marquise Lee, creator of the video stories, videographer and editor; Nicholas "Nick" Manske, brother of Nathan and driver for the tour; Desiree Vester, "Mistress of Logistics"; Santiago Garza, video intern; and Troy Chatterton, logistics volunteer. These records concentrate solely on the experiences and oral histories gathered by Manske and his crew on their tour of the United States during 2009-2010.

Separated Materials:

The story tour's pair of pink cowboy boots was collected by the Division of Work and Industry, NMAH, accession number: 2020.0090.

Provenance:

Collection donated by I'm From Driftwood organization through Nathan Manske, Executive Director, February 2020.

Restrictions:

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

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions. Releases for interviews are housed in the Archives Center's control file for this collection.

Topic:

Gay bars  Search this

Gay and lesbian studies  Search this

Gay rights  Search this

Gay youth  Search this

Lesbian and gay experience  Search this

LGBTQ+  Search this

Postcards -- United States  Search this

Social history  Search this

Tourist trade -- Postcards  Search this

Travel -- Photographs  Search this

United States  Search this

Genre/Form:

Oral history -- 2010-2020

Love letters

Sketches

Transcripts -- 20th century

Citation:

I'm From Driftwood Records, Archives Center, National Museum of American History, Smithsonian Institution.

Identifier:

NMAH.AC.1503

See more items in:

I'm From Driftwood Records

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8e8dfd66e-7d9a-47f4-95d6-2af47de403ce

EDAN-URL:

ead_collection:sova-nmah-ac-1503

Artist:

Raphael Soyer, American, b. Borisoglebsk, Russia, 1899–1987  Search this

Medium:

Sketchbook

Dimensions:

book: 15 5/16 × 10 3/4 × 1/2 in. (38.9 × 27.3 × 1.3 cm)

Type:

Drawing/book

Date:

c. 1955-1960

Credit Line:

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Bequest of the artist, 1988

Accession Number:

88.33

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

School:

American Realism (Mid-20th Century)

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py2c6f85254-d915-412f-8e86-166c52c4cd97

EDAN-URL:

edanmdm:hmsg_88.33